Wyniki wyszukiwania - Biblioteka Nauki

1

ANALYSIS OF REAL ESTATE MUTUAL FUNDS IN POLAND - ASSETS AND PERFORMANCE (Analiza funduszy inwestycyjnych w Polsce inwestujacych w rynku nieruchomosci - aktywa i efektywnosc)

100%

Sarnowski K. A.

Pieniądze i Więź

|

2011

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tom 14

|

nr 3(52)

75-89

EN

The purpose of this article was to assess the impact of the size and efficiency of assets, held by the funds, on the state of development of the Polish investment funds' market, which invest in real estate. The size of accumulated assets is an important factor that affects the possibility for investment funds to invest in investment projects of different sizes. The effectiveness of the funds has been tested on the basis of stock exchange investment certificates, as well as their quarterly valuations. The study has also carried out an analysis of the liquidity of investment certificates listed on the Warsaw Stock Exchange, and the costs borne by investors wanting to invest in real estate funds.

2

HUMAN CAPITAL, INVESTMENTS AND PERFORMANCE OF SMALL AND MEDIUM ENTERPRISES (Kapital ludzki a inwestycje i wyniki ekonomiczne malych i srednich firm.)

100%

Szczepaniec M. , Jurkiewicz T.

Pieniądze i Więź

|

2009

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tom 12

|

nr 4(45)

119-133

EN

The purpose of this article is to provide empirical quantitative evidence concerning the relationship between human capital (embodied in business owner), investments and performance of SMEs. The article provides analysis of the key findings of the survey which was conducted (in 2009) among 1346 small and medium sized enterprises in the private sector in Poland. The findings highlight the important role played by human capital in investment activity. Human capital has also positive effect on performance of SMEs. The results should be of interest to economic policy makers and bankers.

3

KONIEC DEJÍN A POSLEDNÁ INSCENÁCIA?

100%

Babiak M.

Slovenské divadlo (Slovak Theatre)

|

2015

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tom 63

|

nr 2

153 - 159

EN

The text ponders the possibilities of seeking new theatrical interpretations through the prism of the “end of history” thesis, which has been brought to social discourse by Francis Fukuyama. The text points to the direct link between Fukuyama’s thesis and the ideological and philosophical premises of postmodernism: both concepts suggest the end of the program of modernist search (both for a new political arrangement and cultural paradigm). However, they pose a serious problem for new theatre performances because the act of staging is based on discovering new interpretations. What is theatre going to speak about if we have – hypothetically – already discovered all possible interpretations (as Fukuyama and the philosophy of postmodernism suggest)? If theatre is supposed to be a mirror of its time (Shakespeare), is its role only to witness this end, the end of the program of modernist search?

4

A TEARFUL PLAY BY JOZEF PODHRADSKY: HOLUBY AND SULEK. ONLY ONE-TIME PRODUCTION? (Klasika na jedno pouzitie? (Smutnohra Josefa Podhradskeho Holuby a Sulek))

100%

Cavojsky L.

Slovenské divadlo (Slovak Theatre)

|

2011

|

tom 59

|

nr 1

37-63

EN

During his long life, the priest and educator Jozef Podhradsky (1823 - 1915) was also a writer, especially a playwright. He started as a romantic and ended as a messianist and symbolist. He wrote a lot, but his plays were hardly performed on stage at all. Anyway, he was very responsive and actual in his early work. He wrote a Shakespearean drama Holuby a Sulek (1850) as a personal testimony on struggle of Slovak people for civil, national and social rights in the revolution in 1848. It became a historical play even when staged for the first time, although it had been written as a contemporary piece. However, literary experts praised his poetic and documentary value. It took 131 years to premiere this play (1981, Slovak National Theatre in Bratislava). The production was a great social and artistic success, but withdrawn from the repertoire due to the political pressure. It was performed by the students of the Academy of Arts in Banska Bystrica for the second time in 2010. The play was directed and adapted for modern-days Slovak theatre by Matus Olha, who uses dramatized prose and old plays in their original language to create a specific form of contemporary professional and amateur theatre. He shows that it is possible to stage the plays by authors who were forgotten and translates classics into the contemporary language of theatre.

5

Association of PIT1, GH and GHRH polymorphisms with performance and carcass traits in Landrace pigs

100%

Franco M. M. , Antunes R. C. , Silva H. D. , Goulart L. R.

Journal of Applied Genetics

|

2005

|

tom 46

|

nr 2

195-200

EN

The study of candidate genes, based on physiological effects, is an important tool to identify genes to be used in marker-assisted selection programs. In this study, a group of halothane gene-free, non-castrated, male Landrace pigs was used to study the association between polymorphisms in the PIT1 (n = 218), GH (n = 213) and GHRH (n = 206) genes and fat thickness, average daily gain, and the EPD (expected progeny difference) for fat thickness, average daily gain, and litter size. These genes are potential candidate markers because of their important physiological effects. The pigs were genotyped by PCR-RFLP, and the statistical model used to analyze the association between genotypes and the traits measured included genotypes as a fixed effect and age and weight as covariates. PIT1 polymorphisms were associated with fat thickness (P = 0.0019), EPD for average daily gain (P = 0.0001) and EPD for fat thickness (P = 0.0001), whereas GH polymorphisms were associated with fat thickness (P = 0.0326) and average daily gain (P = 0.0127), and GHRH polymorphisms were associated with the average daily gain (P = 0.0001) and EPD for fat thickness (P = 0.0004). These results confirmed the potential usefulness of these genes in marker-assisted selection programs for pig breeding.

6

HRY O STAROBE AKO ESENCIA DIVADLA NÓ

100%

Hlaváčová A.

Slovenské divadlo (Slovak Theatre)

|

2013

|

tom 61

|

nr 2

123 - 134

EN

The study examines the issue of aging as reflected in the repertoire of Noh theatre. The analysis of the “old women plays” is based on the aesthetic concept of beauty of old age (rojaku) as particularly rare form of vanishing. Another question raised in the study is the beauty of performance of an aging actor. The author of this study applies conceptual approach to explain the fact that the theme of old poet stands in the centre of actually three of the five plays on her. The by-product of the study is the revelation of morphological proximity of two plays, Sumidagawa and Sotoba-Komachi, which may have an impact on dating and clarification of the authorship.

7

THE IMPACT OF RESTRUCTURING ON THE AIRLINE PERFORMANCE: THE CASE OF GARUDA INDONESIA

100%

Akyuwen R.

Communication Today

|

2011

|

tom 2

|

nr 1

112-132

EN

Garuda Indonesia is an airline company owned by the Indonesian Government. The airline has been vastly developed since being established in 1950. Remarkable growth has been achieved mainly due to the fact that in the early years there was minimal competition in the airline industry in Indonesia. Being the first Indonesian airline, Garuda Indonesia monopolised the commercial air transportation services. This situation allowed more than reasonable company performance for many years. However, since the government introduction of an open domestic airline industry in 1990, Garuda Indonesia started to face difficulties. Garuda competed against a number of private airlines, which possessed expansive strategies in developing routes as well as increasing the number of aircraft. The performance of Garuda Indonesia gradually decreased to a low when operational profit and cash flow reached negative figures during the period 1993 to 1997. Further, the seat load factor and on time performance were also worsening. To overcome these problems, restructuring was first undertaken during 1998 to 2001. The first restructuring was quite successful in reinventing the performance of Garuda Indonesia, indicated by positive operational profit and improved cash flow. Unfortunately, Garuda Indonesia's performance decreased once again after the appointment of new management in 2002. The new management tended to be inconsistent in implementing company business strategies. Operational profit gradually decreased from 2003 and this continued to 2005. By 2005, the financial and operational conditions of the company were considered to be worse than the previous problems faced in 1997. To improve the performance, new management was appointed again in 2005. This new management then started the second restructuring of Garuda Indonesia. The effort was once again quite successful in bringing Garuda Indonesia to a turnaround phase in 2007. Since then, company performance has gradually improved until today. The purpose of this research paper is to analyse the internal and external factors influencing the success of Garuda Indonesia in improving its performance through two restructuring processes. Both primary and secondary data were used in the analysis. 185 of 385 managers (57%) were selected from Garuda Indonesia businesses. Interviews and focus groups were conducted with 35 respondents, 23 were from the top management and 12 from the selected respondents. Structural equation modelling (SEM) was employed. The findings suggest that both external and internal factors have significantly influenced the performance of Garuda Indonesia. The most appropriate indicator to represent the performance of Garuda Indonesia is the improvement of operation management followed by the improvement of corporate culture and costumer relation. The economic condition is considered to be the most valid variable of external factors in influencing Garuda Indonesia's performance. The next most valid variables are competition among airline companies and fuel prices. As for internal factors, it is found that the strategic fit, leading change, and entrepreneur orientation are the three variables which had the biggest impact on the performance of Garuda Indonesia. The most valid indicator in representing the strategic fit variable is the company positioning indicator followed by environment adjustment and company value improvement indicators. The leading change variable is represented by the motivated leader, anticipatory leader, and inspirational leader. The most valid indicator to represent the entrepreneur orientation variable is the capacity to manage risks and problem solving. The second most valid indicator is the initiative capacity and risk taking bravery behaviour, while the last indicator was the self confidence and working spirit.

8

THE ROLE OF IMPULSIVITY AND STRESS ON PERFORMANCE

100%

Sandhu B. S. , Rana M. , Dogra B. , Sharma A. , Malhotra D.

Studia Psychologica

|

2007

|

tom 49

|

nr 3

201-213

EN

The present investigation was undertaken to resolve the controversy regarding clouding of results on the dimension of extraversion and performance. Hence the impulsivity component of extraversion was separated from sociability to see its effect on performance in terms of letter cancellation task and Anagram task under instructionally induced stress in the two sexes. The general pattern in three factor interaction reveals that high impulses coupled with stress performed less efficiently than their counterparts in both the sexes.

9

10 YEARS OF EU MEMBERSHIP: DIVERGING PERFORMANCES IN NEW MEMBER STATES AGRICULTURE

88%

Jámbor A. , Somai M. , Kovács S.

Ekonomický časopis (Journal of Economics)

|

2016

|

tom 64

|

nr 5

458 – 476

EN

More than 10 years have passed since the 2004 accession round to the European Union. The tenth anniversary provides a good opportunity for stocktaking and assessing the agricultural developments of the New Member States (NMS) in light of the latest data available. The aim of this paper is to assess agricultural performances of NMS and to identify the winners and losers of accession in this regard. By ranking individual country performances using Parallel Factor Analysis (PARAFAC), our results suggest that Poland and the Baltic countries can be treated as the winners of EU accession in agriculture, while Romania and Bulgaria proved to have used their potentials to the least. The results also suggest that focusing on high value added agri-food products proved to be a good strategy to reach development in the agriculture sector, while those countries concentrating on the production of agri-food raw materials turned out to be lagged behind.

10

SLOVAK DRAMATIC ART AT THE TURN OF THE CENTURIES - A DEPARTURE FROM THE MIMETIC PRINCIPLE OF THE THEATRE PRODUCTION (Slovenske herectvo na prelome storoci - odklon od mimetickeho principu divadelnej tvorby)

88%

Matasik A.

Slovenské divadlo (Slovak Theatre)

|

2010

|

tom 58

|

nr 2

139-149

EN

Over the 20th century, Slovak professional acting, in sense of conscious and purposeful dramatic work, undergone enormous development. The theatre production was carried by amateur acting companies, trying to imitate the performances known from their visits to big cities of the monarchy or touring professional 'comedians', mostly of Hungarian but also Czech and German origin. According to convinced follower of psychological realism and the founder of Slovak professional theatre Jan Borodac, the artistic supreme objective was to teach an actor to understand the inner world of depicted character, use the talent available and the expression of actors to create individualized dramatic character. Borodac's successors, the directors Jan Jamnicky and Ferdinand Hoffmann exceeded these limits of psycho-realistic theatre and further experimented with stylization, pathos of musical language and speech. In the sixties and seventies the Slovak theatre underwent the period of considerable interest in work in experimental conditions of experimental studio theatre where the audience became a contact eyewitness of the act of transformation of an actor. At the end of the 20th century, the rapid modernization of means of dramatic expression, showing a maximum concentration on detail, authenticity and spontaneity took place in the Slovak theatrical context. No longer the actor represents only the assigned role, but performs it anti-illusively and brings his own opinions into the interpretation puts and thus participates in dramaturgic and directorial concept of the production. The author of the study perceives this development as contradictory. He draws attention to the risks arising from this fashion acquired even by those actors who are not able to be the intellectual partners of an author, dramatic adviser and director and in such cases their authorial inputs are rather forced and unsubstantial.

11

MEI LAN-FANG AND THE EUROPEAN AVANT-GARDE (Mej Lan-fang a europska avantgarda)

88%

Mistrik M.

Slovenské divadlo (Slovak Theatre)

|

2010

|

tom 58

|

nr 4

549-564

EN

From the early 20th century, the West became much more intrigued by oriental theatre cultures. In some cases they became a source of inspiration for avant-garde stage directors. For the proponents of avant-garde drama the theatre performances originating in Bali, China, Japan and India gave credence to their own artistic way. Mei Lan-Fang, one of the premiere performers of Beijing Opera, belonged among the theatre professionals having a profound impact upon the European avant-garde. His guest performances in the USA (1930) and the Soviet Union (1935) were received with great enthusiasm by Stanislavsky, Meyerchold, Eisenstein, Brecht, Chaplin, and the others. We have been left with their testimonies of appreciation of his art and mention of the profound impact that had upon heir own creation. In several cases, notably in Soviet Russia, Mei Lan-Fang's performances served as a model example of the existence of the metaphoric, sign and poetic theatre alongside the official socialist realism.

12

Changing difficulty level in a one-dimensional tracking task and corresponding heart rate changes

88%

Bohdenecky Z. , Indra M. , Radil T.

Acta Neurobiologiae Experimentalis

|

1995

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tom 55

|

nr 1

49-55

EN

Subjects were required to track a target consisting of two vertical bars moving with either a constant or a sinusoidally modulated speed an osciloscope scren with a joystick-controlled light-spot.Either target size or velocity of the target movement(velocity quided tasks), varied throughout different tasks determined by subject's performance.The target's initial movement period was either 2 or 3 seconds.The following parameters were studied: time on-terget intervals, time off-target intervals, number of tracking errors, heart rate and tracking error incidence over the cardiac cycle.Time on-target intervals were longer for the velocity quided tasks then for the size quided ones.The same was true for time off-terget intervals.Values for both types of intervals decreased gradually over the fixed sequence of tasks for velocity but not for size quided tasks.Heart rate was higher in the size quided task.Tracking error incidence did not depend on the phase of cardiac cycle.

13

„JEDEN VEĽKÝ KOLEKTÍV”. FOLKLÓR AKO VYSTÚPENIE A ORGANIZÁCIA

88%

Feinberg J. G.

Sociológia (Sociology)

|

2016

|

tom 48

|

nr 4

357 – 376

EN

Based on an ethnographic study of folklore performance in contemporary Slovakia, this paper critically engages with „performance theory”, arguing that sometimes performance can be best understood by looking beyond moments of performance to the long, often arduous work of preparing for performance and reflecting on performances past. The author proposes studying folklore (and art more generally) not only as performance but also as „organization”, that is, as a set of enduring yet always shifting social relations. This approach enables us to see the modes of collectivity that emerge out of the social experience of art and, specifically, folklore.

14

SACRUM V PRAGMATICKOM SVETE – DIVADLO V CHRÁMOVOM A PREDCHRÁMOVOM PRIESTORE A V TICHU

88%

Hlaváčová A.

Slovenské divadlo (Slovak Theatre)

|

2013

|

tom 61

|

nr 3

231 - 249

EN

The author of this paper examines the development of theatrical forms connected to liturgical space and the liturgical year. The author brings a testimony about a project which was started before the fall of socialism: The initiative of a group of Bratislava students staging The St. John Passion Play was not a generational theatre but a return to the discarded. The production in Bratislava’s Trinity Church was characterized by a fascinating modern dance expression presented against the background of Gregorian chant. The production was accompanied by the singing of a teachers’ choir Cantus and was shown in the Trinity Church in 1988, 1989 and 1990 and in St. Martin’s Cathedral in 1992. Then the author analyses a production by the Brno theatre. She also focuses on two projects by Slovak artists. Confronting stone and the body, Anna Sedlačková and Ľuboš Kľučár created a dance performance entitled De Profundis (27 – 29 Oct. 1992). Besides the stone statues of Viliam Loviška and Andrej Rudavský, the De Profundis production also worked with candles, water and clay. The space of the Cum Angelis production was delineated by two lines of Viliam Loviška’s peculiar polychrome and gilded angel heads which incorporated fragments of old disintegrated stone sculptures. The later work of the ensemble moved away from the theatre production principles verging on installation. It relied on integrating the sculptural principle and motion – deriving the production form from a facial mask á la Japanese Noh theatre. Anavim, which means “to the poor” in Hebrew, is a reference to Brook’s concept of a poor theatre. Similarly, Veni, the name of a music band, is actually the shortening of Veni Sancte Spiritus. From the viewpoint of dramaturgy, they were extensions of passion plays that could not be played under socialism. However, in retrospect, both “chapel projects” can be viewed as preliminary studies for outdoor passion plays under the title Passio produced a decade later on the Main Square in Bratislava. It was not meant to be a film-like realistic rendering of the passion plays. On the contrary, it can be characterized as fragmented, analytical and sculptural, with every motion representing a certain idea or movement of the heart.

15

SACRIFICE AND THE LUDIC STANCES REFLECTED THROUGH THE THEATRE PRACTICE OF THE 20th CENTURY

88%

Koubová A.

Filozofia (Philosophy)

|

2017

|

tom 72

|

nr 6

451 – 462

EN

One of the basic concerns of the philosophy and the humanities after the performative turn in the 20th century became thinking afresh about the status of the subject. How to conceive of subjectivity, if we abandon the essentialist idea of an autonomous, self-transparent, and rationalistic individual? The article investigates two different attitudes towards this situation: the stance of sacrifice and the ludic stance. In order to study the problem of the two stances coherently, the paper draws on the theatre practice of the 20th century and its understanding of the actor’s attitude to her role. It concludes that whereas the sacrificing attitude traps an individual in a vicious loop that does not allow for handling the new situation, the ludic subjectivity offers tools for developing effective strategies that not only allow for handling the human condition but even enable agents to profit from it and rejoice in it.

16

Przestrzeń peripersonalna w jaskiniach paleolitycznych

75%

Kocur M.

Prace Kulturoznawcze

|

2011

|

tom 12

215-233

EN

Animal images in Palaeolithic caves challenge modern archeology, anthropology and performing studies. All attempts to explain these powerful images — from hunting magic to shamanistic hypothesis — are hotly debated. This article proposes to suspend the problematic inquiry into the intentions of Prehistoric artists and instead to focus on the cave performances. Groundbreaking discoveries in neuroscience revolutionize our knowledge of human behavior and stimulate new applications of recent brain studies. The article contributes to interdisciplinary model of cultural studies by referring to mirror neurons in reconstructing performances performed by anonymous artists in the French caves Chauvet and Pech Merle 32,000–22,000 years ago.

17

ANALÝZA PRÍČINNÝCH VZŤAHOV MEDZI VYBRANÝMI FAKTORMI V PROCESE RIADENIA VÝKONNOSTI SLOVENSKÝCH PRIEMYSELNÝCH PODNIKOV

75%

Teplická K. , Daubner M. , Augustínová E.

Ekonomický časopis (Journal of Economics)

|

2015

|

tom 63

|

nr 5

504 – 523

EN

This paper deals with area of business performance measurement and management. Based on primary data obtained by questionnaire survey current state of performance measurement in Slovakian industrial companies was analysed and then cause and effects relationships between factors influencing performance ware assessed by PLS method. The results were compared with the results of other authors. We found out that strategic orientation, performance monitoring and reward system have positive impact on business performance.

18

VÝZNAM KLAVÍRNEJ ŠKOLY JOHANNA NEPOMUKA HUMMELA PRE VÝVIN ESTETICKÝCH IDEÁLOV KLAVÍRNEJ INTERPRETÁCIE V 19. STOROČÍ

75%

Štefková M.

Musicologica Slovaca

|

2012

|

tom 3 (29)

|

nr 2

216 - 253

EN

The author focuses attention on the importance of the piano textbook Anweisung zum PianoForte-Spiel by Johann Nepomuk Hummel (1828). Associating himself with the bel canto technique and Mozart’s poetics, Hummel enriched the repertoire with pianistic ﬁgures and created a speciﬁc lyric-cantabile idiomatic, which had a marked inﬂuence on the generation of early romantics. The author deﬁnes the status of Hummel ś textbooks in the ﬁeld of the 18th - the 19th century. Particular attention is devoted to comparison with Franz Paul Rigler, from whom Hummel borrowed a number of examples, and also to comparing the performance ideals of Hummel and Beethoven, which became the basis for the paradigm of a new aesthetic ideal of piano playing, represented by Fryderyk Chopin and Franz Liszt. While Hummel gave essential stimuli to Chopin, Liszt took his inspiration rather from the poetics of Beethoven.

19

SÚČASNÉ POVESTI A FÁMY AKO TEXT V KONTEXTE. TEORETICKO-METODOLOGICKÉ PRÍSTUPY K ŠTÚDIU DVOCH NARATÍVNYCH ŽÁNROV

75%

Ditmarová L.

Etnologické rozpravy (Ethnological Disputes)

|

2014

|

tom 21

|

nr 1

109 – 130

EN

This theoretical-methodological text is focused on contemporary legends and rumours narrated in the context of the interactive process of social communication. The aim of the study is to draw to the possible approach to research these narratives. The text presents a perspective that understands the contemporary legends and rumours as a text narrated in context, while context is seen as a crucial factor influencing the content, form and transmission of these narratives. The basis and inspiration is a framework for contemporary legends and rumours research – "The Folklore Diamond", proposed by G. A. Fine. The study seeks to demonstrate the perspective of the Fine´s model of interconnection among several elements of contemporary legends and rumours. Then it tries to outline view of the use and limitations of the framework in field research in a particular environment.

20

HOW DO WE READ, HOW DO WE TRANSFER THE DRAMA OR THE THEATRE TEXT ON THE STAGE? (Ako dnes citame, inscenujeme dramu, divadelny text?)

75%

Podmakova D.

World Literature Studies

|

2010

|

tom 2 (19)

|

nr 4

25-38

EN

The paper deals with the transfer of the text to the stage. Dramatization of a prosaic work and language translation has an impact on the relations between characters, their nature (character). Modifications of structure of the work brings fundamental often even genre changes which in interaction with other stage elements (staging, playing, scenography and others) substantially influence the final image of the production. The authoress proves the ability of the theatre to speak of the present through word or image using concrete works/productions (Zensky zakon by Tajovsky, HOLLYROTH created from texts by J. Holly, Pustokvet by Vajansky, Tiso created from speeches by Jozef Tiso, and other stage works). The literary work constitutes the basis for the performance text, even though non-text, non-verbal production is created.