Academic literature on the topic 'Scheible (Firm)'
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Journal articles on the topic "Scheible (Firm)"
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Deaca, Mircea Valeriu. "Hypertheatre or Media Entanglement in the Theatre of Jay Scheib." Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (December 1, 2016): 21–42. http://dx.doi.org/10.1515/ausfm-2016-0012.
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Abstract The theatre of Jay Scheib blends theatrical and filmic features, allowing for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and theatre fuse and, at the same time, be apprehended as separate artistic means in a single artifact? The present article uses a theoretical interpretive metaphor that rests on an application of the mechanisms of relationship between two physical systems issued from the quantum mechanical view of reality. From this perspective, the two afore-mentioned media are in an entangled state. Media is understood as “potential materials or forms for future practices,” or “automatisms” (Rodowick 2007, 42). At the same time, theatrical or cinematic media is apprehended by the audience in a dynamic way, not defined as a static bundle of defining features. Dynamic conceptualization will modulate or “tune” the comprehension of one of the media considered to be a subordinate system in the duplex. The blending of the two media presupposes a local conceptualization unfolding dynamically and an entangled one manifested nonlocal. The distinction between film and theatre is also to be seen as a difference in the cognitive model which posits a detached display (a screen/a scene), an imaginary world (a diegesis) and a spectator (observer). In theatre, the body of the observer is inside the theatrical display setting, while in film, the body of the viewer is conceptualized to be separated from the cinematic display. The notion of threshold, introduced by Dudley Andrew (2010), renders this shift of attention from one side of the display to the other.
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Hoffman, Philip T. "Public Economics and History: A Review of Fiscal Regimes and the Political Economy of Premodern States, Edited by Andrew Monson and Walter Scheidel." Journal of Economic Literature 55, no. 4 (December 1, 2017): 1556–69. http://dx.doi.org/10.1257/jel.20151348.
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Fiscal Regimes and the Political Economy of Premodern States greatly expands our knowledge of the history of premodern fiscal systems and raises important questions about the political economy of premodern states. Answering those questions can help explain how states developed the capacity to tax; why tax levels and government-spending patterns varied greatly in the past, even though per capita incomes were similar; how government debt and representative institutions arose; and, last but not least, why some premodern states expanded and others collapsed. But firm answers to those questions will have to combine the history outlined in Fiscal Regimes and the Political Economy of Premodern States with systematic data and formal models of political economy. (JEL E62, H20, H50, N40)
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Amelot, Lydie Myriam Marcelle, Subadar Agathee Ushad, and Mattew Lamport. "Capital Structure and Political Risk in an Emerging Market: Evidence from Companies Listed on the Stock Exchange of Mauritius." Business and Economic Research 8, no. 3 (July 30, 2018): 104. http://dx.doi.org/10.5296/ber.v8i3.13367.
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Cashman, Harrison and Scheiler (2014) stated that companies with less political risk will use more debts than other organisations in other countries with more exposure to political risk. In particular, when there are low political risks, there will be more leverage and when there is high political uncertainty, there will be low debts indicating a negative relationship between financial leverage and political risk (Cashman, 2015). To this effect, this study will investigate the link between capital structure and political risk in an emerging market such as Mauritius. The data sample includes 30 financial and non- financial companies listed on the Stock exchange of Mauritius over a time frame ranging from 2011 to 2015 with a total number of 135 observations. The political risk was based on two World Bank indicators, namely political change index and corruption perceptions index. Based on a panel regression model, the empirical results show an insignificant relationship between financial leverage and political risk. In particular, it is implied that there is little evidence on the importance of political risk on firms’ decision in Mauritius due to the fact that Mauritian companies consider other types of risks to be more relevant when taking on more debts. The study adds to the existing literature on emerging markets and highlights the specificity of the Mauritian equity market relative to other developed markets.
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Šlibar, Neva, and Rosanda Volk. "Ein geistesgegenwärtiger Zeitgenosse am Ende der Zeiten : Sichtverengung und Blickstreuung in Christoph Heins längeren Prosatexten." Acta Neophilologica 24 (December 15, 1991): 77–91. http://dx.doi.org/10.4312/an.24.0.77-91.
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»Ich empfinde den Beruf eines Schriftstellres als den eines Berichterstatters, eines Chronisten. Ich bin ein Schreiber von Chroniken, mit literarischen Mitteln natürlich [...]« (A, 203). Dieses Selbstverständnis Christoph Heins, geäußert in einem lnterview für das Neue Deutschland vom 2./3. 12. 1989, enthalt mehr als das Bekenntnis zum Historischen, zum Schreiben »über mich und meine Welt« (ebda.) als Leitthemen seines Iiterarischen Wirkens. Es ist eine Poetik in nuce. Im Gegensatz zum Historiker lebt der Chronist nämlich aus der Zeitgenossenschaft mit dem erzählten Geschehen, er befindet sich nach A. C. Danto folglich logisch in derselben Ordnung der Ereignisse, die er beschreibt• Es fehlt·ihm die restrospektiv wertende Sicht des Historikers, in Heins Worten: »Der Berichterstatter hat eigentlich nur etwas mitzuteilen und muß sich weitgehend der moralischen Wertung enthalten« (ebda.). Diese reduktionistische Postion bestimmt Heins Realismuskonzept, das keinen Anspruch auf epische Breite, Auktorialität und Beherrschbarkeit stellt, sowie keine konkreten Utopievorstellungen präsentiert. Weiters bestimmt sie die dominierende Bedeutung des Blickpunkts für die Wirklichkeitskonstruktion von Heins Welten, die Identitätsbildung seiner Figuren sowie die enggeführte Erzählhaltung (O, 157). Ablesbar ist sie gleichfalls an einer Motivik, die traditionellerweise Sichtverengung und Selbstbezogenheit zum Ausdruck bringt: Spiegel und blinde Scheiben, Fotoapparate und Kameras, Fotografieren und Sich-Spiegeln signalisieren vom Film inspirierte Schreibverfahren. Dieser (selbst)beschränkenden Position gilt es hier nachzugehen; ausgeklammert werden demnach bewußt aktuell geschichtliche und regional beschränkte, d. h. auf die DDR-eingegrenzte politische Interpretationsmöglichkeiten.
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Šlibar, Neva, and Rosanda Volk. "Ein geistesgegenwärtiger Zeitgenosse am Ende der Zeiten : Sichtverengung und Blickstreuung in Christoph Heins längeren Prosatexten." Acta Neophilologica 24 (December 15, 1991): 77–91. http://dx.doi.org/10.4312/an.24.1.77-91.
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»Ich empfinde den Beruf eines Schriftstellres als den eines Berichterstatters, eines Chronisten. Ich bin ein Schreiber von Chroniken, mit literarischen Mitteln natürlich [...]« (A, 203). Dieses Selbstverständnis Christoph Heins, geäußert in einem lnterview für das Neue Deutschland vom 2./3. 12. 1989, enthalt mehr als das Bekenntnis zum Historischen, zum Schreiben »über mich und meine Welt« (ebda.) als Leitthemen seines Iiterarischen Wirkens. Es ist eine Poetik in nuce. Im Gegensatz zum Historiker lebt der Chronist nämlich aus der Zeitgenossenschaft mit dem erzählten Geschehen, er befindet sich nach A. C. Danto folglich logisch in derselben Ordnung der Ereignisse, die er beschreibt• Es fehlt·ihm die restrospektiv wertende Sicht des Historikers, in Heins Worten: »Der Berichterstatter hat eigentlich nur etwas mitzuteilen und muß sich weitgehend der moralischen Wertung enthalten« (ebda.). Diese reduktionistische Postion bestimmt Heins Realismuskonzept, das keinen Anspruch auf epische Breite, Auktorialität und Beherrschbarkeit stellt, sowie keine konkreten Utopievorstellungen präsentiert. Weiters bestimmt sie die dominierende Bedeutung des Blickpunkts für die Wirklichkeitskonstruktion von Heins Welten, die Identitätsbildung seiner Figuren sowie die enggeführte Erzählhaltung (O, 157). Ablesbar ist sie gleichfalls an einer Motivik, die traditionellerweise Sichtverengung und Selbstbezogenheit zum Ausdruck bringt: Spiegel und blinde Scheiben, Fotoapparate und Kameras, Fotografieren und Sich-Spiegeln signalisieren vom Film inspirierte Schreibverfahren. Dieser (selbst)beschränkenden Position gilt es hier nachzugehen; ausgeklammert werden demnach bewußt aktuell geschichtliche und regional beschränkte, d. h. auf die DDR-eingegrenzte politische Interpretationsmöglichkeiten.
Books on the topic "Scheible (Firm)"
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Suárez, Juan A. The Sound of Queer Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0013.
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This chapter characterises the music and sound of queer experimental film. It starts out with a historical revision of some social, cinematographic and musical developments that impinged on the evolution of queer experimental film. It then theorises about the possibility of a queer sound and music. And it subsequently characterises three modalities of aural queerness: camp, noisiness and dissonance. These modes share an epistemic uncertainty about the location and the very matter of what counts as queer, so that queerness has to be explored as an open question or a potential frame of reference; as a possibility that is communicated by sound just as much as by the image. The chapter takes as examples of these modes both historical filmmakers, such as Jack Smith, Kenneth Anger, Andy Warhol and Barbara Hammer, and more recent ones, such as Hans Scheirl, David Domingo, Jennifer Reeves, Luther Price and William E. Jones.
Book chapters on the topic "Scheible (Firm)"
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Suárez, Juan A. "Synthetic, Exotic, Magnetic." In Experimental Film and Queer Materiality, 208–52. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780197566992.003.0008.
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Abstract This chapter explores the association of visual and aural noise with queer embodiment and sociality. It theorizes the connections between noise and queerness; inquires into the main avenues for the introduction of noise into experimental music and film from mid-century forward; and shows how queer experimental filmmakers used noise to convey unruly corporealities and queer styles of relationality and community. The chapter distinguishes between the “regimes of noise” of the 1940s and 1950s, influenced by musical exoticism and by John Cage’s ideas and practice; of the 1960s and early 1970s, characterized by the vogue of electronically generated noise and the affordances of magnetic tape; and of the 1980s and 1990s, characterized by eclecticism and resistant vernaculars rife with glitch and malfunction. It explores how these noise regimes influenced experimental film between mid-century and the present, from Sidney Peterson and James Broughton to Lionel Soukaz, Abigail Child, and Ashley Hans Scheirl.
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Smith, Frances. "Acting Up: Performing Masculine Delinquency in the Teen Movie." In Rethinking the Hollywood Teen Movie, 21–63. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474413091.003.0003.
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James Dean’s fatal car crash on 30 September 1955 ensured the actor’s swift canonisation as an icon of youth rebellion. This chapter examines Dean’s performance in Rebel Without a Cause, in addition to those of John Travolta in Grease and Christian Slater in Heathers. James Dean, to be sure, was a star. Will Scheibel observes the quasi-idolatry in which he was held even among his fellow performers, Sal Mineo and Natalie Wood, not to speak of the legions of fans whose acres of correspondence required Warner Brothers to create a dedicated mail service. Fascinated by the intense identifications that such magnetic performers cultivate with their audiences, Richard Dyer identifies the star as a complex nexus of texts, ideologies and desires. His seminal work continues to provide a touchstone for scholars working in star studies, and testifies to the enduring ideological and textual basis for stardom. Since then, a new and related field of celebrity studies has taken account of the extraneous labour in which film stars are now routinely obliged to engage (as well, of course, as those for whom fame itself is a vocation).
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Robnik, Drehli. "Die Scheibe und ihre Beschlagenheit: Film- und politiktheoretische Unterscheibungen zu einer Macht- und Einsichts-Einrichtung im sozialen Raum." In Wohn/Raum/Denken, 165–84. transcript Verlag, 2021. http://dx.doi.org/10.1515/9783839445174-009.
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Robnik, Drehli. "Die Scheibe und ihre Beschlagenheit: Film- und politiktheoretische Unterscheibungen zu einer Macht- und Einsichts-Einrichtung im sozialen Raum." In Wohn/Raum/Denken, 165–84. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839445174-009.
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CAMARGO, BRUNA CAROLINE, and MARCOS A S FERRAZ. "AS DESIGUALDADES DE FINANCIAMENTO DOS ENTES FEDERADOS E AS POLÍTICAS DE VALORIZAÇÃO DOCENTE." In Políticas Públicas de Educação (Vol 02). Editora Realize, 2024. http://dx.doi.org/10.46943/ix.conedu.2023.gt21.008.
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Este trabalho tem por objetivo analisar como as desigualdades de financiamento dos entes federados podem influenciar no desenvolvimento de políticas de valorização docente. A valorização docente é uma temática recorrente nas pesquisas na área das políticas educacionais (GROSHOSKA, 2015; SCHEIBE, 2010), todavia, verifica-se que ainda encontramos desafios para a implementação destas, como aponta o Relatório do 4º Ciclo de Monitoramento das metas do Plano Nacional de Educação (BRASIL, 2022). Diante disso, se faz necessário analisar a capacidade orçamentária dos entes federados para compreender a possível influência na implementação de políticas voltados aos docentes. Para tanto, foram investigados quatro municípios, da região dos Campos Gerais/PR e o estado do Paraná, entre os anos de 2012 a 2020. A pesquisa teve uma abordagem qualitativa, sendo uma pesquisa documental, analisando-se os Planos Municipais de Educação (PME) de cada munícipio e o Plano Estadual de Educação. Ademais, utilizou-se também dados quantitativos de dados, a saber: relatório resumido de execução orçamentária (SIOPE) e do Tribunal de Contas do Estado do Paraná, a fim de acessar as receitas de impostos e receitas do Fundo de Manutenção e Desenvolvimento da Educação Básica e de Valorização dos Profissionais da Educação (Fundeb) de cada ente federado. Os resultados obtidos revelam que há diferença nas arrecadações entre municípios e estado, bem como entre os próprios municípios, em que, três destes, as transferências constitucionais são maiores quando comparado ao poder de arrecadação próprio. Há tentativas de formulações de políticas nos Planos Municipais de Educação e Plano Estadual de Educação, porém, os municípios com menor poder de arrecadação própria propõem menos ações no que concerne à valorização docente.