The tempest, : a play; by W. Shakspeare. ; With prefatory remarks. The only edition existing which is faithfully marked with the stage business, and stage directions, as it is performed at the Theatres Royal. By W. Oxberry, comedian.

"From the press of W. Oxberry, 8, White-hart Yard"--Verso of t.p.

Tempest and sunshine; or, Life in Kentucky.

Mode of access: Internet.

The tempest

Mode of access: Internet.

The tempest /

Mode of access: Internet.

DOD TEMPEST protection : better evaluations needed to determine required countermeasures : report to the Chairman, Subcommittee on Government Information, Justice, and Agriculture, Committee on Government Operations, House of Representatives /

"B-222962"--p.1.

The tempest: Creating dialogue from points of difference

This Article does not have an abstract.

Tempest in another time: Shakespeare, Greenaway, Céline

Hainge examines Shakespeare's play The Tempest, which was used in the allusions of Louis-Ferdinand Céline's novel Guignol's Band and Peter Greenaway's 1991 film Prospero's Book. He hypothesizes that Céline's novel Feerie pour une autre fois can be conceived of as a response to and interpretation of the The Tempest in the same way that Greenaway's film can be conceived of not as a representation of Shakespeare's play, a simple staging of it, but rather as a subjective response to it, an adaptation in the truest sense of the term.

Of tails and Tempests : Feminine sexuality and Shakespearean children's texts

This paper reads a range of nineteenth-century texts for children that retell either Shakespeare's The Tempest or mermaid narratives, considering the models of feminine subjectivity and sexuality that they construct. It then moves on to two key contemporary texts — Disney's film adaptation of The Little Mermaid (Clements and Musker 1989) and Penni Russon's Undine (2004) — that combine the Shakespearean heroine with the mermaid, and reads them against the nineteenth-century models. Ultimately, the essay determines that, while these texts seem to perform a progressive appropriation of the two traditions, they actually combine the most conservative aspects of both The Tempest and mermaid stories to produce authoritative (and dangerously persuasive) ideals of passive feminine sexuality that confine girls within patriarchally-dictated familial positions. The new figure for adolescent female subjectivity, the mermaid-Miranda, becomes in turn a model of identification and aspiration for the implied juvenile consumer.

Show me the magic : the adventures of Don McAlpine

Synopsis Show Me The Magic takes us on an enthralling and joyful journey into the life and work of the legendary and world-renowned Australian cinematographer, Don McAlpine. A country kid from the small wheat-belt town of Quandialla in isolated south-western New South Wales, Australia, McAlpine was born in 1934 - the year before the first technicolour film was released. There wasn’t even a cinema in Quandialla. Don helped his mother support their family from the age of 14, when his father was stricken by tuberculosis. His part-time job at the Temora chemist as a darkroom photo developer struck a chord in young Don's soul. Soon, a school performance of The Mikado ignited in him the desire to entertain an audience. His fascination with the magical images emerging from his darkroom set him on the winding path that would eventually lead to the glittering lights of Hollywood, where, in 2009, he received the American Society of Cinematographers’ “International Cinematographer of the Year” Award in front of the foremost luminaries of the American film industry. That same year, Don shot his 50th film, X-Men Origins: Wolverine, a big-budget, effects-driven action movie directed by Oscar-winner Gavin Hood and starring Hugh Jackman. Show Me the Magic takes us on set and behind the scenes of that film. In 2011, Don posted another landmark: Mental, a low budget movie directed by PJ Hogan (Muriel’s Wedding, My Best Friend’s Wedding, Peter Pan). Mental was Don’s first digital film and his first Australian film in 25 years. As we travel with Don back into his past, and into the Australian outback landscape that he loves so much, we experience the extremes of movie making: embedded alongside him on the contrasting sets of Wolverine and Mental, we peel back the layers of what Don calls ‘the beautiful deception' of cinema to illuminate the world behind the screen. Joined by celebrated Australian directors Bruce Beresford and Gillian Armstrong, we explore the heritage of the remarkable Australian films that Don photographed, including the iconic Breaker Morant and My Brilliant Career. In Los Angeles, Don reconnects with Paul Mazursky who gave him his big break in Hollywood with Tempest and followed up with Down and Out in Beverly Hills. And two Australians of a later generation - Baz Luhrmann and Catherine Martin - take us behind the scenes on Don’s spectacular creative achievements – Romeo + Juliet and Moulin Rouge! At once the story of a remarkable man and an exploration of filmmaking at the highest level, Show Me The Magic will engage and entrance anyone who has ever been touched by the magic of movies. - See more at: http://www.showmethemagic.com.au/film.htm#synopsis" This film is dedicated to the memory of South African film-maker Peter Henkel, 1924 - 1992.

Mesons: ontologia

Este trabalho se intitula Mesons e propõe descrever e fundamentar uma nova teoria: a mesologia. Trata-se de uma teoria geral dos meios [mesons] e das mediações, uma ontologia dos meios, poderíamos dizer, cujo intuito é fornecer parâmetros conceituais para a compreensão de fenômenos bastante heterogêneos, sejam eles de ordem cultural ou natural, física ou metafísica. Essa abrangência é possível porque a mesologia se apoia em princípios cosmológicos e ontológicos para se fundamentar. Nesse sentido, um dos princípios fundamentais em torno dos quais a teoria dos mesons se articula é o binômio finito-infinito, entendido a partir da ontologia e da cosmologia. Por isso, esta tese leva o subtítulo de Ontologia, pois pretende delinear as premissas metateóricas elementares dessa teoria. Portanto, este é um trabalho eminentemente metaempírico, cujos objetos material e formal coincidem em um mesmo objeto conceitual: a demarcação epistemológica do conceito de mesons, bem como a exploração de diversos fenômenos que possam ser descritos e agenciados pela mesologia. A partir deste núcleo primário que é a definição da ontologia dos mesons, uma série de outros conceitos se dissemina, centrais para a compreensão da mesologia como um todo: mesons, meios, ser, vida, sapiens, ontologia, cosmologia, infinito, finito, heterarquia, heterogênese, antropia, antropofanias, antropogemas, transumano, holografia, holograma, mereografia, mereograma, pluriontologias, transferência, animismo, imaginal, tempestade, entre outros. Obviamente não pude analisar e estabilizar todos esses conceitos neste trabalho. E se não o fiz é também porque imagino este trabalho dedicado a delinear o ser dos mesons, ou seja, a ontologia dos meios, como o primeiro volume de um projeto maior, em diversos volumes, intitulado Mesons, e que abordará outros conceitos e outras noções, tais como cosmo, vida, forma, morte, sexualidade, em suas determinações e especificidades propriamente mesológicas.

'To do justice and judgement' : the place of passion in public life

Please consult the paper edition of this thesis to read. It is available on the 5th Floor of the Library at Call Number: Z 9999 P65 F47 2003

Shakespeare: from author to audience to print, 1608-1616

This essay analyses the transmission of the texts of Shakespeare's final plays, Pericles, Coriolanus, Cymbeline, The Winter’s Tale, The Tempest, Henry VIII and The Two Noble Kinsmen, from author to censor to stage to print and argues that he had refined his writing, revision and collaborative practices.

Antecedents and consequences of individual flexibility in project-based organizations

In the last decades, the increasing significance of “projectivization” (Lundin & Steinthórsson, 2003) has stimulated considerable interest in project-based organizations as new economic actors able to introduce a new logic of organizing work and weakening boundaries in favour of networks of collaborations. In these contexts, work is often delegated to project teams. Deciding whom to put on a project team is one of the biggest challenges faced by a project manager; in particular which characteristics rely on to compose and match effective teams. We address this issue, focusing on the individual flexibility (Raudsepp, 1990), as team composition variable that affects project team performance. Thus, the research question investigated is: Is it better to compose project teams with flexible team members or not flexible project team members to achieve higher levels of project performance? The temporary nature of PBOs involves that after achieving the purpose for which team members are enrolled, they are disbanded but their relationships remain, allowing them to be involved in future projects (Starkey, Barnatt & Tempest, 2000). Pre-existing relationships together with the current relationships create a network of relationships that yields some implications for project teams as well as for team members. We address this issue, exploring the following research question: To what extent is the individual flexibility influenced by the network structure? The conceptual framework is used to articulate the research questions investigated with respect to the Television drama serials production. Their project-team organizing combined with their capacity to dissolve and recreate over time make it an interesting field to develop. We contribute to the organizational literature, providing a clear operationalization of individual flexibility construct and its role on affecting project performance. Second, we contribute to the organizational network literature addressing the effects yielded by the network structure-structural holes and network closure- on the individual flexibility.

Evaluation of Microbial Contamination in Bivalve Mollusks: Epidemiology and Diagnosis

Shellfish are filter-feeding organisms that can accumulate many bacteria and viruses. Considering that depuration procedures are not effective in removal of certain microorganisms, shellfish-borne diseases are frequent in many parts of the world, and their control must rely primarily on investigation of prevalence of human pathogens in shellfish and water environment. However, the diffusion of enteric viruses and Vibrio bacteria is not known in many geographical areas, for example in Sardinia, Italy. A survey aimed at investigating the prevalence of Norovirus (NoV), hepatitis A virus (HAV), V. parahaemolyticus, V. cholerae and V. vulnificus was carried out, analyzing both local and imported purified, non-purified and retail shellfish from North Italy and Sardinia. Shellfish from both areas were found contaminated by NoVs, HAV and Vibrio, including retail and purified animals. Molecular analysis evidenced different NoV genogroups and genotypes, including bovine NoVs, as well as pathogenic Vibrio strains, underlining the risk for shellfish consumers. However, also other approaches are needed to control the diffusion of shellfish-borne diseases. It was originally thought that enteric viruses are passively accumulated by shellfish. Recently, it was proven that NoVs bind to specific carbohydrate ligands in oysters, and various NoV strains are characterized by a different bioaccumulation pattern. To deepen the knowledge on this argument, a study was carried out, analyzing bioaccumulation of up to 8 different NoV strains in four different species of shellfish. Different bioaccumulation patterns were observed for each shellfish species and NoV strain used, potentially important in setting up effective shellfish purification protocols. Finally, a novel study of evaluation of viral contamination in shellfish from the French Atlantic coast was carried out following the passage of Xynthia tempest over Western Europe which caused massive destruction. Different enteric viruses were found over a one month period, evidencing the potential of these events of contaminating shellfish.

"L'isola è piena di suoni": il teatro fra interpretazione e traduzione

Nel presente elaborato mi sono proposta di analizzare in che modo il testo viene percepito in maniera diversa da ognuno di noi, a seconda dell’esperienza estetica, e su come questo si rifletta sulla traduzione. Al fine di poter sviluppare tale questione, ho voluto esaminare la traduzione delle opere teatrali La vida es sueño di Pedro Calderón de La Barca e The tempest di William Shakespeare che è stata portata a termine rispettivamente da Pier Paolo Pasolini attraverso l’opera Calderón e da Giorgio Strehler insieme a Agostino Lombardo attraverso la messa in scena de La tempesta. Da un lato, Pasolini adatta e traspone il testo attraverso il suo modo di fare teatro, un “Teatro di Parola”, che non è solo impegno civile e dibattito critico, ma anche poesia e autoriflessione, in cui l’attore rappresenta un veicolo di idee. D’altro canto, la traduzione portata a termine da Giorgio Strehler e Agostino Lombardo è intesa come messa in scena, dove l’attore incarna il testo, con il fine di trasmettere la profondità del testo stesso. La prima parte è dedicata ad una riflessione su tematiche relative a quello che mi sono proposta di sviluppare nell’elaborato, come per esempio l’ermeneutica del testo, l’esperienza estetica, l’esistenza o meno di una traduzione definitiva. La parte centrale, invece, si concentra sulle due opere sopra citate, in particolar modo sui due approcci traduttivi differenti, che rappresentano due modi diversi di interpretare il testo.