Besier, Erik c. Besthorn, Florian Henri Die Musikforschung 71, no. Betini, Despina Betz, Marianne Beuth, Reinhard Beyenburg, Hans-Peter Beyer, Anders Beyer, Huntley Bianchi, Ruggero Biancolli, Louis a.
Biancolli, Louis b. Biancolli, Louis Biddle, Stephen Pierce Bigazzi, Giampiero , ed. Billboard a. Billboard b. Billboard c. Billeter, Fritz Oakland: California Digital Library.
Online resource. Bird, John Bischoff, Ulrich a. Bischoff, Ulrich b, ed. Kunst als Grenzbeschreitung: John Cage und die Moderne. Bischoff, Ulrich and Peter Eikemeier Bither, David Bitz, Albert-Peter Trierische Landeszeitung 26 October.
Black, Cobey Blackburn, Philip Harry Partch. Blackmer, Corinne E. Blackmer and Patricia Juliana Smith.
New York: Columbia University Press, Blades, James Orchestral Percussion Techniques. London: Oxford University Press. Blaha, Christian Cyril Bland, Alexander a. Bland, Alexander b. Blanning, Lisa Blasl, Franz Musikerziehung [Wien] 29, no. Blau, Herbert Blau, Max Blecha, Peter Blechner, Mark Blesser, Barry and Linda-Ruth Salter Spaces Speak, Are You Listening? Experiencing Aural Architecture.
Cambridge, Massachusetts [etc. Bloch, Georges Block, Ursula , ed. Exhibition catalogue. Block, Ursula and Michael Glasmeier , eds. Bloem, Rein Blomann, Karl-Heinz and Frank Sielecki , eds. Bloom, Julius , ed. The Year in American Music: New York: Allen, Towne and Heath. Blum, Eberhard Blum, Eberhard a. Blum, Eberhard b. Berlin: Berlinische Galerie. Blume, Eugen and Cathrine Nichols , eds. Das Kapital: Schuld, Territorium, Utopie. Dortmund: Verlag Kettler.
Blumenstein, Gottfried Auslieferung; repr. Feedback Papers no. Blyton, Carey BMI b. Bobak, Jacqueline Carlson Thesis, University of Illinois at Urbana-Champaign. Bobo, Roger et al. Boccadoro, Carlo Milano: Longanesi; repr. Bochner, Mel Bock, Jannika Frankfurt am Main [etc. Bockris, Victor The Life and Death of Andy Warhol. New York: Bantam Books. Boehm, Gottfried Variations I als ein Bild.
Boehmer, Konrad a. Boehmer, Konrad b. Darmstadt: Edition Tonos, previously Ph. Ian Pepper. October [Cambridge, Massachusetts] no. Boehmer, Konrad Boer, Hiepko H.
Boer, Sam Bohm, Jerome D. Review of Disc Company of America recording. New York Herald Tribune 26 May. Bohn, James Bois, Rob du Bois, Yve-Alain Bolis, Jacopo Leone Bomba, Andreas Bomberger, E. American Music 27, no. Bombert, Daniel a. Bombert, Daniel b.
Bonami, Francesco Bonetti, David Bonik, Manuel Milano: Mazzotta. Bonk, Ecke Marcel Duchamp: The Box in a Valise. New York: Rizzoli.
Bonner Theater-Zeitung Bonomo, Gabriele Bonomo, Gabriele and Giuseppe Furghieri , eds. Milano: Marcos y Marcos Riga; Book Review Digest Book Review Digest August.
Book Review Digest annual , Booklist Review of Hoover, K. Booklist [Chicago, Illinois] 55 1 May , Boren, Virginia Boretz, Benjamin Borg-Wheeler, Philip Classical Music [London] no.
Borio, Gianmario and Hermann Danuser , eds. Freiburg im Breisgau: Rombach, 4 vols. Bormann, Hans-Friedrich Paderborn: Wilhelm Fink. Born, Georgina Born, Georgina and David Hesmondhalgh , eds. Bornstein, George English Language Notes June , Borris, Siegfried Borroff, Edith New York: Ardsley House, Borstlap, John Lanham, Maryland [etc.
Bortolotto, Mario Milano: Sugar, Argomenti; Fase seconda: Studi sulla nuova musica. Torino: Einaudi; repr. Milano: Adelphi, Borum, Poul Bos, Saskia Bosker, Gideon Bosma, Hannah Bosseur, Dominique Bosseur, Dominique a.
Bosseur, Dominique b. Anita Amundsen. Ballade [Oslo] 7, no. Bosseur, Dominique and Jean-Yves Bosseur Paris: Le Sycomore; 2nd rev.
Paris: Minerve, ; 5th rev. Bosseur, Jean-Yves a. Musique en jeu no. Bosseur, Jean-Yves b. Review of Bekaert b, Cage a and Cage m. Bosseur, Jean-Yves Bosseur, Jean-Yves b, ed. Brian Holmes, Peter Carrier. Paris: Dis Voir, Paris: Minerve Musique ouverte ; 2nd rev. Paris: Minerve Musique ouverte review: Rosset, C.
Bosseur, Jean-Yves et al. Boston Herald a. Boston Herald b. Boston Sunday Globe Botting, Gary The Box Beyond. Edmonton, Alberta: Harden House of Canada. Bouchard, Frederick Boudaille, Georges Jasper Johns. Barcelona: Ediciones Poligrafa; German trans. Hans Georg Hepermann. Recklinghausen: Bongers, Boul, David Boulez, Pierre a. Boulez, Pierre b. Included in Feldman et al. David Noakes and Paul Jacobs. Perspectives of New Music 3, no. Herbert Weinstock. Heinz-Klaus Metzger. Paris: Richard-Masse, Revue musicale; ; repr.
Paris: Fasquelle, vol. Boulez, Pierre New York: Alfred A. Knopf, ; German as Werkstatt-Texte. Martin Cooper. Cambridge, Massachusetts: Harvard University Press, ; repr. Musiktheorie 2 , John Holzaepfel].
Kampen: Kok Lyra. Correspondance et documents. French and English. His leadership was in line with the multicultural aesthetic of the late s and early s. He introduced Native Title legislation following the High Court Mabo decision, initiated moves towards making Australia a republic, and promoted relations with Asia. A multicultural Australia bound to Asia is reflected in Aya , a film in which a Japanese war bride is able to reintegrate a Japanese cultural identity into her emerging Australian identity by divorcing Frank, her restrictive Australian husband representative of old world values.
Aya finds her cultural identity bound to food, and along with another Japanese war bride, makes pickles using beer—thus symbolically combining Japan and Australia culturally through food. However, as the marriage breaks down each retreats into their own original culture, exemplifying the struggle involved in a multicultural transition.
Frank becomes possessive and irrational, adopting the stereotypical Australian masculine identity. These films, through female protagonists, further problematise the Australian national identity as inherently masculine. Keating also drew distinctions between the old Australia and the new Australia.
Throughout his prime- ministership Keating was able to combine the economics of the right with the contemporary social movements of the left, including environmentalism, feminism, multiculturalism, and Aboriginal and gay rights. This was debated and reflected through the narratives of Australian National Cinema throughout the s most notably in Romper Stomper—a significant cinema success of the decade.
He proposes that disabled people should be recognised as a separate group with a contribution to make and, further, that this contribution to social and political life should be considered a right. The s was a significant period in establishing a disability cultural identity in Australia. This set it apart as both a period that influenced and was influenced by an ableist interpretation of disability.
While Australian National Cinema post reflects a multicultural and gendered national identity, a disability culture remains peripheral and a disability identity marginal. Anti-discrimination legislation was introduced in Australia in but it was not until the s that the significance of disability discrimination was consolidated in Australian society, with the introduction of legislation encouraging so-called equal opportunity for disabled people.
A neoliberal aesthetic has resulted in some opposing reactions to disability and what to do with disabled people in Australian society. This extends to Australian National Cinema in which the disabled are encouraged to deny their cultural identity in order to fit into an ableist world. Disability studies, or the politicisation of disability, is a reaction to the way disabled people as a group have been devalued. In the following chapter I move my focus to the specific debates that make up the discourse of disability film studies.
While in this chapter temporal discourse analysis and the contributing outside forces have been central, in Chapter Two, I discuss the theoretical cinematic debate in depth. Central to the next chapter, and by extension the work as a whole, is the idea that disability is the social interpretation of impairment. Julian Baggini and Jeremy Stangroom. London: Continuum, , Ian Craven. Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Goggin, Gerard and Christopher Newell.
Brisbane, Gillard, Garry, and Lois Achimovich. Len Barton and Mike Oliver. Leeds: The Disability Press, , 2. Understanding Disability: From Theory to Practice. New York: St Martin's Press, University of Leeds. June , 1. New York: St Martin's Press, , The Creatures That Time Forgot.
Claiming Disability: Knowledge and Identity. Cultural Front. Michael Berube. London: New York University Press, University of Leeds Centre for Disability Studies. May , 1. Melbourne: Text Publishing, , Social Justice for People with Disabilities. Canberra: Australian Government Publishing Service, , 1.
Disability Discrimination Act. Scale Plus Law Resource. May , section 4. O'Regan, Tom, and Rama Venkatasawmy. Deb Verhoeven. Melbourne: Damned Publishing, O'Regan, Tom, and Ben Goldsmith. Reid, Mary Ann. Sydney: Australian Film Commission, French, Lisa. London: Frank Cass Publishers, Promises, Promises: Disability and Terms of Inclusion. Leichhardt: Federation Press, , Free for All: Civil Rights in Australia. Female Forms: Experiencing and Understanding Disability. Buckingham, Philadelphia: Open University Press, Ann Pointon and Chris Davies.
London: BFI, , Robert Dawidoff. Philadelphia: Temple University Press, , New York: Alfred A. Knoff, , Michael Berenbaum and Abraham J. Bloomington: Indiana University Press, , Melbourne: Text Publishing, Practical Ethics. Cambridge: Cambridge University Press, , ix. Should the Baby Live? Studies in Bioethics.
Peter Singer. Oxford: Oxford University Press, , Cambridge: Cambridge University Press, , London: British Film Institute, , May Melbourne: Oxford University Press, Victoria: Monash Publications in History, , London: DAIL, Attitudes and Disabled People: Issues for Discussion. Geneva: World Rehabilitation Fund, Leeds: The Disability Press, Chapter Two Disability Debates Some fundraisers would rip the calipers off a crippled leg.
Disabled characters abound, but the ways in which they are portrayed and the development of the narrative around them is relentlessly repetitive. Pointon and Davies, 1 Australian National Cinema of the s reflected the social, political, and technological changes occurring in Australia throughout that decade.
Often diversity and social problematisations were favoured in cinematic representations during the s. However, despite being consistently represented during this period, disability was not portrayed as a celebration of diversity, because social restrictions were rarely addressed.
For instance, in The Sum Of Us, a young gay man is presented as a loving and caring son whose whole world does not begin and end with being gay; in contrast, his father is not taught basic independence following a stroke. An unadaptive society is rarely identified when considering definitions of disability in Australian National Cinema, or even Western Cinema internationally. Cinema is a dominant form of cultural representation and by applying the concepts of the social model of disability to film history and individual film texts, the ableist structures of cinema can be revealed.
This chapter provides a structured account of the theory with regards to disability film analysis, both internationally and locally, in order to demonstrate the dominance of the personal tragedy model in cinema.
This book proceeds from the view that disability should be located in societal processes in opposition to the hegemonic medical model which locates disability in the body. However, other movements have recognised the body as post-social including gender, sexuality and colour. These movements argued that Australia cannot have a simple identity and further, that different socio-cultural identities both compete with and complement each other. Ferrier notes that the s saw an increasing number of Australian feature dramas using disability as a representational device.
Michael Rhymer made his characters in Angel Baby schizophrenic because they were quirky and it made more sense to give them a mental impairment.
Liz Ferrier makes the claim that films depicting disabled characters constitute a subgenre in recent Australian Cinema describing them as character-driven and distinctly Australian. Paradise Road is an exception in which disability is used for both plot and atmospheric reasons, with little continuity from shot to shot. Alternatively, Shine features a quirky character while working within a Hollywood stylistic paradigm. Ferrier further links these quirky characterisations with the prominence of disabled characters when she connects difference, oddball characteristics, and social exclusion with disability, in a cycle of films in the s that feature disablement.
Firstly, and most significantly, he recognises the importance of including disability in a diverse national cinema, and secondly, he observes that Australian filmmakers were more willing to represent disability during this period than in previous decades. However, due to the inclination toward the personal tragedy mode of representation, I disagree with his contention that representations looked seriously at impairment and gave dignity to disability.
Goggin and Newell contend that access and equity problems should be addressed from a critical perspective, and disability should be considered an aspect of diversity with disabled people having fulfilling experiences and disability being located in society, not the individual.
In this way disability remains individualised. Goggin and Newell conclude that, stylistically, disability is useful as it operates symbolically, conveying general themes and elements of character. More specifically, according to Goggin and Newell, Australian films move beyond and question these stereotypes. While I agree that most of these films question the stereotypes, I would argue that they do not often move beyond them. For example, Angel Baby questions the stereotype that disabled people should not be parents and that they should hand over control of their body to the medical establishment.
However, the death of Kate and Harry at the end of the narrative serves to validate these previously questioned prejudices. It is only when disability is seen as a social construction that the cultural origins of the individual model are highlighted. Pointon and Davies 12 position the origins of prejudicial public opinion regarding disability in the Bible and direct readers to Leviticus — He concludes that the view that disability was a punishment from God originated prior to the twentieth century but has changed little since.
Kriegel argues that images of threat or compassion are the two most fundamental images of impairment in Western literature. Disability is not just there; it is constructed by the boundaries of normality. Visual representations of impairment both reflect and reinforce disablement. In each example the characters respond to impairment by striving to deny its existence in the pursuit of a cure.
Children of a Lesser God illustrates this popular discourse. The film is about the relationship between Sarah, a deaf woman working as a cleaner in a school for the deaf, and James, a new teacher. Sarah refuses to speak and James refuses to use sign language. While his argument that disability is feared and stigmatised remains strong within the social model of disability, his failure to contextualise his argument has been recognised by other theorists within the field.
Under the guise of entertainment, these representations seek to reassure the nondisabled audience and are an exercise in social functionalism.
In addition, most films present the notion that due to this loss of humanity it is better to be dead than disabled. Longmore notes that both criminals and monsters are eradicated at the end of the narrative. Monsters, like criminals, are considered deviant by the social boundaries of normality. For example, John Merrick in The Elephant Man is not a criminal yet is killed off at the end of the narrative despite gaining a semblance of acceptance in the community.
For criminal disabled characters, death is a just punishment, while for monsters, death is a humane solution. As with the previous two stereotypes, Longmore finds that blame is shifted onto the stigmatised individual when nondisabled characters are attracted to disabled characters who lack self assurance. However, his positive analysis of Coming Home utilises the same prejudicial framework he criticises with regard to The Best Years of Our Lives Both films chronicle the changed lives of returning war veterans.
Longmore is critical of The Best Years of Our Lives because Homer apparently has no trouble finding someone to love him, when in reality disabled people are more likely to experience constant rejection and by extension a lack of self-acceptance. He argues that social reality is inverted in these narratives as disability and the social consequences are individualized.
Thus judgements on what are positive versus what are negative portrayals appear completely arbitrary and do not address the ideological foundation of this functionalist exercise of cultural reassurance. Forrest Gump continues many of these narrative tropes and stereotypes, particularly in relation to war and American, masculine, and feminine national identity. In addition, a reflection of the influence of globalisation, neoliberalism, de-institutionalisation and the passing of the Americans with Disabilities Act in the s can be seen in the various identities Forrest adopts throughout his adventurous life.
While Longmore focuses only on the text, Hevey believes the problem with the visual representation of disability lies with the means of production. Most disability representation initiatives see the beginning of reforming disability imagery solely within the image. For Hevey, the negative manifestations of disability representation are projected onto the impaired body of the disabled person by able-bodied producers.
Hevey contends that charity advertising and other visual representations of disabled people have constructed a view in which the impairment and disability are both contained within the body. Hevey argues that, to counter this, disabled people should be representing the experience of impairment in order to establish a disability access movement. The essentialist position in filmmaking argues that the only viable cinematic representation is realism.
Film is a signifying practice. Further, realism is a construct produced by specific codes and practices; it is an ideological process. He recommends reform take place at the point of production. He believes that the media teaches society about disability, and repetition of stereotypical portrayals perpetuates assumptions established in less enlightened times.
He identifies eleven durable and overlapping stereotypes that he believes to be a form of cultural oppression. Each of the eleven has been utilised by s Australian filmmakers.
Pitiable and pathetic Within this stereotype the focus is exclusively on the impairment, and disabled characters are used to give more information about able-bodied characters, such as their goodness and sensitivity.
This stereotype is based on the assumption that the benevolence of others ensures the well-being of disabled people. Like Lewis, who failed university, several have failed at life in general with respect to traditional gender roles. While Henry was formerly a bank manager, Ruth was formerly married to a successful businessman, and Roy is afraid of performing in public. By interacting with these people, Lewis is able to grow as a person and make something of his life.
An object of violence Barnes locates his discussion of this stereotype within the context of the violence that has been perpetuated against disabled people throughout history—such as the Nazi Euthanasia program. The mistreatment between sisters Jane and Blanche in Whatever Happened to Baby Jane demonstrates how films adopt this historical tendency to further devalue disabled people.
This stereotype reinforces notions of pity and depend- ency and convictions of eugenics, whereby the natural solution to impairment is a violent death. The disabled person as an object of violence is a stereotype that was frequently employed in Australian National Cinema during the s. Often the narrative is concerned with disabled women who attempt to assert their independence, for example Gabe in Romper Stomper, is bashed by her neo-Nazi boyfriend Hando as he breaks up with her.
Sinister and evil Like Longmore, Barnes argues that impairment is persistently used to denote evil. The character of Darth Vader in the Star Wars series , , clearly demonstrates this stereotype. Evil characters relying on mechanical aids were not common in Australian National Cinema during the s. Accident , a psychotic ex-boyfriend out for revenge in Siam Sunset , and a violent dwarf tribal leader in Black Robe The young Sam and Silvy spy on this old deaf woman who signs in anger or in her sleep.
This elderly female character is used to enhance the mysterious atmosphere of the film. This stereotype introduces the idea of film as a visual medium that must adopt visual methods of storytelling.
Physical impairments have become a part of film language, and have thus become another variable of meaning within the shot. This meaning is reliant on pre-existing social prejudice of disability as undesirable. They should have a hobby. Object of ridicule When impairment in film plays a minor role and is used for comedic purposes it becomes an object of ridicule. Barnes contends that disability has always been a source of humour.
For example in A Fish Called Wanda Ken, the character with the speech impairment, seemingly survives through luck rather than any forward planning. Singles, LPs and Cassette compilation Chequers, Sydney, Australia, August 29, Governors Pleasure, Sydney, Australia, December 1, Governors Pleasure, Sydney, Australia, July 10, Rex Hotel, Sydney, Australia, October 23, San Miguel, Sydney, Australia, November 4, Governors Pleasure, Sydney, Australia, November 6, Seaview Ballroom, St.
Kilda, Melbourne, Australia, November 30, Illinois Hotel, Sydney, Australia, December 17, Bayview Tavern, Sydney, Australia, August 20, Illinois Hotel, Sydney, Australia, September 3, Selinas, Sydney, Australia, August 12, Hopetoun Hotel, Sydney, Australia, March 8, Enmore Theatre, Sydney, Australia, September 3, Tivoli, Brisbane, Australia, November 4, Metro Theatre, Sydney, Australia, November 11, Athenaeum Theatre, Melbourne, Australia, November 19, The Basement, Sydney, Australia, August 28, Ruby's Lounge, Belgrave, Australia, June 2, Ruby's Lounge, Belgrave, Australia, December 9, TV Broadcasts National Theatre, Melbourne, Australia, October 15, TV and Promo Anthology Grosse Freihart 36, Hamburg, February 19, Vandvaerket, Copenhagen, Denmark, April 15, Barbue, Copenhagen, Denmark, September 8, Schlachthof, Bremen, Germany, September 14, Holzstock Festival, Ebensee, Austria, September 17, Underground, Cologne, Germany, November 27, Lansdowne Hotel, Sydney, Australia, February 11, French's, Sydney, Australia, May 4, Annandale Hotel, Sydney, Australia, February 4, Metro Theatre, Sydney, Australia, September 9, The Club, Melbourne, Australia, October 28, The Palace, Melbourne, Australia, March 31, The Patch, Coolangatta, Australia, July 15, The Metro, Sydney, Australia, November 2, Corner Hotel, Melbourne, Australia, September 25, Junction Oval, Melbourne, Australia, June 27, The Metro, Sydney, Australia, July 10, Station 58, Melbourne, Australia, April 7, Station 58, Melbourne, Australia, April 14, Station 58, Melbourne, Australia, October 6, Station 58, Melbourne, Australia, October 13, Le Volume, Nice, France, August 18, Annandale Hotel, Sydney, Australia, September 14, Red Parrot, Perth, Australia, February 23, Shaftesbury Hotel, Perth, Australia, August 15, Dingwalls, London, UK, December 6, The Club, Melbourne, Australia, March 1, Melbourne University, Melbourne, Australia, March 5, Seaview Ballroom, Melbourne, Australia, March 6, Doornroosje, Nijmegen, The Netherlands, May 13, Provinssirock Festival, Seinajoki, Finland, June 1, Glastonbury Festival, UK, June 23, Nettuno Festival, Italy, August 9, The Club, Melbourne, Australia, November 15, Central Club, Melbourne, Australia, November 16, Caringbah Inn, Sydney, Australia, March 8, The Club, Melbourne, Australia, March 21, The Club, Melbourne, Australia, March 23, Markthalle, Hamburg, Germany, June 1, International, Manchester, UK, July 5, Bergen Festival, Norway, August 5, Schauburg, Bremen, Germany, October 6, Paradiso, Amsterdam, The Netherlands, October 7, Maxim, Stuttgart, Germany, April 30, Vanha Ylioppilastalo, Helsinki, Finland, June 17, Glastonbury Festival, UK, June 20, Roskilde Festival, Denmark, July 3, Werchter Festival, Belgium, July 5, Kuusrock Festival, Oulu, Finland, July 19, Montematre, Copenhagen, Denmark, November 16, Markthalle, Hamburg, Germany, November 23, Odeon, Munster, Germany, November 27, Maxim, Stuttgart, Germany, November 30, Tivoli, Utrecht, The Netherlands, December 3, Zaal Lux, Herenthout, Belgium, December 4, Vooruit, Ghent, Belgium, December 6, Paradiso, Amsterdam, The Netherlands, December 7, Cove Tavern, Sydney, Australia, April Batschkapp, Frankfurt, Germany, June 7, Tivoli, Utrecht, The Netherlands, June 10, Kulturhus, Roskilde, Denmark, July 2, European TV Broadcasts Radio Interview, Sweden, June 23, Subterania, London, UK, August 22, Since then, many international and national forums have involved him in their activities.
Achmad Luthfi was born in Mojokerto on March 14th He has held many technical positions. However, in , Luthfi still had the chance to finish his post graduate studies in Maastricht — Netherlands and earned his Master of Business Admin degree.
In his career in the Government state own company, he was assigned to work in Balikpapan, than Aceh, and Jakarta in Hardiono M. Eventhough he was busy with his career, he still could achieve his post-graduate master degree Master of Commerce in Management at Curtin University of Technology, Perth, Western Australia in Lowongan Kerja Batavia Air. Juanda No. Info Lowongan Kerja terbaru lowongan pekerjaan lowongan karir lamaran kerja peluang.
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