How to Communicate With Difficult People A survival Guide How well do you cope with difficult people in trying situations? Do you loose your cool and your temper? Or do you turn the situation into a win-win one by your skillful handling of some of the following situations: the office back stabber who talks about you at the coffee machine; the person who takes credit for the work that you have done; the boss who puts a hand on your knee under the table at a business meeting. What do you do if you get caught in the middle of a feud between two co-workers? How do you tell your husband that your feelings are hurt when he fails to bring your flowers for your anniversary? How to Communicate With Difficult People has answers to these questions and more. Based on the thousands of training sessions that Anne Kimbell and Karen Wilson have done with clients from major corporations all over the country. This book reaches into the back drawers of office politics and tells you what to say and how to say it to extricate your self from difficult situations. Now in its second edition, this book has helped people of all ages stay on top in the office and at home.
When Rick Harrison, an ex-CIA officer, gets a call from an old contact to make a quick trip to Tunisia to check out a suspected plot to export poison gasses to renegade African countries, he doesn't know what he is in for. Having just received a call from his ex-wife telling him that his seventeen-year-old son has just disappeared without a trace in the same country, he reluctantly takes the assignment. While searching for his son he uncovers a plot that threatens to set the whole of North Africa ablaze. With the help of Janine simms, a beautiful and tough CIA operative, he exposes a plot, which implicates some of the world's top industrialists.
Janine Simms a beautiful and talented CIA agent, is faced with one of the most difficult tasks of her career. She is given a double challenge by her bosses in The Agency: Uncovering the leaders of al Qaida in Paris and discovering the whereabouts of a missing Saudi Princess. Janine enlists the help of her former lover, Rick Harrison, who invites her to Algeria to protect a visiting French/Algerian woman Minister, and to help him discover who is trying to sabotage his water purification project for the Bay of Algiers. In the process of a visit to the Casbah, Janine discovers that all is not as it seems with the princesss disappearance, or with the Algerian businessmen who are funding Ricks restoration project. Finally, on her return to Paris, she follows a lead to Grasse in the south of France to search for a princess who does not wish to be found.
Analyzing the artistic patronage of famous and lesser known women of Renaissance Mantua, and introducing new patronage paradigms that existed among those women, this study sheds new light the social, cultural and religious impact of the cult of female mystics of that city in the late fifteenth and early sixteenth century. Author Sally Hickson combines primary archival research, contextual analysis of the climate of female mysticism, and a re-examination of a number of visual objects (particularly altarpieces devoted to local beatae, saints and female founders of religious orders) to delineate ties between women both outside and inside the convent walls. The study contests the accepted perception of Isabella d'Este as a purely secular patron, exposing her role as a religious patron as well. Hickson introduces the figure of Margherita Cantelma and documents concerning the building and decoration of her monastery on the part of Isabella d'Este; and draws attention to the cultural and political activities of nuns of the Gonzaga family, particularly Isabella's daughter Livia Gonzaga who became a powerful agent in Mantuan civic life. Women, Art and Architectural Patronage in Renaissance Mantua provides insight into a complex and fluid world of sacred patronage, devotional practices and religious roles of secular women as well as nuns in Renaissance Mantua.
The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to ‘becoming creative’ books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can – and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets.
The Santa Maria di Firenze, the venerable Benedictine abbey located in the heart of Florence, is the subject of this book. Leader's richly illustrated, interdisciplinary study examines the abbey's history during the Renaissance.
Creative Practice Ethnographies focuses on the intersection of creative practice and ethnography and offers new ways to think about the methods, practice, and promise of research in contemporary interdisciplinary contexts. How does creative practice inform new ways of doing ethnography and vice versa? What new forms of expression and engagement are made possible as a result of these creative synergies? By addressing these questions, the authors highlight the important roles that ethnography and creative practice play in socially impactful research. This book is aimed at interdisciplinary researchers, scholars, and students of art, design, sociology, anthropology, games, media, education, and cultural studies.
The Teaching of Science in Primary Schools provides essential information for all concerned with primary school education about all aspects of teaching science. It pays particular attention to inquiry-based teaching and learning because of the more general educational benefits that follow from using this approach. These benefits are often expressed in terms of developing general scientific literacy and fostering the ability to learn and the motivation to continue learning. This book also aims to help teachers focus on the ‘big’ or powerful ideas of science rather than teaching a series of unrelated facts. This leads children to an understanding of the nature, and limitations, of scientific activity. This fully expanded and updated edition explores: The compelling reasons for starting science in the primary school. Within-school planning in the context of less prescriptive national requirements. The value of having in mind the ‘big ideas’ of science. The opportunities for children to learn through greater access to the internet and social networking. The expanding sources of materials and guidance now available to teachers on-line. Greater attention to school and teacher self-evaluation as a means of improving provision for children’s learning. The importance for both teachers and learners of reflecting on the process and content of their activities. Other key aspects of teaching, such as:- questioning, the importance of discussion and dialogue, the formative and summative roles of assessment and strategies for helping children to develop understanding, skills, positive attitudes and enjoyment of science, are preserved. So also is the learner-centred approach with an emphasis on children learning to take some responsibility for their activities. This book is essential reading for all primary school teachers and those on primary education courses.
The first publication on the Yorùbá master sculptor Moshood Olúṣọmọ Bámigbóyè Bámigbóyè: A Master Sculptor of the Yorùbá Tradition is the first monograph dedicated to the 50-year career of the Nigerian artist Moshood Olúṣọmọ Bámigbóyè (ca. 1885–1975). One of the most important Yorùbá sculptors of the twentieth century, Bámigbóyè is best known for the spectacular masks that he carved for religious festivals known locally as Ẹpa. Weighing up to 80 pounds and measuring over 4 feet tall, with intricate superstructures that could feature dozens of finely carved individual figures, these masks represent some of the most complex and elaborate works of Yorùbá art ever made. With 190 illustrations, this sumptuous volume presents masterpieces from Bámigbóyè’s workshop now housed in collections in America, Europe, and Nigeria. Essays situate Bámigbóyè’s work as part of Africa’s oldest and most dynamic art traditions and consider his sculpture in relation to contemporary Yorùbá art, culture, politics, and religion. With new and archival photographs and incorporating oral histories conducted with the artist’s family and community, this catalogue fills a critical void in African art-historical scholarship. Distributed for the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery (September 9, 2022–January 8, 2023)
Clothing appears in all forms of figurative painting, often taking up two thirds of a frame; yet it can often go unnoticed. Far more than a simple means of identifying the status or occupation of a figure, clothes and cloth are used creatively by artists to hint at ambiguities in character, adjust the emotional temperature, direct the eye or make subtle allusions. Drawing on works by artists over a period of six centuries, from Giotto to El Greco, Matisse to Cindy Sherman, the author reveals through paintings, fashion plates, photographs and film stills how drapery in art evolved from Renaissance extravagance to Neoclassical simplicity at the end of the 18th century, and has extended to infinite uses in all genres of Modern art. First published in 2002 to accompany an exhibition of the same name at the National Gallery, London, this beautifully illustrated - and beautifully written - book by pioneering art historian and critic Anne Hollander, is reissued with a new Foreword by Valerie Steele. As penetrating and insightful as when it was first published, it remains a must-read for today's generation of students and anyone with an interest in art and fashion.
A companion volume to Primary School Teaching and Educational Psychology, this book concerns itself with the day-to-day business of teaching in a secondary school. Throughout the book four themes reoccur: that teachers can best understand the development of children by observing their learning and their relationships within school; that assessment and evaluation are integral to effective teaching; that effective teaching and learning depend on both teacher and child being able to monitor own progress and to find solutions to problems that occur; and finally that there must be explicit recognition of the common-ground between educational psychology and other disciplines such as sociology, philosophy and the history of education.
Each volume in this new series offers an in-depth exploration of one major work in MoMA's collection. Through a lively illustrated essay by a MoMA curator that examines the work in detail, the publication delves into aspects of the artist's oeuvre and places the work in a broader social and arthistorical context.
The Dutch history painter Joachim Wtewael is widely admired for his astonishing small paintings on copper. The Getty Museum's Mars and Venus Surprised by Vulcan is one of his finest works in this unusually demanding medium. Though only eight inches high, this Mannerist painting contains eleven figures in three different spaces, captured in a dramatically charged moment from the famous story told by Ovid in his Metamorphoses. The author's detailed analysis of Wtewael's painting also serves as a fine introduction to Dutch art of the Golden Age. Illustrated with seventy reproductions of paintings, drawings, etchings, and decorative objects, Anne W. Lowenthal's study ranges over the broad historical and cultural context in which Mars and Venus was created.
Ces Actes du Colloque XV pour l'etude du dessin sous-jacent et de la technologie dans la peinture (Bruges, 11-13 septembre 2003), reunissent trente-six etudes traitant d'oeuvres d'art flamand, espagnol, portugais, italien et francais. Ces etudes sont suivies, comme dans les Actes precedents, d'une bibliographie de l'infrarouge.Depuis de nombreuses annees on sait que la peinture ancienne est constituee - outre d'oeuvres dites "originales" - de copies, de repliques et de pastiches, produites dans des ateliers actifs qui faisaient appel a des collaborations. Les bases sur lesquelles on avait fonde jadis les catalogues des maitres sont ebranlees. De nombreuses attributions doivent etre revues. Les auteurs du present volume ont porte leur effort dans ce sens, examinant d'un oeil critique le statut des peintures et les indices qui permettent de reconnaitre l'original de la copie. Certains auteurs traitent de procedes de copies, de l'usage de cartons, modeles et papiers perfores, mais egalement de couleurs, d'encres, d'enduits, de technique picturale ... D'autres auteurs tentent de preciser le nombre de collaborateurs dans les ateliers. D'autres encore s'interessent a une methode d'examen, comme la radiographie, pour l'exploiter afin de distinguer au mieux la main du maitre de celle du copiste.
This book explores the extent to which European Community law confers upon individuals the right to gain access to public services in other Member States. Are European citizens and third country nationals who have moved to other Member States entitled to claim minimum subsistence benefits,to receive medical care or to be admitted to education? Does Community law provide for a freedom of movement for patients, students and persons in need of social welfare benefits? If so, to what extent does Community law have regard for the Member States' fears for, and concerns about, welfare tourism? Besides addressing numerous detailed questions on the precise degree to which Community law allows for cross-border access to public services, the author analyses how Community law, and the Court of Justice in particular, have sought to reconcile the Community's objectives of realising freedom of movement and ensuring equality of treatment with the need to develop and maintain adequate social services within the Community. In addition, the book contains a detailed analysis of United States constitutional law on cross-border access to public services, exploring the question whether the European Community can possibly learn from the American experience.
From 1921 until 1948, Paul J. Sachs (1878–1965) offered a yearlong program in art museum training, “Museum Work and Museum Problems,” through Harvard University’s Fine Arts Department. Known simply as the Museum Course, the program was responsible for shaping a professional field—museum curatorship and management—that, in turn, defined the organizational structure and values of an institution through which the American public came to know art. Conceived at a time of great museum expansion and public interest in the United States, the Museum Course debated curatorial priorities and put theory into practice through the placement of graduates in museums big and small across the land. In this book, authors Sally Anne Duncan and Andrew McClellan examine the role that Sachs and his program played in shaping the character of art museums in the United States in the formative decades of the twentieth century. The Art of Curating is essential reading for museum studies scholars, curators, and historians.
One of the most forward-looking artists of the eighteenth century, Jean Honoré Fragonard (1732–1806) was a virtuoso draftsman whose works on paper count among the great achievements of his time. This book showcases Fragonard's mastery and experimentation in a range of media, from vivid red chalk to luminous brown wash, as well as etching, watercolor, and gouache. With essays that focus on the role of drawing in his creative process and provide a modern reevaluation of his graphic work, the book offers fresh perspectives on this innovative and independent artist, who began his career in the Rococo era but lived through and adapted to changing times in France, and who chose to leave the more defined path of official patronage in order to work for private clients. Unlike many earlier painters who used drawings primarily as preparatory tools, Fragonard explored their potential as works of art in their own right, ones that permitted him to work with great freedom and allowed his genius to shine. The 100 featured works come from New York collections, public and private, balancing a mix of well-loved masterpieces, new discoveries, and works that have long been out of the public eye. Fragonard: Drawing Triumphant illuminates the approach of a ceaselessly inventive artist whose draftsmanship was at the core of his remarkable body of work.
Jean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France. Whether sculpting a head of state, an intellectual, or a young child, Houdon had an uncanny ability to capture the essence of his subject with a characteristic pose or expression. Yet until now, Houdon's exquisite sculptures have never been the subject of a major exhibition. This lavish exhibition catalogue will immediately take its rightful place as the definitive work on Houdon. With more than one hundred color plates and two hundred black and white halftones, Jean-Antoine Houdon: Sculptor of the Enlightenment illustrates every stage of the sculptor's fascinating career, from his early portrayals of Louis XVI and Marie Antoinette to his stunning portraits of American patriots such as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, and Thomas Jefferson. Indeed the images we hold dear of legendary Enlightenment figures like Diderot, Rousseau, d'Alembert, and Voltaire are based on works by Houdon. More than mere representations, these sculptures provide us fascinating, intimate glimpses into the very core of who these figures were. Houdon's genius animated even his less illustrious subjects, like his portraits of his family and friends, and filled his sculptures of children with delicacy and freshness. Accompanying the images of Houdon's masterworks are four insightful essays that discuss Houdon's views on art (based in part on a newly discovered manuscript written by the artist) as well as his prominence in the highly varied cultures of eighteenth-century France, Germany, and Russia. From aristocrats to revolutionaries, actors to philosophers, Houdon's amazingly vivid portraits constitute the visual record of the Enlightenment and capture the true spirit of a remarkable age. Jean-Antoine Houdon finally gives these gorgeous works their due.
Agency in Archaeology is the first critical volume to scrutinise the concept of agency and to examine in-depth its potential to inform our understanding of the past. Theories of agency recognise that human beings make choices, hold intentions and take action. This offers archaeologists scope to move beyond looking at broad structural or environmental change and instead to consider the individual and the group Agency in Archaeology brings together nineteen internationally renowned scholars who have very different, and often conflicting, stances on the meaning and use of agency theory to archaeology. The volume is composed of five theoretically-based discussions and nine case studies, drawing on regions from North America and Mesoamerica to Western and central Europe, and ranging in subject from the late Pleistocene hunter-gatherers to the restructuring of gender relations in the north-eastern US.
One of the most imaginative and fascinating artists of eighteenth-century France, Edme Bouchardon (1698-1762) was instrumental in the transition from Rococo to Neoclassicism and in the artistic rediscovery of classical antiquity. Much celebrated in his time, Bouchardon created some of the most iconic images of the age of Louis XV. His oeuvre demonstrates a remarkable variety of themes (from copies after the antique to subjects of history and mythology, portraiture, anatomical studies, ornament, fountains and tombs), media (drawings, sculptures, medals, prints), and techniques (chalk, plaster, wax, terracotta, marble, bronze). With five essays by experts on Bouchardon's sculpture and graphic arts, more than 140 catalogue entries, and a detailed chronology, this book aims to demonstrate the originality of Bouchardon's art within the cultural and social context of the period, while suggesting the subtle relationship between, as well as the relative autonomy of, the artist's two careers as a sculptor and a draftsman. This lavishly illustrated publication represents an unprecedented and thorough survey on this major and unique artist from the Age of Enlightenment, offering indepth scholarship based on unpublished material.
For long weekends, romantic getaways, family vacations, and business trips, Best Places to Stay is the series to rely on again and again to find the perfect place for your style, budget, and interests. Accurate, discerning reviews of distinctive accommodations in all price ranges.
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