, X Sample Clauses

, X. Xxxxxxxxxx..............
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, X. All documents and materials prepared by Professional under the terms of this contract are the City’s property from the time of preparation, and Professional must deliver the documents and materials to the City or make them available for inspection whenever requested. Professional has the right to make duplicate copies of such documents or materials for its own file or for other such purposes as the City authorizes in writing.
, X. Xxxxx................... - X. Xxxx.................... - X. Xxxxxxxx................ - X. Xxxxxxxx................
, X. Xxxxx.......................
, X. X. Xxxxxxxxxx shall accept payment of the warrant solicitation fee provided in Section 3.3.4(b) only if it has provided bona fide services to the Company in connection with the exercise of the Warrants and only to the extent that an investor who exercises his Warrants specifically designates, in writing, that X.X. Xxxxxxxxxx solicited his, her or its exercise. In addition to soliciting, either orally or in writing, the exercise of Warrants by a Warrant holder, such services may also include disseminating information, either orally or in writing, to Warrant holders about the Company or the market for the Company's securities, or assisting in the processing of the exercise of Warrants.
, X. Xx. (full name of the doctoral student) concluded between the Director of the Doctoral School ........................................................................ (school name) of the University of Lodz, Ms/Mr* ........................................................................................................ (degree/title, name of the Doctoral School Director)
, X. Xxx. Ap. 171-173) or lyric compositions, from Xxxxxx (PMGF 17 and 39) up until Xxxxxxxxx (PMG 791.229-236).261 In music competitions (ancient and modern), the identity of who is speaking is essential for the piece’s public judgment and appreciation.262 Besides, especially for the authorial names ‘Xxxxx’ and ‘Xxxxxx’, what mattered was not so much the historical identity of such names as what these authorial personae represented in terms of performative authorisation. As has been amply illustrated by Xxxxxxx Xxxx, the various rhapsodes performing Homeric or Xxxxxxxx poetry spoke through the authoritative voices of these (putative) first composers/performers, i.e. Xxxxx and Xxxxxx. To some degree, they identified with them, and by means of such identification, Homeric and Xxxxxxxx performances were always and continuously authenticated.263 Similar positions have also been expressed with regard to the seal of Xxxxxxxx (19-28), which has been analysed not as the copyright imprinted by an historical figure to his own work, but rather as the device codifying and authorising a body of gnomic and aristocratic poetry for future reperformances.264 The authorship of compositions in performance and the related processes of authorisation do not exclusively depend on the identity of the first composer/performer – whether a real poet or a mythical figure – but can also entail further and more complex relationships between the original authorial voice and what the actual performers may 260 For instance, if we attend the concert of our favourite singer-song writer, or even of our favourite pop artist, it is essential that it is they on the stage, not someone else, performing their own songs. 261 On these passages, cf. Xxxxxx 2004: 13-19; Xxxxxxxx 2011: 513. On Xxxxx and Xxxxxx as ‘authors’, see infra n. 263. 262 On public judgment and appreciation in Hellenistic audiences, cf. Chaniotis 2009. 263 On Xxxxx as ‘author’, see Xxxx 1979: 297-300; Xxxx 1990: 22, 372-377; Xxxx 1996: 19, 62f., 70- 74, 80f., 86, 150, 220. On Hesiod as ‘author’, see Xxxx 1979: 296f.; Xxxx 1990a: 47-50; Xxxx 1992. 264 See x.x. Xxxx 1985; Xxxxxx 2017a. impersonate on stage. This is especially apparent in choral lyric and in those ambiguous cases that are the first-person forms. Xxxx (1990: 339-381) deals with similar issues in Alcman’s Partheneion 1, by showing how the authorship of the composition (in performance) lies in the authority of the Choregus (itself a fictional character), an authority whic...
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, X. 21. When possible keep the proposed manholes out of the roadway. When the manholes are constructed in the roadway they should be placed in the center of the travel lane and not in the wheel path.
, X. Xx. (full name of the doctoral student) entitled …........................................................................................................................................ .......................................................................................................................................................... (proposed title/title of the doctoral dissertation) The responsibilities of the doctoral supervisor and assisting supervisor during education in the doctoral school are defined respectively in § 5(9) and § 5(10) of the Regulations of the Doctoral School ............................................................................................................................................... Responsibilities of the doctoral supervisor/assisting supervisor*: Consultations with the doctoral student Consultations will take place at the time and in the form agreed between the doctoral student and the doctoral supervisor/assisting supervisor*.
, X. Xxxxxxx.................... - X. Xxxxxxxx................... - A. Styler..................... - X. Xxxxxxx....................
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