This thesis studies the role of multi-stage production for the monetary transmission mechanism. I employ a monetary search model to show how multi-stage production influences both the long run and the short run effects of money growth. Multi-stage production provides an additional channel for money growth having effects through intermediate goods between different production stages. Extending Shi's (1998) model from a single-stage to a multi-stage production model, I show that money growth rate has an unconventional long run effect on quantities per match, and the long run response of input inventory investment is different from that of output inventory investment. Contrary to classic search models, the steady state effect of money growth on the quantity of finished goods per match is not monotonic and depends on the money growth rate. Furthermore, in steady state the quantities per match first increase with the growth rate of money, before falling for large growth rates. Input inventories arise due to search frictions. Money growth also has hump-shaped real effects on steady state input inventory investment. The intermediate goods build a bridge between the labor market and the finished goods market. Intuitively, households hire more labor with higher future revenue and produce more intermediate goods in order to match the employment level. With more labor and more intermediate goods, finished goods producers can produce more when matched. As a consequence, they are stuck with more input inventories. Moreover, my model suggests that changes in the money growth rate would be one of the reasons for the decline of the inventory-to-sales ratio since the mid-1980s. Finally, I calibrate my model to quarterly US data. Contrary to other work, my model is able to replicate the stylized facts on inventory movements over the business cycle by solely relying on monetary shocks. The theoretical impulse response functions can quantitatively reproduce the corresponding empirical ones estimated in a structure autoregressive model. Moreover, the quantitative analysis supports the argument that input inventories amplify aggregate fluctuations over business cycles. / Thesis (Ph.D, Economics) -- Queen's University, 2012-09-16 20:44:21.876

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In this thesis I attempted to analyse the four adaptations I created between 2004 and 2010. The first two products (texts and productions) were created in 2004 and 2005, while I was a student at the Stellenbosch University Drama Department. The third adaptation (text only) was created in 2007, while I was a freelance stage manager. In 2010, I collaborated with a choreographer for the first time to adapt a Shakespeare text into a dance theatre production. The process of adapting a text always starts with an interpretive reading. Extracting information and meaning from a text can also be referred to as ‘decoding’. In the process of creating the adaptation new meaning is written, or ‘encoded’, into the product that must in turn be decoded by the reader or audience member. A term for this decoding and encoding process that is often encountered in the field of video editing (an aspect of my current profession) is a ‘codec’. In video editing a codec is responsible for the decoding of a computer file into a video program that a viewer/audience can engage with, as well as the encoding of a video program into a file. Since I function as the ‘codec’ in these adaptation scenarios, I thought it appropriate to label my approach to the adaptation process, the ‘Conradie codec’. The aim of this reflexive study is to analyse my four adaptations, the processes as well as the products, in order to determine if such a codec truly exists. Research done in adaptation studies was presented in an attempt to define adaptation as both process and product – Linda Hutcheon’s A Theory of Adaptation was particularly useful. This created a framework for the study of each of the four adaptations in chronological order, according to the year in which they were created. The study also draws very generally on the principles of semiotics, especially with respect to the notion of coding. Firstly, the 2004 adaptation of Luigi Pirandello’s Six Characters in Search of an Author into Twintig akteurs op soek na ‘n [beter] Regisseur was analysed. This was followed by onsindroom (sic), an adaptation of August Strindberg’s A Dream Play. The third adaptation was iForest, which was created in 2007. This was an adaptation of (primarily) Eugene Ionesco’s The Killer. Lastly, the adaptation of Shakespeare’s Troilus and Cressida into When in Love… was studied. It was concluded that, while the ‘Conradie codec’ does exist and was applied in the creation of the four adaptations, its efficiency was limited – predominantly by time constraints. In all four the cases analysed the rehearsal process started when a complete draft of the adapted text was not yet finished. This put enormous pressure on the rehearsal process. While this is accepted when creating a workshop style production, more time is needed to develop the adaptation in order for it to be cohesive. By going through the process of analysing these four adaptations, the Conradie codec has been adapted (or updated) to version 2.0. / AFRIKAANSE OPSOMMING: In hierdie tesis het ek gepoog om my vier verwerkings tot op hede te analiseer. Die eerste twee produkte (tekste en produksies) was in 2004 en 2005 geskep terwyl ek ‘n student was. Die derde verwerking (slegs die teks) was in 2007 geskep terwyl ek ‘n vryskut verhoogbestuurder was. In 2010, het ek vir die eerste keer saam met ‘n choregraaf gewerk om ‘n Shakespeare teks te verwerk na ‘n dansteaterproduksie. Die verwerkingsproses van ‘n teks begin altyd met die lees van die teks op ‘n interpreterende wyse. Hierdie proses, om betekenis uit ‘n teks te ontgin, kan ook ‘dekodering’ genoem word. Tydens die verwerkingsproses word nuwe betekenis in die produk ingeskryf, of ‘geënkodeer’. Die leser of gehoorlid moet weer op hul beurt die nuwe produk dekodeer. Hierdie dekodering en enkodering word in videoredigering (‘n aspek van my huidige beroep) ‘n ‘codec’ genoem. In videoredigering is ‘n ‘codec’ verantwoordelik vir die dekodering vanaf ‘n rekenaarlêer na ‘n videoprogram wat deur iemand gekyk kan word, sowel as die enkodering vanaf ‘n videoprogram na ‘n leêr. Aangesien ek tydens die verwerkingsproses as die ‘codec’ funksioneer, het ek dit goed gedink om met die term die ‘Conradie codec’ vorendag te kom. Die doel van hierdie refleksiewe studie was om my vier verwerkings, die prosesse sowel as die produkte, te analiseer en sodoende te bepaal of so ‘n ‘codec’ wel bestaan. Navorsing op die gebied van verwerkings was voorgelê in ‘n poging om die konsep van verwerking as beide proses en produk te definieer – Linda Hutcheon se A Theory of Adaptation was ‘n nuttige bron gewees. Dit het gehelp om ‘n raamwerk vir die bestudering van elk van die vier verwerkings te skep – wat dan uitgevoer was in chronologiese volgorde. Die studie maak ook gebruik van die beginsels van semiotiek, in ‘n baie algemene wyse, veral ten opsigte van die begrip van kodering. Eerstens was die 2004 verwerking van Luigi Pirandello se Six Characters in search of an Author na Twintig akteurs op soek na ‘n [beter] Regisseur ontleed. Dit was gevolg deur onsindroom, ‘n verwerking van A Dream Play deur August Strindberg. iForest wat in 2007 geskep is, was ‘n verwerking van (hoofsaaklik) The Killer deur Eugene Ionesco. Laastens was die verwerking van Shakespeare se Troilus and Cressida na When in love… bestudeer. Die gevolgtrekking was dat daar iets soos die ‘Conradie codec’ bestaan en dat dit wel toegepas was in die skepping van die vier verwerkings. Die effektiwiteit daarvan was wel beperk – hoofsaaklik as gevolg van tydsbeperkings. In al vier die gevalle het die repetisieproses reeds begin voordat ‘n volledige weergawe van die teks voltooi was, wat enorme druk op die repetisieproses geplaas het. Terwyl dit aanvaarbaar is in die konteks van ‘n werkswinkelproduksie word meer tyd benodig vir die verwerking van ‘n teks om samehangend te wees. Deur die vier verwerkings te bestudeer, was die Conradie ‘codec’ self in die proses verwerk (of bygewerk) tot weergawe 2.0.

My thesis addresses the role of the assistant director within the realm of today's American theatre. I determine who the assistant director is in today's theatre, what qualities they need to possess, and how a director can use an assistant director most effectively. To come to these conclusions, I analyze my experiences as an assistant director and a director over the last four years, as well as conduct interviews with directors and assistant directors currently working in professional and academic.

In the world of architecture a field of tension exist between permanence and temporality. The aim of this study was to explore the possibilities residing within this duality. During the urban investigation conducted in the Pretoria CBD, scars of vacant space were found that exposed the possibility of temporarily utilizing these empty spaces. In general vacant spaces tend to become unsafe, degraded and illegally occupied. If these vacant spaces could be temporarily reused it would benefit the owners, users and community at large. The binding workshop of The Government Printing Works on Vermeulen Street just west of Church Square is in the process of being relocated and no planned future use is evident. The investigation proposes that the workshop be adapted to accommodate a temporary performance space. Through the process of matching a vacant permanent space with a temporary program their interdependence became evident resulting in an approach towards a mutuality beneficial symbiosis between the temporary and the permanent. The permanent host will benefit the temporary guest by providing shelter, safety and physical support. The temporary guest will benefit the permanent host by giving it life, activity and the opportunity to contribute to its local context. The temporary program will preserve the existing host and protect it from deterioration. Production design as an inherently, temporary form of space creation was selected as the medium for this investigation. Performance space positions architecture within the realm of temporary experience and lasting memory. Circles in a Forest are the inspiration behind the design of the temporary performance space. This novel by author Dalene Matthee speaks of a segment in the history of South Africa, but also tells a universal story; that serves as a warning against the exploitation of people and natural resources. The design focused on creating layers of permanence and temporality dependant on each other. As these layers are peeled away the space can be reinterpreted and adapted for other performances and programmes. / Dissertation (MInt (Prof))--University of Pretoria, 2010. / Architecture / unrestricted

No description available.

Purpose: The purpose of the study is to identify, design and apply a method for operational production planning. The purpose of the method is that it takes into account the respective demand patterns of the articles, which determines the choice of calculation model and that the method also takes into account the production capacity limitation set. The result can be applied as a basis for decision-making for small and medium-sized manufacturing companies that are facing an expansion. Objective: The following research question was the main objective of this study.How would an appropriate operational planning method be shaped according to the specific characteristics of the products and their diverse demand patterns in small and medium-sized manufacturing companies with capacity limiters? Method: The study is a qualitative one-case study with quantitative elements. The empirical data used in the study was collected through unstructured and semi-structured interviews where the snowball effect has been applied and also observations have been performed. Results: The study has enabled a higher degree of utilization of the capacity limitation set, by developing standardized block sizes. The first step was to identify demand patterns into which the studied articles could be categorized. The demand pattern was applied in order to be able to apply the correct calculation model to the correct article. The calculation model was then standardized by applying PoT to be able to obtain standardized block sizes. The method was illustrated in a Gantt chart to demonstrate its usefulness. / Syfte: Studiens syfte är att identifiera, utforma och applicera en metod för operativ produktionsplanering. Ändamålet med metoden är att den tar hänsyn till artiklarnas respektive efterfrågemönster vilket avgör valet av beräkningsmodell samt att metoden tar även hänsyn till produktionens kapacitetsbegränsning ställare. Resultatet kan appliceras som beslutsunderlag för små samt medelstora tillverkande företag som står inför en expansion. Forskningsfråga: Följande forskningsfråga var objektet för denna studie. Hur skulle en lämplig operativ planering formas utefter artiklarnas specifika egenskaper och deras olikartade efterfrågemönster hos små och medelstora tillverkande företag med kapacitetsbegränsningen ställare? Metod: Studien är en kvalitativ en-fallstudie med kvantitativa inslag. Den empiriska data som använts i studie än insamlad genom ostrukturerade samt semistrukturerade intervjuer där snöbollseffekten tillämpats och även observationer har utförts. Resultat: Studien har möjliggjort en högre utnyttjandegrad av kapacitetsbegränsningen ställare, genom att framta standardiserade blockstorlekar. Första steget var att identifiera efterfrågemönster som de studerade artiklarna kunnat kategoriseras in i. Efterfrågemönstret har tillämpats för att kunna använda rätt beräkningsmodell på rätt artikel. Beräkningsmodellen standardiserades därefter genom tillämpning av PoT för att kunna erhålla standardiserade blockstorlekar. Metoden illustrerades i ett Gantt-schema för att påvisa dess användbarhet.

This academic report is the written analysis of my experience as a production intern at The John F. Kennedy Center for the Performing Arts in Washington, DC. My internship specifically involved production and this report discusses production management across the performing arts disciplines, as experienced during my 480 hour internship experience. I describe the organizational history of the Kennedy Center and the internship process. I create a SWOT analysis pertaining to factors affecting the Production Department, discuss production management best practices, and make recommendations for the Center’s improvement.

This diploma thesis deals with the theatre play The Threepenny Opera by the German playwright Bertolt Brecht. The first part contains a formal analysis and a content interpretation of this literary work. This analysis is used as a basis for the second part of the thesis, which contains the description and comparison of three stage productions of the play in the theatres in three different European capitals between 2007 and 2011. These theaters are: The Berliner Ensemble, The National Theatre in Prague and The Volkstheater in Vienna.