The English verb "manage" comes from the Italianmaneggiare (to handle, especially tools), which derives from the two Latin words manus (hand) and agere (to act).
The French word for housekeeping, ménagerie, derived from ménager ("to keep house"; compare ménage for "household"), also encompasses taking care of domestic animals.
The French word mesnagement (or ménagement) influenced the semantic development of the English word management in the 17th and 18th centuries.
Jesse Porter (Coby Bell) is a former Counterintelligence Field Activity/Defense Intelligence Agency agent introduced in the Season 4 premiere. He was initially stationed in the field, but his risky and impulsive tactical maneuvers led to his being demoted to desk duty. Because of his research on the war-profiteering organization that Management was hunting, Michael stole Jesse's work in the course of his investigation, unintentionally burning Jesse. Jesse came to Michael for help as a fellow burned spy, which Michael accepted. But the fact that Jesse was insistent on exacting revenge on whoever burned him led the team to cover their trails leading to his burning. Left with nothing as Michael was, Jesse moves in as a tenant with Madeline and quickly fits into the team and their regular jobs.
Management is a business simulationboard game released by Avalon Hill in 1960. Players operate their own manufacturing companies, making decisions on purchasing supplies, determining production volume, setting sale prices, and expanding factories. Turns are measured in business cycles. The winner is the player with the largest business at the end of the game. The competitive element is found in the players secretly bidding to purchase limited raw materials (with supplies going to the highest bidders) and then later secretly pricing their finished product for a market that normally would only purchase from the lowest priced suppliers.
An actor (or actress for female) is one who portrays a character in a performance. The actor performs "in the flesh" in the traditional medium of the theatre, and/or in modern mediums such as film, radio, and television. The analogous Greek term is ὑποκριτής(hypokrites), literally "one who interprets". The actor's interpretation of their role pertains to the role played, whether based on a real person or fictional character. Interpretation occurs even when the actor is "playing themselves", as in some forms of experimental performance art, or, more commonly; to act, is to create, a character in performance.
Formerly, in some societies, only men could become actors, and women's roles were generally played by men or boys. In modern times, women occasionally played the roles of prepubescent boys.
After 1660 in England, when women first started to appear on stage, the terms actor or actress were initially used interchangeably for female performers, but later, influenced by the French actrice, actress became the commonly used term for women in theatre and film. The etymology is a simple derivation from actor with ess added. Within the profession, the re-adoption of the neutral term dates to the 1950–1960s, the post-war period when the contributions of women to cultural life in general were being reviewed.Actress remains the common term used in major acting awards given to female recipients.
According to Carl Hewitt, unlike previous models of computation, the Actor model was inspired by physics, including general relativity and quantum mechanics. It was also influenced by the programming languages Lisp, Simula and early versions of Smalltalk, as well as capability-based systems and packet switching. Its development was "motivated by the prospect of highly parallel computing machines consisting of dozens, hundreds or even thousands of independent microprocessors, each with its own local memory and communications processor, communicating via a high-performance communications network." Since that time, the advent of massive concurrency through multi-core computer architectures has revived interest in the Actor model.
Actors (original title: Les Acteurs) is a 2000 French comedy film directed by Bertrand Blier.
A collection of portraits of actors (exclusively men, with the exception of Josiane Balasko interpreting André Dussollier) who meet and tell their stories in a more or less structured manner. They describe their craft with a certain ironic distance.