350 research outputs found
Rhetorical expression in Rehman Baba’s poetry
No full textRehman Baba is a prominent figure and well known personalty in the history of Pashto literature. Despite of his poetic themes, his diction and expressions with the lingual reference are very important.He has a unique style and diction in his poetry.He used figurative language. It is not only eloquent but also strenuous.He is popular among all due to his artistic abilities and lingual aspects .The author of this paper has strived to unpack rhetorical expression the poetry of rehman baba
Hydraulic simulations to evaluate and predict design and operation of the Chashma Right Bank Canal
No full textIrrigation systems / Irrigation canals / Flow control / Velocity / Canal regulation techniques / Hydraulics / Simulation models / Design / Operations / Crop-based irrigation / Distributary canals / Water delivery / Policy / Protective irrigation / Water allocation / Water requirements / Sedimentation / Water distribution / Equity / Water conveyance / Pakistan / Chashma Right Bank Canal
Gulf capital & islamic finance: the rise of the new global players
No full textIn Gulf Capital and Islamic Finance, Aamir A. Rehman, the acclaimed author of Dubai & Co.: Global Strategies for Doing Business in the Gulf States, sheds welcome light on the hows and whys of trillions of dollars of Gulf capital, and Shariah-compliant finance--a fast-growing sector that Standard & Poor's values at $750 billion. In addition to incisive analysis of these dynamic, often unfamiliar markets, Rehman examines this sector's growth potential and investment opportunities
Dilip Kumar: autor-aktor
No full textDilip Kumar has been praised for his sublime dialog delivery, for his restrained gestures, and for his measured and controlled underplay of emotions in tragic stories as well as in light-hearted comedies. His debut in 1944 with Jwar Bhata (Ebb and Tide) met with less-than-flattering reviews. So did the next three films until his 1948 film, Jugnu (Firefly), which brought him recognition and success. Unlike his contemporaries such as Raj Kapoor and Dev Anand, who propelled their careers by launching their own production companies, Dilip Kumar relied on his talent, his unique approach to characterization, and his immersion in the projects he undertook. In the course of his career that spanned six decades, Kumar made only 62 films. However, his work is a textbook for other actors that followed. Not only did he bring respectability to a profession that had been shunned by the upper classes in India as a profession for “pimps and prostitutes,” but he also elevated film-acting and filmmaking to an academic discipline, making him worthy of the title ‘Professor Emeritus of Acting’. Rooted in the theoretical framework of Howard S. Becker’s work on the “production of culture” and “doing things together,” this paper discusses Kumar’s approach to acting, character development, and the level of his involvement and commitment to each of his projects. The author of this article argues that more than the creative control as a producer or a director, it is the artistic involvement and commitment of the main actors that shape great works of art in cinema. Dilip Kumar demonstrated it repeatedly.Dilip Kumar był chwalony za wysublimowane prowadzenie dialogów, opanowaną gestykulację oraz za wyważone i kontrolowane wyrażanie emocji zarówno w opowieściach tragicznych, jak też w beztroskich komediach. Jego debiut w 1944 w Jwar Bhata (Odpływy i przypływy) spotkał się z niezbyt pochlebnymi recenzjami. Podobnie było z kolejnymi trzema filmami, aż do filmu Jugnu (Świetlik) z 1948 roku, który przyniósł mu uznanie i sukces. W przeciwieństwie do swoich rówieśników, jak Raj Kapoor iDev Anand, którzy napędzali kariery, uruchamiając własne firmy produkcyjne, Dilip Kumar polegał na swoim talencie, unikalnym podejściu do charakteryzacji i zaangażowaniu w projekty, których się podjął. W ciągu swojej sześćdziesięcioletniej kariery Kumar nakręcił tylko 62 filmy. Jednak jego praca jest podręcznikowa dla młodszych aktorów. Nie tylko przyniósł szacunek zawodowi aktora, traktowanemu przez indyjskie klasy wyższe jako zawód „alfonsów i prostytutek”, ale także podniósł aktorstwo filmowe i filmowanie do dyscypliny akademickiej, co uczyniło Kumara godnym tytułu emerytowanego profesora aktorstwa. Artykuł ten, zakorzeniony w ramach teoretycznych pracy Howarda S. Beckera nad „produkcją kultury” i „robieniem rzeczy razem”, omawia podejście Kumara do aktorstwa i rozwoju postaci oraz poziom jego zaangażowania w każdy ze swoich projektów. Autor tego artykułu przekonuje, że to artystyczne zaangażowanie i poświęcenie głównych aktorów kształtują wielkie dzieła sztuki w kinie bardziej niż kontrola twórcza producenta czy reżysera. Dilip Kumar wielokrotnie to zademonstrował
TERESA VILLAVERDE: MAKING OMELETS WITHOUT EGGS
No full textNearly 50 percent of the students graduating with degrees in film directing programs are women; nearly half of the film audiences around the globe are women; yet, women direct only 8 percent of the films. Like most other industries, men control by men the film industries. An opportunity to direct a film is hard to come by for men. It’s even harder for women. However, when a woman breaks through the glass ceiling, the results are refreshingly satisfying – bringing new perspectives on the female experience and interpersonal relationships. The purpose of this paper is to bring to focus the work of a Portuguese film director, Teresa Villaverde. She began her film career as an actor in À Flor do Mar /Hovering over the Water (1986) and directed her first feature film, A Idade Maior (1991). Since then, she has directed more than a dozen films. For many of these, she has also doubled as writer, editor, cinematographer, and producer. Not only is she a prolific auteur director, her work has earned recognition at international film festivals. The paper describes her professional career and some of the themes she has tackled in her films, e.g., the homeless, the socially alienated, the abused and silenced and the economically unnecessary. Although working with small budgets, she has established herself among the most significant directors in Europe. Relying on existing interviews and reviews, the paper presents Villaverde as a role model for other young filmmakers pursuing careers in cinema
Management and communication practices in Singapore: lessons from a model economy
No full textWith its 5.8 million inhabitants, retaining its unique version of democracy, and remaining a traditional yet progressive city, Singapore stands as a model economy for other Asian and middle eastern economies. From 1819 to 1963, Malaysia and Singapore – as one country – were a British colony. In 1963, when British rule ended and Malaysia gained her independence, Singapore remained a part of Malaysia. However, the racial tension between Malay, the ethnic Chinese, and other non-Malay groups escalated and turned violent. In 1965, Singapore cut her ties with Malaysia and became a sovereign, independent state. While retaining its collectivistic culture, Singapore has gained a competitive edge as a high-end shopping centre in the region. During the past 60 years, the Singaporean economy and businesses have shifted their focus from the manufacturing of electronic components, computer hard drives, small appliances, and garments to financial services, banking, insurance services, and asset management. Relying on data collected through interviews, observations, and a brief questionnaire, this case study of Singaporean businesses presents a description of the management styles and communication strategies of 78 business managers in Singapore, representing the service, retail, and manufacturing sectors. The data reveal that Human Resources Approach to management is the most common style of management. Analysis of communication content, style, and flow demonstrates that cultural customs such as respect for the elderly, caring for and mentoring the younger generation, loyalty to one’s family, and conformity to family traditions are the driving forces of the businesses in Singapore. The analysis suggests that it is the dominant culture of a society that shapes the business practices and business values in any given society.W roku 2020 Singapur z 5,8 mln mieszkańców, szczególną wersją jednopartyjnej demokracji i hołdującym tradycji, choć jednocześnie postępowym społeczeństwem stał się modelową gospodarką dla innych krajów azjatyckich. Od 1819 do 1963 r. obszar Malezji i Singapuru stanowił kolonię brytyjską. W roku 1963, gdy panowanie Brytyjczyków dobiegło końca, Malezja odzyskała niepodległość, a Singapur stał się jej częścią. Taki stan nie trwał jednak długo – w efekcie narastających napięć rasowych pomiędzy Malajami, etnicznymi Chińczykami i innymi grupami w 1965 r. Singapur odciął się od Malezji i utworzył niezależne państwo. Pozostawiając swą kolektywistyczną kulturę, Singapur zyskał przewagę konkurencyjną jako ekskluzywne centrum handlowe w regionie. Przez ostatnie 60 lat singapurscy przedsiębiorcy przesunęli swoje zainteresowanie z wytwarzania komponentów sprzętu elektronicznego, twardych dysków komputerów, niewielkich urządzeń czy odzieży w kierunku usług finansowych, bankowych, ubezpieczeniowych i zarządzania aktywami. Bazujące na wywiadach, obserwacjach i krótkim kwestionariuszu niniejsze stadium przypadku singapurskiego biznesu dostarcza opisu stylów zarządzania i strategii komunikacyjnych 78 menedżerów reprezentujących usługi,handel detaliczny oraz przemysł. Dane ukazują, że najpowszechniejszym stylem zarządzania jest podejście oparte na zasobach ludzkich. Analiza treści, stylu i przepływu komunikacji świadczy z kolei o tym, że w Singapurze zwyczaje kulturowe, takie jak szacunek dla starszych, wychowywanie i dbanie o młodsze pokolenia, lojalność wobec rodziny i życie zgodnie z tradycjami rodzinnymi są siłami napędowymi przedsiębiorstw. Z analizy jasno wynika, że to dominująca w społeczeństwie kultura kształtuje praktyki i wartości, którym hołduje się w biznesie
(Auto)portret intelektualny Antoniego Rehmana a formy komunikacji z czytelnikami w "Kilku kartkach z Kaukazu" [An intellectual (self)portrait of Antoni Rehman, and the forms of communicating with readers in "A few Pages form the Caucasus"]
No full textThe subject of this article is a forgotten text, A few Pages form the Caucasus. Passages from a Journey Previously not Announced in Print, Made in 1873, published in 1879 in the Pamiętnik Towarzystwa Tatrzańskiego [Tatra Society Memoir] by Antoni Rehman, a Galician scholar, traveller and plant collector. The author of the article endeavours to identify elements of an intellectual (self)portrait of Rehman, evident in the author’s strategies of describing the region. The author of the article examines Rehman’s research sensitivity, characteristics of his professional ethos and, finally, his subjectivity as a traveller and as an author of travel accounts. The author of the article continually confronts the portrait of the scholar prepared in this way with Rehman’s visible need to communicate with a readership not versed in scientific research. Furthermore, the author of the article situates the above-mentioned examination in a postcolonial perspective. This, however, is not done in a way that would exhaust the topic, but as a supplement to the postcolonial portrayal of Rehman, which already exists in literature of this field
Poverty, Obesity, Diabetes: Are They the By-Products of Liberalization of Global Economy?
No full textThe paper briefly describes the causes of a global rise in obesity and diabetes. In so doing, it establishes links between (1) poverty and obesity, and (2) obesity and diabetes. The paper also presents data from a survey (N=147) conducted in a depressed economy in Texas where cases of obesity and diabetes are among the highest in the US. The paper argues for a paradigm shift in viewing the role of policymakers in regards to food and pharmaceutical industries, both locally and globally
Teaching Ethics in an Unethical World
No full textWe find ourselves in times where national leaders engage in fraudulent and deceptive behaviors for personal and political gains, and multinational corporations use unethical practices to maximize their profits. Where dangerously defective products are released onto the market endangering the health and lives of consumers, and where news channels become opinion channels. Where the motto of the free market is reduced to a simple‘grab all you can, any way you can.’ In times such as these, it is difficult to teach and promote ethical behavior. A cursory look at the advertising messages and the spins put on issues by public relations people leaves one wondering if business ethics is anything more than an oxymoron – a self‑contradicting claim. In times such as ours (in 2017), it is crucial that institutions of higher learning continue to teach and foster ethical behavior and ethical responsibility. No doubt, it is an uphill struggle for educators to convince students to think and act in ethically appropriate terms when surrounded by corruption, deceit, and fraud. While no one will deny the need for ethical practices, teaching these values in a convincing manner remains a challenge. Using meta‑analysis of various University courses in ethics, the present paper attempts three goals. First, it builds a rationale for the importance of ethical behavior, the need for teaching it, and the criticisms of those who think it unnecessary to teach ethics. Second, it discusses various strategies used by universities and several educators in teaching and reinforcing ethical behavior. This section also offers a criticism of approaches and methodologies of teaching ethics. Third, it offers an outline for a syllabus for an introductory course in Ethics.The “Annales. Ethics in Economic Life” is affiliated and co-financed by the Faculty of Economics and Sociology of the University of Lodz
Image: its power, use, and abuse
No full textThis position paper addresses three areas in which photographic images are used and abused: Journalism, Advertising, and Public Relations. These areas do not use images for aesthetic purposes only; for these businesses, the images are more than mental impressions. In these three industries, the messages they deliver through the images have little to do with the objective reality. All three use images to deliver an opinion in the name of journalism, distorted needs, benefits, and solutions in advertising, and put spins on facts to present favorable images of their clients in Public Relations. Historically, all three have engaged in the unethical use of the concept “image making” and of manipulation of actual images
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