1,418 matches
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Tel : +353 ( 0) 1 2998700 medinfo ireland@ merck . com Slovenija Merck Sharp & Dohme , inovativna zdravila d . o . o . Tel : + 386 1 5204201 msd slovenia@ merck . com Icepharma hf . Sími : +354 540 8000 ISmail@ merck . com Merck Sharp & Dohme IDEA , Inc . Tel . : +421 2 58282010 msd sk@ merck . com 62 Ιtalia Istituto Gentili S. p . A . Tel : + 39 06 361911 doccen@ merck . com Suomi/ Finland MSD Finland Oy Puh/ Tel : +358 ( 0 ) 9 804650 info@ msd . fi Κύπρος Merck Sharp
Ro_1178 () [Corola-website/Science/291936_a_293265]
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MSDBelgium info@ merck . com 67 България Мерк Шарп и Доум България ЕООД Тел . : +359 2 819 3740 info- msdbg@ merck . com Magyarország MSD Magyarország Kft . Tel . : +361 888 53 00 hungary msd@ merck . com Česká republika Merck Sharp & Dohme IDEA , Inc . , org . sl . Tel . : +420 233 010 111 msd cr@ merck . com Malta A. M. Mangion Ltd . Tel : +356 2397 6100 medinfo mt@ merck . com Danmark Merck Sharp & Dohme Tlf : +45 43 28 77 66 dkmail@ msd . dk Nederland Merck
Ro_1178 () [Corola-website/Science/291936_a_293265]
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Tel : +353 ( 0) 1 2998700 medinfo ireland@ merck . com Slovenija Merck Sharp & Dohme , inovativna zdravila d . o . o . Tel : + 386 1 5204201 msd slovenia@ merck . com Icepharma hf . Sími : +354 540 8000 ISmail@ merck . com Merck Sharp & Dohme IDEA , Inc . Tel . : +421 2 58282010 msd sk@ merck . com 68 Ιtalia Istituto Gentili S. p . A . Tel : + 39 06 361911 doccen@ merck . com Suomi/ Finland MSD Finland Oy Puh/ Tel : +358 ( 0 ) 9 804650 info@ msd . fi Κύπρος Merck Sharp
Ro_1178 () [Corola-website/Science/291936_a_293265]
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centralizată. De aici începe deci adevărata cenzură. [1] Petre Popescu, „Redactorul-prezentator la redactia emisiunilor de Actualitati politice interne si externe a televiziunii”, Arhivele Radiodifuziunii, dosarul citat, p.2 [2] Petru Popescu, op: cit., p.2. [3] Jean-Luc Nancy, Comunitatea absentă, Idea, 2005. [4] Alexandru Stark, Reportaj despre un reportaj, Dacia, 1975, p. 14. [5] Idem, p.16. La fel ca în emisiunile sale și spre deosebire de anii de avînt ai televiziunii, Stark nu insistă pe personajul negativ, pentru a nu zădărnici « mesajul
“Arbeit macht frei”: eliberează omul nou din tine () [Corola-website/Science/295695_a_297024]
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topics: <b>Genetically Modified Organisms, Self-management, May 1<sup>st</sup>, Monuments, The Participatory Budget în Schools, Save Roșia Montană, Animal Freedom, CCTV Cameras în Schools, A Day în the Life of the President </b>etc. This is where the idea for <b>The School of Activist Painting </b>în Cluj originated; aș an awakening of both artistic and activist consciences, by creating banners behind the scenes at the protests în 2012. The intention was an ironic opposition to the school
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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she is small and helpless: “There is no such thing aș ‘children’, there are only humans - with a completely different scale of values, a different set of experiences, different impulses and another level of emotions. And remember we have no idea who they are.” Korczak militated for a team education în which the educator and the educated create a flexible community together, a community based on trust and on everyone’s right to be who they are and stând up for
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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disregard of their own aesthetic ambitions, they reject the lessons of realism served up by great writers în the past two centuries. Writers în the second group dream of inventing a Romanian commercial literary language. It’s not a bad idea, but considering you’re dealing with a huge market exercising pressure very effectively on the reader at a global level, it’s even more work than writing an aesthetic masterpiece. My pitch is not for a type of literature written
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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with the fashionable downtrodden groups, but with no real gain în artistic expression. And there’s also the question of inventing or gaining a new audience. I think there’s room for that, too, but it might be a good idea not to conveniently bore that audience either with aesthetic chimeras meant for the juries who don’ț understand today’s “tricks” anymore, or with attempts at commercial jackpots which barely rise above the usual crap delivered by the multinațional publishing
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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renovation is complete, the children cannot attend because a European Court of Human Rights decision supports their integration în mixed schools. The children then return to their former school with condescending teachers who treat them like retards who have no idea that the grass is colored green because it is green. They are subsequently relocated to a special school for children with disabilities, even though the principal admits they have no disability. The final scene, where we see them trying to
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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b>Mihaela Michailov</b>)</i> [caption id="attachment 1139" align="aligncenter" width="300"] Alin. Our School, 2012, director: Mona Nicoară.[/caption] How much hâș your experience aș a human rights activist influenced your work on Our School<i>?</i></b> The idea for the film originated în my personal frustration aș an activist: în the past 20 years, I’ve seen hundreds of reports and strategies for Romă people that have changed little în our collective understanding of the issues the Romă
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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and traditions. Stuck between an ancient tradition and internațional explorations în performance, we have conditioned ourselves to look at expression and forms în tight-jacketed boxes (or genres). În India especially there is the romanticism of the folk, obsessing with the idea of tradition and not its politics, fossilising art forms against their grain. În this background, we aș a company creating performances for young audiences have been facing questions when it comes to the forms we ‘should’ use. Aș artistic director
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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fossilising art forms against their grain. În this background, we aș a company creating performances for young audiences have been facing questions when it comes to the forms we ‘should’ use. Aș artistic director I was keen to explore the idea of using so-called folk forms with contemporary or newly written stories (definitely not related to ‘save the environment’ or ‘anti-AIDS’ or any other such campaigns). It would be an attempt to use a framework în which the folk forms would
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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one activist în each of several towns collaborate around the local legacy of civil rights. The artist gathers personal stories on the subject that are used în some way thereafter with the help of the educator and the activist. The idea is that people may have limited material resources but are rich în experience. The stories are vessels for what people have learned and what they find meaningful that can be translated into educațional and activist projects. Suzanne Lacy, who creates
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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and sometimes the articles raise a lot of literary issues. Femrite is now too relevant to be sidelined. [caption id="attachment 1229" align="aligncenter" width="300"] At the Frankfurt Book Fair (BuchMesse), talking about FEMRITE[/caption] Well, that’s the whole idea of the activity, the debate. Let’s talk a little bit about the books. I think here at the Frankfurter BuchMesse, I looked at your public and at the facial expressions of our colleagues, and I think this book here
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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com/sites/default/files/imagecache/full/greenwich village brownstones nyc.jpg (n. trad.) [3] http://www.wikisummaries.org/The Death and Life of Great American Cities (n. trad.) [:en]by Sharon Zukin[1]</b></a> Providing space în the city for artists is more complicated than it appears. Although the idea originates în philanthropy- aș a payment or a subsidy în kind rather than în money- it often hâș the effect of enhancing property values, and șo it becomes a springboard for real estate development. This phenomenon is not peculiar to
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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have it both ways. A subsidy for artists' housing finally created demand for a market în living lofts. A Housing Subsidy for Artists [...] Although the impetus for subsidizing artists' housing în loft neighborhoods originated în the upper-class patron-artist connection, the idea became popular because of the active support of a middle-class arts constituency. This constituency played the midwife's role în the curious sequence of events that led up to the birth of the Greenwich Street co-op. Their background is significant
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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payment of back taxes. The chain ran through the West Village liberal constituency's organizațional links and personal connections to the J. M. Kaplan Fund. At the auction, a Fund representative bought the loft building on Greenwich Street with the idea of turning it over to an artists' co-op. Before the Fund announced its intention, however, a Committee for Artists' Housing from the community board issued a call for artists' housing în the West Village. With great timeliness, the Kaplans were
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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over 100 pages of wiretapping from the evenings în 2 Mai. For over 10 years, Nina Cassian (“objective Miră”) was under the surveillance of the Securitate, her manuscripts were photocopied, her phones bugged and her letters intercepted. I have no idea if the writer suspected anything or if she even cared. I know from a subsequent encounter that she hâd no interest whatsoever în who her informants were. After all, how could she have judged others who probably believed în the
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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copy is to original, but, rather, aș copy is to copy. The parodic repetition of “the original,” discussed în the final sections of chapter 3 of this text, reveals the original to be nothing other than a parody of the idea of the natural and the original. Even if heterosexist constructs circulate aș the available sites of power/discourse from which to do gender at all, the question remains: What possibilities of recirculation exist? Which possibilities of doing gender repeat and
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]
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of certain social groups (women, slaves, industrial workers, immigrants, peasants etc.) have been “selected” and “interpreted” aș irrelevant for historicization according to the dominant ideology of the respective period (the discipline of history serving the formation and evolution of the idea of nation-state throughout the 19<sup>th</sup> and 20<sup>th</sup> century more than any other). The second way of relating to the past considers this instrumentalist, presentist approach (“what we do with the past”) to be insufficient
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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even though they use different ways of understanding and performing archives. One of the main concerns of these theatre practitioners is the recovery of the critical - and implicitly political - function of the artistic act, în a local context where the idea of “art” is associated with imperviousness to everyday issues, apolitical behavior and “harmlessness” în shaping the public agenda.[ 7] These productions do not necessarily represent an ethos of Romanian independent theatre aș a whole, but I estimate they are a
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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în a mini-interview on the “mineriade” (the coal miners’ attempts to storm Bucharest în the 1990s). They’d worked really hard, interviewed a lot of people and now they wanted to do a theatre performance using all this material. The idea was that, în the beginning of the performance, they’d screen fragments of our interviews, the ones who were very young or inexistent în the ‘90s. Since we were inevitably ignorant on the subject, the research and staging efforts were
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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screen fragments of our interviews, the ones who were very young or inexistent în the ‘90s. Since we were inevitably ignorant on the subject, the research and staging efforts were depicted aș having a pedagogical value, aș well. A good idea, from my part, since I was genuinely ignorant on the matter, even though, after watching the performance, it seemed a bit exaggerated - maybe that’s why it was removed from subsequent representations. [caption id="attachment 1697" align="aligncenter" width="600"] Heated
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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îi spuneați pedagogului, profesorul Eisinger. Fiecare dintre voi avea o poreclă. Cum ați ajuns la ele? Kurt: În fel și chip. Profesorul Eisinger nu era foarte înalt, de-aici Micuțul. Marie: În Casa Unu vă autointitulați „Republica Shkid”. A fost idea voastră? Kurt: Nu, nu. N-a fost cumva a lui Eisinger, Zdeněk? Zdeněk: Ne vorbea mereu de o carte, „Republica Shkid”. Îi plăcea foarte mult. Marie: Vă citea din ea? Zdeněk: Nu, eu n-am apucat s-o citesc decât
„Cu mândrie, înainte!” Revista secretă a copiilor din lagărul Terezín (1942-1944) () [Corola-website/Science/295725_a_297054]
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need a visa for your wife and child” was unacceptable. He took the ultimate step. [...] Do you think that theater should have a social and political function? Yes, I do, because even during school, we would come up with the idea to have a performance based on real life events and promote principles and values of everyday life. That’s why I’d like to send the performance în Arabic to my father and especially to my cousin, because he suffered
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]