Introduction Most of us today take photographs for our family albums. The lucky ones among us have also inherited family photographs from the past. These photographs provide another type of record that can offer insights into our family history. But what can they tell us? How can we elicit the information they hold? And how do we analyse or evaluate that information? The purpose of this unit is to suggest how to approach the interpretation of the photographic record. Please keep referring to your ow
3 Conclusion In this unit you have been introduced to the main components of prose fiction and have been given the opportunity to develop and practise your critical and analytical skills. These are essential skills you will need to continue your stufdies in this area.
1 Why do we read prose fiction? Prose fiction, whether in the form of the novel or the short story, is unarguably the most popular and widely consumed literary genre. One only has to see the proliferation of bookstalls at railway stations and airports, for example, and the predominance of novels over other forms of writing made available in such locations to realise the appeal of fiction. Take a few moments to think about Why we read fiction? What do we hope to gain from reading stories about imag
6.1 Performance and production The idea that drama is a performed art should, by now, be one with which you feel familiar. What should also be clear from each of the examples discussed so far is that there is a range of factors to consider when approaching a dramatic text, and that to engage with any dramatic work we need to consider more than just the words on the page. Here, I'll be asking you to think about the language of the text, and about what's involved in moving outwards from the page to the stage. I will also be
2 Dialogue Here is a longer passage from the scene in Top Girls:
Introduction Do you want to get more out of drama? This unit is designed to develop the analytical skills you need for a more in-depth study of literary plays. You will learn about dialogue, stage directions, blank verse, dramatic structure and conventions and aspects of performance. It's not necessary for you to have previously read any of the plays mentioned in the unit before embarking on it, but to get the most from it you may like to obtain texts of the following: 3.5 Emotions as passions I have already suggested that in stressing the connection between emotions and bodily changes, James might be seen as endorsing the intuitive picture of emotion that I set out earlier on. James's thesis could also be taken to sanction the view that emotions are passive, involuntary responses. Perceptual states are often regarded as passive, involuntary states. To say this is to say that we cannot exercise direct control over our perceptual states. If my mouth is full of pickled herring, Learning outcomes After studying this unit: you will have learned about the central role played by the Roman emperor in the construction and development of culture, identity and power. 3 A comparison of attitudes It is, indeed, instructive to compare the attitude of the people to imperialism in both these nation states during the final decade of the nineteenth century. Clearly, although there are surface similarities in the situation, the historical tradition of both countries respecting empire in fact determined to a great extent responses to imperialism. It was possible to speak of imperialism and the empire with pride in Britain. The United States denied its empire and its imperial ambitions. When 2.6.1 The phenomenological perspective The term ‘phenomenology’ is a good example of polysemy, as it has different meanings according to the academic context in which it is found. There are scientific phenomenology and philosophical phenomenology, for example, and the sociologists Ken Thompson and Kath Woodward describe phenomenology as, ‘The development in sociology of a philosophical approach which focuses on people’s consciousness of their experiences and how they interpret the world; the meaning it has for them’ (Tho 2.1 An introduction to khyal singing I now want to move on to explore the first of two case studies of non-Western music-traditions: North Indian art music, also known as Hindustani music. (There are two major art music traditions in South Asia; the other is known as South Indian or Carnatic.) In this section I will take you through a performance of music from this tradition and consider some of the questions posed by Author(s): 1.2 Different perspectives on the creation of music If a simple division into composition and improvisation is not going to be adequate, particularly when considering music beyond the Western art tradition, then what can we usefully say about the different ways in which music is created? A starting point might be to remind ourselves of the similarities between composition and improvisation. Both the improviser and the composer create music. Both of them, in doing so, draw on a range of skills and experience: their musical training and k Acknowledgements Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Boxes 4 and 5.2: Clegg, S et al., Managing Organisations: An Introduction to Th 4.2 Narrowing the focus Offering a unique value proposition involves designing a value-driven operating model. This is a combination of operating processes, management systems, business structures and culture that will give the organisation the ability to deliver superior value. The value-driven operating model is the means of delivering the value proposition. Organisations that are market leaders have value-driven cultures and management systems that treat all employees as ‘part-time marketers’ (Gu References 1 Overview This unit begins with some explanations of culture and discussion of how to distinguish between national and organisational culture. Reading what some well-known writers on organisational and national culture have to say will help you recognise some of the main dimensions of culture and reinforces that all of us, including organisations, construct different views of the world as a result of cultural influences. Thus culture plays a key role in the ways in which organisations perceive the envi 3 The Efficient Markets Hypothesis (EMH) The classic statements of the Efficient Markets Hypothesis (or EMH for short) are to be found in Roberts (1967) and Fama (1970). An ‘efficient’ market is defined as a market where there are large numbers of rational, profit ‘maximisers’ actively competing, with each trying to predict future market values of individual securities, and where important current information is almost freely available to all particip 1 The market context There is no other proposition in economics which has more solid empirical evidence supporting it than the Efficient Markets Hypothesis. (Jensen, 1978) I'd be a bum on the streets with a tin cup if the markets were efficient. (Warren Buffett, attrib.) Learning outcomes By the end of this unit you should be able to: make an informed judgement about whether or to what extent a financial market satisfies the conditions of an efficient market; identify the main factors that could detract from that efficiency. Acknowledgements Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Grateful acknowledgement is made to the following sources for permission to reproduce material in this unit:
JOYCE's backyard. The house with backdoor is upstage. Downstage a shelter made of junk, made by children. Two girls, ANGIE and KIT, are in it, squashed together. ANGIE is 16, KIT is 12. They cannot be seen from the house. JOYCE calls from the house.
JOYCE
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