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    Tytuł:
    Venture capital ze szczególnym uzwględnieniem business angels
    Venture Capital with a Special Consideration of Business Angels
    Autorzy:
    Mirowska, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/905532.pdf
    Data publikacji:
    2002
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Opis:
    Venture capital can be defined as equity capital provided by firms or individuals who invest in young, rapidly growing companies which have the potential to develop into significant business. Venture capitalists work in partnership with entrepreneurs of the business assisting at the strategic level and providing support and advice based on their expertise, experience and network of contacts. It is a long-term investment, typically between 3 to 7 years. Annual dividends are either absent or play a minor role in the total returns as the venture capital investor is rewarded by the capital gain at the realisation of an exit of its equity stake through a trade sale or flotation of he business on a secondary stock market. Venture capital is originated in the USA in the late 1940s. Since 1970s its popularity has been rapidly growing, also in Europe. Business angels are wealthy private individuals, usually with an entrepreneurial or business background who provide small amounts of equity capital and professional support to businesses in which they have no family connection.
    Źródło:
    Acta Universitatis Lodziensis. Folia Oeconomica; 2002, 160
    0208-6018
    2353-7663
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Oeconomica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Negotiating Reality: Sam Shepard’s States of Shock, or “A Vaudeville Nightmare”
    Autorzy:
    Mirowska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/641691.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Sam Shepard
    States of Shock
    Persian Gulf War
    Vietnam War
    Georges Bataille
    Opis:
    In the course of a career that spans half a century, from the Vietnam era to the America of Barack Obama, Sam Shepard has often been labelled as a “quintessentially American” playwright. According to Leslie Wade, “[d]rawing from the disparate image banks of rock and roll, detective fiction, B-movies, and Wild West adventure shows,” Shepard’s texts “function as a storehouse of images, icons, and idioms that denote American culture and an American sensibility” (Sam Shepard 2). The article addresses Shepard’s work in the 1990s, when - as suggested by Stephen J. Bottoms - the writer’s prime concern was with depicting “a Faustian nation mired in depravity and corruption” (245). The discussion centres primarily upon a brief anti-war play first presented by the American Place Theatre in New York City on 30 April 1991, States of Shock, whose very title appears to sum up much of the dramatist’s writing to date, aptly describing the disturbing atmospheres generated by his works and the sense of disorientation frequently experienced by both Shepard’s characters and his audiences. The essay seeks to provide an insight into this unsettling one-act play premiered in the wake of the US engagement in the First Gulf War and deploying extravagant, grotesque theatricality to convey a sense of horror and revulsion at American military arrogance and moral myopia. It investigates how Shepard’s haunting text - subtitled “a vaudeville nightmare” and focusing on a confrontation between a peculiar male duo: an ethically crippled, jingoistic Colonel and a wheelchair-using war veteran named Stubbs - revisits familiar Shepard territory, as well as branching out in new directions. It demonstrates how the playwright interrogates American culture and American identity, especially American masculinity, both reviewing the country’s unsavory past and commenting on its complicit present. Special emphasis in the discussion is placed on Shepard’s preoccupation with the aesthetics of performance and the visual elements of his theatre. The essay addresses the artist’s experimental approach, reflecting upon his creative deployment of dramatic conventions and deliberate deconstruction of American realism.
    Źródło:
    Text Matters: A Journal of Literature, Theory and Culture; 2017, 7; 368-385
    2083-2931
    2084-574X
    Pojawia się w:
    Text Matters: A Journal of Literature, Theory and Culture
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Authenticity, Self-Invention and the Power of Storytelling: Sam Shepard’s Postmillennial Work
    Autorzy:
    Mirowska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/1394583.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Sam Shepard
    A Particle of Dread (Oedipus Variations)
    Sophocles
    Oedipus Rex
    Field Day
    The UK City of Culture
    Derry/Londonderry
    authenticity
    self-invention
    Opis:
    The article reflects upon Sam Shepard’s playwrighting in the opening decades of the twenty-first century, paying particular attention to his last play, A Particle of Dread (Oedipus Variations), written specifically for the Derry/Londonderry City of Culture celebrations in 2013, and originally produced by the renowned Field Day Theatre Company. The article seeks to offer an insight into Shepard’s mature multilayered text, which, in many respects, looks back upon almost fifty years of his artistic creativity and, at the same time, expands his vision. It also addresses the realisation of Shepard’s play in performance and the significance of his text in an interplay of multiple creative inputs involved in the production process. While revisiting the familiar landscapes and themes, Shepard’s most recent work negotiates the boundaries between the actual and the fictitious, raising debates about the persistence of myths, mortality and the haunting legacies of the past. Richly intertextual and conspicuously metatheatrical, it grapples with questions of authenticity, performativity and storytelling – the narratives that are passed down, and how they form and inform our lives. It also engages with, and further problematises, issues of personal and cultural identity, which constitute Shepard’s most durable thematic threads, revealing both the dramatist’s acute concern with fateful determinism and commitment to self-invention. Significantly, while Shepard’s postmillennial output highlights the author’s ongoing preoccupation with instability and frontiers of various sorts (from those topographic, temporal and sociopolitical to those of language and art), it equally intimates his attentiveness to correspondences between times, lands and cultures.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2020, 6, 1; 28-39
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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