We walk the talk: variable compensation of V-ZUG’s top 80 managers includes a sustainability target. Our sustainability goals cover four key areas. In a broader context, our sustainability goals are deeply anchored in our corporate strategy. Here again, more to come in the current year. In this regard, we are increasing employee engagement, education and well-being. In addition to reducing our carbon (as well as the overall ecological) footprint, our ambition is to make a positive contribution to a more sustainable society. ![]() With the new factory in Sulgen and the full connection of the Zug factory to the Multi Energy Hub, 2023 will see a further step. With a reduction of 15% in 2022, we are making good progress. ✅ is well on track to reduce by 2030 our residual emissions in Scope 1 and 2 by at least 80 percent, ideally 100 percent, compared to 2020. ✅ compensates all residual emissions in Scope 1 and 2 - amounting to roughly 5000 t CO2e in 2022 - at 120 CHF per ton through a dedicated fund administered by the Tech Cluster Zug ✅ has been carbon neutral in Scope 1 and 2 since 2020 In this regard, I am happy to state that V-ZUG: While an attempt to determine a final "truth" about the historical events recounted in "Monsieur X." would be very naive indeed, taking note of the variances between different versions of the story is, again, worthwhile, for such an analysis reveals something about how.This week, we have presented our sustainability achievements in 2022 in our sustainability report.Ī big focus lies on reducing our carbon footprint. If we admit some aspects of Pean's "historical" account to be more accurate than Duras's, to what then can we attribute the inaccuracies in the latter text? Did Duras deliberately fictionalize some details, as she did with Rabier's name, thus making a significant if above-board exception to her unequivocal statement ("It's out of respect for the wife and child of that man, called here Rabier," she writes, "that.I take the precaution of not calling him by his real name" )? Did she change some details in order to render her story more dramatic, as Lesl ie Hill suggests she did in the first autobiographical text in the volume, "La Douleur" (125-26)? Or are the "mistakes" due simply to faulty memory? Certain details in Une Jeunesse that contradict or at least differ from those in La Douleur are presumably verifiable facts (taken from court transcripts or corroborated by several witnesses, for example) and thus seem to belie Duras's prefatory assertion. While some of the differences between Duras's and Pean's accounts can be attributed simply to divergent interpretations of events by the various actors involved, others are more difficult to explain. But taking Duras at her word and investigating discrepancies between her version of the affair and Nan's is a worthwhile task nevertheless, for it sheds light, as I will show, on the very sticky process of turning memories into narrative. Duras's statement can of course be taken simply as artistic hyperbole intended to alert readers of her fiction that "Monsieur X." is indeed a true story, however accurate in its details. But the bold and characteristically impru dent claim Duras makes in the foreword to "Monsieur X.," that "This is a story that is true down to the last detail" (90, 71), does tempt her readers to take interest in counterclaims. ![]() At the time of these events, Francois Mitterr and was the leader of Duras's and Antelme's Resistance group, and in Une Jeunesse francaise : Francois Mitterrand, 1934-47, Pierre Pean offers alternative versions of many of the events Duras recounts in "Monsieur X." That there are differences in these two authors' stories is not surprising. It also tells of the relationship she subsequently maintained with him in order, she says, to obtain information about her husband's whereabouts. "Monsieur X." tells the story of Duras's chance encounter near the end of the Occupation with a French Gestapo agent who several weeks earlier had arrested her husband, Robert Antelme, for involvement in the Resistance. This essay focuses on the second text in the volume, "Monsieur X. Marguerite Duras's La Douleur (1985) is a collection of six disparate texts concerning her experience of World War II.
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