2,104 matches
-
BCE et la contrepartie (ci-après dénommées leș "parties"), qui comporte des dispositions prévoyant, lors de la survenance d'un cas de défaillance țel que défini dans le cadre de cette convention, une possibilité de résiliation, d'exigibilité anticipées ou de "close ouț" des transactions ou des obligations afférentes aux transactions ou de tout événement analogue (une "résiliation pour défaillance"), leș obligations respectives des parties dans le cadre de cette convention pouvant dès lors être regroupées, globalisées ou compensées réciproquement de manière à
jrc4625as2000 by Guvernul României () [Corola-website/Law/89791_a_90578]
-
such event under (a) or (b) above is referred to în this Appendix aș an "event of default"), then all transactions to which this Appendix applies (but not less than all, unless any such transaction may not be șo closed ouț under applicable law) under which obligations have or would otherwise have fallen due by or after the date of such event of default (the "close ouț date") may by notice în writing from the ECB to the Counterparty be liquidated
jrc4625as2000 by Guvernul României () [Corola-website/Law/89791_a_90578]
-
but not less than all, unless any such transaction may not be șo closed ouț under applicable law) under which obligations have or would otherwise have fallen due by or after the date of such event of default (the "close ouț date") may by notice în writing from the ECB to the Counterparty be liquidated and closed-out aș described under paragraphs 3 and 4 of this Appendix, and the ECB shall, without prejudice to paragraphs 3 and 4 of this Appendix
jrc4625as2000 by Guvernul României () [Corola-website/Law/89791_a_90578]
-
bewaren. PT: Guardar fechado à chave. FI: Säilytettävä lukitussa tilassa. SV: Förvaras i låst utrymme. S2 ES: Manténgase fuera del alcance de los niños. DA: Opbevares utilgængeligt for børn. DE: Darf nicht în die Hände von Kindern gelangen. EN: Keep ouț of the reach of children. FR: Conserver hors de portée des enfants. IT: Conservare fuori della portata dei bambini. NL: Buiten bereik van kinderen bewaren. PT: Manter foră do alcance das crianças. FI: Säilytettävä lasten ulottumattomissa. SV: Förvaras oåtkomligt för
jrc5127as2001 by Guvernul României () [Corola-website/Law/90295_a_91082]
-
S Yhdistetyt S-lausekkeet Sammansatta S-fraser S1/2 ES: Consérvese bajo llave y manténgase fuera del alcance de los niños. DA: Opbevares under lås og utilgængeligt for børn. DE: Unter Verschluss und für Kinder unzugänglich aufbewahren. EN: Keep locked up and ouț of the reach of children. FR: Conserver sous clef et hors de portée des enfants. IT: Conservare sotto chiave e fuori della portata dei bambini. NL: Achter slot en buiten bereik van kinderen bewaren. PT: Guardar fechado à chave e
jrc5127as2001 by Guvernul României () [Corola-website/Law/90295_a_91082]
-
are to be found în each administrative district. There are 430 administrative districts în Spain. A list of Juzgados Decanos is given below: column 1: administrative districts; column 2: address; column 3: telephone (first number), fax (second number). To find ouț which district a municipality comes under, go to the Ministry of Justice website (www.mju.es), click on 'Partidos Judiciales'. FR En Espagne, leș entités requises șont leș Secretarios Judiciales de los Juzgados Decanos, qui existent dans chaque "partido judicial
jrc5045as2001 by Guvernul României () [Corola-website/Law/90213_a_91000]
-
the four constituent elements of the ghetto, namely, (i) stigma, (îi) constraint, (iii) spațial confinement, and (iv) instituțional parallelism. The ghetto is a social-organizational device that employs space to reconcile two antinomic functions: (1) to maximize the material profits extracted ouț of a category deemed defiled and defiling, and (2) to minimize intimate contact with its members șo aș to avert the threat of symbolic corrosion and contagion they are believed to carry. If the target population did not serve an
Antropologie performativă. Cazul ghetoului Pata Rât (partea I) () [Corola-website/Science/295677_a_297006]
-
and (2) to minimize intimate contact with its members șo aș to avert the threat of symbolic corrosion and contagion they are believed to carry. If the target population did not serve an essential economic function, it could be kept ouț of the city or expelled from it—as Jews hâd been periodically în medieval history. If that same group were not irremediably tainted, it would simply be exploited and allowed to mingle în the city în accordance with its position
Antropologie performativă. Cazul ghetoului Pata Rât (partea I) () [Corola-website/Science/295677_a_297006]
-
think only în terms of survival. (...) I think the problem is this one: jobs should be thought of aș public goods! Jobs should be considered public goods and become a național priority! Waitress (Hațeg): În Communist times we were going ouț of town, every week-end we used to go for a barbeque, or go to the river, somewhere. Now you wait for 2 or 3 weeks or a month to go somewhere. And you think a million times if you afford
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
-
didn’ț know?</b> They didn’ț want to know. And în’87 the strike în Brașov took place, which, once again, was overlooked by the intellectuals. And that intellectual elite is still maintaining that same position - it is totally ouț of touch with this world, to the point where a book like Parabolele lui Iisus (Jesus’ Parables) comes ouț, written by Andrei Pleșu, where he offers uș the image of a personal Jesus, which hâș nothing to do with the
„La noi n-a existat o solidaritate între intelectuali și muncitori nici înainte și nici după ’89” () [Corola-website/Science/295664_a_296993]
-
which, once again, was overlooked by the intellectuals. And that intellectual elite is still maintaining that same position - it is totally ouț of touch with this world, to the point where a book like Parabolele lui Iisus (Jesus’ Parables) comes ouț, written by Andrei Pleșu, where he offers uș the image of a personal Jesus, which hâș nothing to do with the masses, the crowd. A Jesus for the intellectuals. You say the intellectuals knew about the strikes. What do you
„La noi n-a existat o solidaritate între intelectuali și muncitori nici înainte și nici după ’89” () [Corola-website/Science/295664_a_296993]
-
that’s what they should have done, but the Romanian intellectual, aș opposed to the Czech or Polish one, hâș a certain respectability complex. It would be a tragedy for him to be removed from his teaching position and sent ouț to sweep the streets, aș it happened with Havel, or with Lech Walesa, who worked aș an electrician. An interview by Ionuț Sociu, translated into English by Ioana Pelehatăi <img class="aligncenter wp-image-572" alt="" src="http://artapolitica.ro/wp-content/uploads
„La noi n-a existat o solidaritate între intelectuali și muncitori nici înainte și nici după ’89” () [Corola-website/Science/295664_a_296993]
-
statement aș short and to the point aș possible. Don't read from notes, look directly into the cameră. The usual television spot is one minute and twenty seconds. The cameras start buzzing on your opening statement and often run ouț of film before you finish. Șo make it brief and action packed. The question period should be even more dramatic. Use the questioner's first name when answering a question. This adds an air of informality and networks are more
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
-
controlled use of the body (and identity) and the control by others (who have more access to power and produce subjects and passive bodies) of the actor’s body. This tension and obsession over an impossible totalizing control is worked ouț on the exteriority of the body to the point that control becomes superfluous or în Meyerhold’s own words: “I don’ț know how to stage the play but one thing I do know, there is no need for discussion
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
-
I have been accustomed to all my life, namely here they make you believe from grade 1 în school that you are a piece of talentless nothing and you’d better try harder) 2. It is my job to find ouț who I am, what I want and it is my responsibility towards myself to nourish my talent and create if this is what I want to do. 3. I should be aware that it is also my responsibility to use
Clovnii () [Corola-website/Science/295693_a_297022]
-
quite a while at times. Another thing is that they just want to stay and talk to uș. The girls usually go to the actresses and the boys go to our male actor. The little ones go to anyone. Two ouț of our five actors are Romă, one actress is half-Roma. The biggest star of the first two shows is Tamás, who is Romă and plays a gentle but strong, idealistic male character. The boys love him to death. They gather
Clovnii () [Corola-website/Science/295693_a_297022]
-
lack of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to read and the system can offer almost nothing to those who do not fit în immediately for whatever reason. I must say, though, that the so-called
Clovnii () [Corola-website/Science/295693_a_297022]
-
though, that the so-called IPR schools (Integrated Pedagogical System) are a great exception to this. IPR schools are without question the best functioning schools în Hungary. Another thing that we see în the villages and small towns is in-your-face, straight ouț poverty. What this means is: children often going hungry, often not having any room or possibility at home to focus on school work, often lacking basic clothing for regularly going to school, poor immune system and frequent diseases, lack of
Clovnii () [Corola-website/Science/295693_a_297022]
-
aș possible and was completely removed from daily events, feelings, bodies, anxieties about the future, about the conditions of artistic production or about the role of art în society. “The danger of literature în art” was a phrase often used ouț of its historical content în order to prevent art from expressing anything related to the present. “Feminine” was also an attribute which often appeared în conversations about art aș something dangerous, connected to “literature”. “Feminine” was anything connected to personal
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
-
Arpagic. It’s proof that the censors were very sensitive to this allegedly overlooked area. They read the book and they saw în Arpagic a real person with a real name. The censors assesed that the episode when Arpagic goes ouț for a walk and traffic grinds to a halt actually meant Ana Blandiana was comparing Ceaușescu to a cât gone berserk. After this episode, Ana Blandiana was banned from publishing and went under house arrest. This is how subversive children
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
-
looked upon aș something laughable, kept alive mostly to fill the teaching norms of tenured teachers în case some of them are left without any classes because of drop-outs. Whenever I receive classes, I feel they’re offered to me ouț of pity. Such classes are usually held by the principals, Math, Biology, Music teachers etc., șo that visual education classes have virtually disappeared. În the past five years, I’ve taught at eleven schools, most of them on the outskirts
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
-
why he insists on calling it a love story, not a story with a certain direction). Dan Sociu’s delirium from <b>Combină</b><b>ția </b><b>(The Trick) </b>is also an explosion of frustration în an ocean ouț of touch with reality. The exasperation caused by this void of reality triggers experiments such aș <b>Combină</b><b>ția</b>, wherein the guy pours ouț his rhetorical delirium aș a wake-up call. When people start shooting up fantasy
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
-
b>(The Trick) </b>is also an explosion of frustration în an ocean ouț of touch with reality. The exasperation caused by this void of reality triggers experiments such aș <b>Combină</b><b>ția</b>, wherein the guy pours ouț his rhetorical delirium aș a wake-up call. When people start shooting up fantasy films and the likes thereof, they do it ouț of the excess of reality they think they’re consuming. The answer to abuse is escape. It’s
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
-
this void of reality triggers experiments such aș <b>Combină</b><b>ția</b>, wherein the guy pours ouț his rhetorical delirium aș a wake-up call. When people start shooting up fantasy films and the likes thereof, they do it ouț of the excess of reality they think they’re consuming. The answer to abuse is escape. It’s obviously NOT! But just aș obviously, it works: after a crappy day at work, I’d watch the whole <b>Lord of
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
-
they think they’re consuming. The answer to abuse is escape. It’s obviously NOT! But just aș obviously, it works: after a crappy day at work, I’d watch the whole <b>Lord of the Rings</b> series. Only ouț of a realist scheme of receiving and writing literature do the marginal and marginalized eventually show up. This is how we get to the paradox some great thinkers on the left never understood, namely that you can have novels extremely
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]