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21 – 30 of 341Charles Margerison and Barry Smith
Managers as Actors Those of us who manage are playing on an organisational stage every day. We enter early every morning to take up our roles, whether it is as chief executive…
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Managers as Actors Those of us who manage are playing on an organisational stage every day. We enter early every morning to take up our roles, whether it is as chief executive, marketing manager, personnel adviser, production executive or any of the numerous other roles that have to be performed if work is to be done effectively.
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This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do…
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This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art.
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WE open our new volume in circumstances of hope. The recent developments of the war give real encouragement to the expectation that a few more months of endurance may see if not…
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WE open our new volume in circumstances of hope. The recent developments of the war give real encouragement to the expectation that a few more months of endurance may see if not the end of war, at least its prospect. For many work has been pursued recently in circumstances of difficulty and, occasionally, of danger, but we do not know of any library which has closed for any length of time because of enemy action. Those in the South of England have had anxious hours; for a few days book issues went down, and thus the experiences of the autumn of 1940 were repeated. Such fluctuations are not likely to be permanent or even long‐lasting. For librarians, as for all our people, there is now evidence that before the volume we begin today is complete, we may be able to give undivided attention to libraries.
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This chapter examines the acts of burial and exhumation in three contemporary British history plays. For the purposes of this argument, a ‘history play’ may be defined as a piece…
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This chapter examines the acts of burial and exhumation in three contemporary British history plays. For the purposes of this argument, a ‘history play’ may be defined as a piece of writing for the theatre that engages with historical events or settings. Such plays inevitably, at the moment of their staging or revival, take on particular meanings for audiences, since theatre as a live, durational art form encourages spectators to compare the historical events depicted with their present historical moment. The chapter argues that acts of burial and exhumation in contemporary British theatre are intimately tied to notions of land, soil and belonging. These became increasingly pertinent ideas in the UK’s political climate in the years following the 2016 Referendum on membership of the European Union. Of the three case studies, Victoria by David Greig (2000) dates from more than a decade before this vote, whilst Common by D. C. Moore (2017), and Eyam by Matt Hartley (2018) were written and staged in the interim between the Referendum result and the UK’s withdrawal from the EU. All three, however, feature corpses on stage as a means to consider time, temporality, place and history. Each play offers a different interpretation of what it means to play dead and to stay dead.
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You must attach clear, specific meanings to words, i.e. be able to identify their referents in reality…. All philosophical con games count on your using words as vague…
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You must attach clear, specific meanings to words, i.e. be able to identify their referents in reality…. All philosophical con games count on your using words as vague approximations. You must not take a catch phrase – or any abstract statement – as if it were approximate. Take it literally. Don’t translate it, don’t glamorize it, don’t make the mistake of thinking, as many people do: “Oh, nobody could possibly mean this!” and then proceed to endow it with some whitewashed meaning of your own. Take it straight, for what it does say and mean. Instead of dismissing the catch phrase, accept it – for a few brief moments. Tell yourself, in effect: “If I were to accept it as true, what would follow?” This is the best way of unmasking any philosophical fraud…. To take ideas seriously means that you intend to live by, to practice, any idea you accept as true. Philosophy provides man with a comprehensive view of life. In order to evaluate it properly, ask yourself what a given theory, if accepted, would do to a human life, starting with your own (Rand, 1982, p. 16).We begin this chapter by taking Ayn Rand’s advice. We project – by means of a fictional story – what it would be like for a businessman to accept and live by the philosophy of postmodernism.
The following classified, annotated list of titles is intended to provide reference librarians with a current checklist of new reference books, and is designed to supplement the…
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The following classified, annotated list of titles is intended to provide reference librarians with a current checklist of new reference books, and is designed to supplement the RSR review column, “Recent Reference Books,” by Frances Neel Cheney. “Reference Books in Print” includes all additional books received prior to the inclusion deadline established for this issue. Appearance in this column does not preclude a later review in RSR. Publishers are urged to send a copy of all new reference books directly to RSR as soon as published, for immediate listing in “Reference Books in Print.” Reference books with imprints older than two years will not be included (with the exception of current reprints or older books newly acquired for distribution by another publisher). The column shall also occasionally include library science or other library related publications of other than a reference character.