How do distinct firm characteristics affect behavioural additionalities of public R&D subsidies? Empirical evidence from a binary regression analysis

In the recent past, interest of Science, Technology, and Innovation (STI) policies to influence the innovation behaviour of firms has been increased considerably. This gives rise to the notion of behavioural additionality, broadening traditional evaluation concepts of input and output additionality. Though there is empirical work measuring behavioural additionalities, we know little about what role distinct firm characteristics play for their occurrence. The objective is to estimate how distinct firm characteristics influence the realisation of behavioural additionalities. We use survey data on 155 firms, considering the behavioural additionalities stimulated by the Austrian R&D funding scheme in the field of intelligent transport systems in 2006. We focus on three different forms of behavioural additionality – project additionality, scale additionality and cooperation additionality – and employ binary regression models to address this question. Results indicate that R&D related firm characteristics significantly affect the realisation of behavioural additionality. Firms with a high level of R&D resources are less likely to substantiate behavioural additionalities, while small, young and technologically specialised firms more likely realise behavioural additionalities. From a policy perspective, this indicates that direct R&D promotion of firms with high R&D resources may be misallocated, while attention of public support should be shifted to smaller, technologically specialised firms with lower R&D experience.

The semiotics of the theater of cruelty

This is the publisher's version, also available electronically from http://www.degruyter.com/view/j/semi.1985.56.issue-3-4/semi.1985.56.3-4.291/semi.1985.56.3-4.291.xml.No abstract is available for this item

The Role of Séméiotique in François Delsarte's Aesthetics

This article introduces the aesthetic theory of François Delsarte (1811–1870) and his conception of semiotics. Delsarte created his “applied aesthetics” as a modern scientific method for artists, particularly performers, to investigate the nature of human being. Delsarte’s approach to performance involved the actor in observing human behavior, interpreting it through categories of voice, gesture, and language, and rendering it in an expansive display of types. Delsarte’s applied aesthetics involves the performer’s attention to signs and sign action, a study he called séméiotique. We see Delsarte’s program for inquiry into truth in what I call the actor’s task, which develops his or her human being through observation, analysis, and creation. This was Delsarte’s “orthopedic machine for correcting crippled intellects” – the crippled intellects being those intellectuals and conservatory teachers whose ideas on aesthetics he found to be neither systematic nor attuned to God’s reason. While it is well known in theatre and dance scholarship that Delsarte’s ideas and methods advanced the training of actors, dancers, and orators, particularly in the United States, my paper instead introduces him as a voice in nineteenth-century thinking on signs and semiosis. Delsarte’s aesthetics are firmly based in Thomist assumptions about a triune god whose nature is reflected imperfectly in man. Yet it is striking that Delsarte characterizes the sign relation as mediated in a modern sense, prior to Charles Peirce’s development of his own triadic sign relation, and semiotics as a modern method of scientific inquiry

Mabou Mines' Lear: A Narrative of Collective Authorship

This is the publisher's version, also available from http://www.press.jhu.edu/journals/theatre_journal/index.html.No abstract is available for this item

Brecht and the Mothers of Epic Theatre

This is the publisher's version, also available electronically from http://www.jstor.org/stable/3207978?origin=crossref&seq=1#page_scan_tab_contents.Despite the growing criticism of Bertolt Brecht's use of women in the theater, it cannot be denied that the most prominent and interesting roles in his later plays are female. Not only did he have the incentive of writing for the extraordinarily talented actress, Helene Weigel; Brecht probably sensed as well that dilemmas facing women, as estranged and disenfranchised members of society, could articulate his own views. It remains for feminists to capitalize on their potential for gender studies

Theatre at the Birth of Semiotics: Charles Sanders Peirce, François Delsarte, and Steele Mackaye

This paper explores the role theatre played in the life of Charles Peirce and his second wife, Juliette, from 1884–1888. Peirce became acquainted with playwright and director Steele Mackaye, who trained Juliette in the acting techniques associated with “aesthetic expression,” a movement derived from the work of François Delsarte. I first trace the Peirces’ interactions with Mackaye during this period. The paper then demonstrates affinities between Peirce’s semeiotic account of cognition as mediated through feeling and sensation and the architecture of Delsarte’s system of actor training. The latter employs Delsarte’s semeiotique as an analytical tool for conveying the dramatic character’s inner life. A function of mind, semeiotique intertwines with the functions of life and soul to complete the actor’s task. The affinities between these two accounts of semeiotic emerge from the paper’s analysis of Peirce’s 1888 essay on aesthetic expression, “Trichotomic,” and related passages from A Guess at the Riddle

The "Intercultural" Work of Lee Breuer

This is the publisher's version, also available electronically from http://muse.jhu.edu/journals/theatre_topics/v007/7.1smith.html.No abstract is available for this item