02950oam 2200637I 450 991046281140332120200520144314.01-283-94190-20-203-07685-01-135-12786-710.4324/9780203076859 (CKB)2670000000315471(EBL)1108527(OCoLC)823719114(SSID)ssj0000867109(PQKBManifestationID)11429653(PQKBTitleCode)TC0000867109(PQKBWorkID)10890104(PQKB)11024819(MiAaPQ)EBC1108527(Au-PeEL)EBL1108527(CaPaEBR)ebr10643564(CaONFJC)MIL425440(EXLCZ)99267000000031547120180706e20131988 uy 0engur|n|---|||||txtccrStrategies in global competition selected papers from the Prince Bertil Symposium at the Institute of International Business, Stockholm School of Economics /edited by Neil Hood and Jan-Erik VahlneAbingdon, Oxon :Routledge,2013.1 online resource (417 p.)Routledge library editions. International business ;v. 19First published in 1988 by Croom Helm.0-415-75203-5 0-415-65756-3 Includes bibliographical references and index.pt. 1. Concepts and constructs of strategy in global competition -- pt. 2. Global environmental change -- pt. 3. Technology and global competition -- pt. 4. Global competition and strategy : industry and country studies -- pt. 5. Frameworks for analysing global competition -- pt. 6. Strategic management for global competition.The main thrust of Part 1 is to give some understanding of the concept of 'global competition'. In doing so, the chapters rely heavily on industrial studies. Part 2 deals with two different aspects of this change viewed from two different perspectives. The one is economic and more macro: the other political and social and more micro, being concerned with the way in which companies have to utilize their various organisational units and integrate information on a fragmented environment into a strategic whole. Part 3 deals specifically with technology, as the particular segment of the environmRoutledge Library Editions: International BusinessInternational business enterprisesCompetitionElectronic books.International business enterprises.Competition.338.88Hood Neil117469Vahlne Jan-Erik1941-961125MiAaPQMiAaPQMiAaPQBOOK9910462811403321Strategies in global competition2226150UNINA03843nam 22007452 450 991095861070332120151005020622.01-107-22119-61-139-08882-31-283-12751-297866131275181-139-09261-80-511-79329-41-139-09313-41-139-09210-31-139-09121-21-139-09030-5(CKB)2670000000094076(EBL)713070(OCoLC)729167148(SSID)ssj0000524242(PQKBManifestationID)11349617(PQKBTitleCode)TC0000524242(PQKBWorkID)10560777(PQKB)10598009(UkCbUP)CR9780511793295(MiAaPQ)EBC713070(Au-PeEL)EBL713070(CaPaEBR)ebr10476494(CaONFJC)MIL312751(EXLCZ)99267000000009407620100628d2011|||| uy| 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierModernism and popular music /Ronald Schleifer1st ed.Cambridge :Cambridge University Press,2011.1 online resource (xx, 233 pages) digital, PDF file(s)Title from publisher's bibliographic system (viewed on 05 Oct 2015).1-107-65530-7 1-107-00505-1 Includes bibliographical references and index.Introduction: popular music and the experience of modernism -- Part I. Musical Modernism: Popular Music in the Time of Jazz: 1. Classical modernity and popular music; 2. Twentieth-century modernism and 'jazz' music -- Part II. Gershwin, Porter, Waller, and Holiday: 3. Melting pot and meeting place: the Gershwin brothers and the arts of quotation; 4. 'What is this thing called love?': Cole Porter and the rhythms of desire; 5. Signifying music: Fats Waller and the time of jazz; 6. Music without composition: Billie Holiday and ensemble performance -- Conclusion: popular music and the revolution of the word.Traditionally, ideas about twentieth-century 'modernism' - whether focused on literature, music or the visual arts - have made a distinction between 'high' art and the 'popular' arts of best-selling fiction, jazz and other forms of popular music, and commercial art of one form or another. In Modernism and Popular Music, Ronald Schleifer instead shows how the music of George and Ira Gershwin, Cole Porter, Thomas 'Fats' Waller and Billie Holiday can be considered as artistic expressions equal to those of the traditional high art practices in music and literature. Combining detailed attention to the language and aesthetics of popular music with an examination of its early twentieth-century performance and dissemination through the new technologies of the radio and phonograph, Schleifer explores the 'popularity' of popular music in order to reconsider received and seeming self-evident truths about the differences between high art and popular art and, indeed, about twentieth-century modernism altogether.Modernism & Popular MusicModernism (Music)Popular musicUnited StatesHistory and criticismJazzHistory and criticismModernism (Music)Popular musicHistory and criticism.JazzHistory and criticism.781.6409/041LIT004120bisacsh9,2ssgnLR 54600rvkSchleifer Ronald156180UkCbUPUkCbUPBOOK9910958610703321Modernism and popular music4426250UNINA