Hey, manager: please shut up already! Too many new managers, often promoted from the best of the front-line workers, lack the basic ability to interact effectively-speaking when they should be listening, and listening... well, not much. And when it comes to more advanced skills like improving worker performance, maximizing productivity, handling customers, and driving real success with their products, all bets are off. With no real background or training in management skills, today's managers-even with experience-too often struggle to engage with their teams, maximize performance, and achieve great results. Here's the newer manager's greatest ally: a quick-start guide that rapidly and accessibly covers the essential skills that good managers need to lead their teams effectively. Building on the simplest possible foundation-Shut Up and Listen!-this guide collects over 250 hints, tips, and tricks developed by an experienced manager and leader over more than a quarter century of technical management. Take your management career from zero to sixty-or discover how to lead your team to the next level-with one quick and easy read.
A brutal, bloody, and at times hopeful history of the vote; a primer on the opponents fighting to take it away; and a playbook for how we can save our democracy before it’s too late—from the former U.S. Attorney General on the front lines of this fight Voting is our most important right as Americans—“the right that protects all the others,” as Lyndon Johnson famously said when he signed the Voting Rights Act—but it’s also the one most violently contested throughout U.S. history. Since the gutting of the act in the landmark Shelby County v. Holder case in 2013, many states have passed laws restricting the vote. After the 2020 election, President Trump’s effort to overturn the vote has evolved into a slow-motion coup, with many Republicans launching an all-out assault on our democracy. The vote seems to be in unprecedented peril. But the peril is not at all unprecedented. America is a fragile democracy, Eric Holder argues, whose citizens have only had unfettered access to the ballot since the 1960s. He takes readers through three dramatic stories of how the vote was won: first by white men, through violence and insurrection; then by white women, through protests and mass imprisonments; and finally by African Americans, in the face of lynchings and terrorism. Next, he dives into how the vote has been stripped away since Shelby—a case in which Holder was one of the parties. He ends with visionary chapters on how we can reverse this tide of voter suppression and become a true democracy where every voice is heard and every vote is counted. Full of surprising history, intensive analysis, and actionable plans for the future, this is a powerful primer on our most urgent political struggle from one of the country's leading advocates.
During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as "a gift from heaven." Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas inspired by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music.
This report examines Russia’s growing use of private military companies (PMCs) to increase its influence through irregular means. In recent years, Moscow has expanded its overseas use of PMCs to countries such as Ukraine, Syria, Libya, Sudan, the Central African Republic, Madagascar, and Mozambique. Many of the PMCs operating in these countries, such as the Wagner Group, frequently cooperate with the Russian government—including the Kremlin, Ministry of Defense (particularly the Main Intelligence Directorate, or GRU), Foreign Intelligence Service (SVR), and Federal Security Service (FSB)—and perform a variety of combat, paramilitary, security, and intelligence tasks. However, many of these PMCs have a poor track record—including operational failures and human rights abuses—and there are opportunities to exploit PMC vulnerabilities. Although Russian PMCs present only one of a variety of national security threats and challenges facing the United States, this report assesses that they warrant a more substantive and coordinated response from the United States and its partners.
“An up-to-date, accurate, comprehensive and lively treatment of . . . arguably one of the bloodiest five hours during the American Civil War.” —The Civil War Gazette The battles at Spring Hill and Franklin, Tennessee, in the late autumn of 1864 were watershed moments in the American Civil War. Thousands of hardened veterans and a number of recruits, as well as former West Point classmates, found themselves moving through Middle Tennessee in the last great campaign of a long and bitter war. Replete with bravery, dedication, bloodshed, and controversy, these battles led directly to the conclusion of action in the Western Theater. Spring Hill and Franklin, which were once long ignored and seldom understood, have slowly been regaining their place on the national stage. They remain one of the most compelling episodes of the Civil War. Through exhaustive research and the use of sources never before published, the stories of both battles come vividly to life in For Cause & For Country. Over 100 pages of material have been added to this new edition, including new maps and photos. The genesis and early stages of the Tennessee Campaign play out in clear and readable fashion. The lost opportunity at Spring Hill is evaluated in great detail, and the truth of what happened there is finally shown based on evidence rather than conjecture. The intricate dynamics of the Confederate high command, and especially the roles of General John Bell Hood and General Frank Cheatham, are given special attention. For Cause & For Country is “a highly complex but skillfully organized, easy-to-follow campaign narrative written in stirring fashion” (Civil War Books and Authors).
Robert Schumann is one of the most intriguing-and enigmatic-composers of the nineteenth century. Extraordinarily gifted in both music and literature, many of his compositions were inspired by poetry and novels. For much of his life he was better known as a music critic than as a composer. But whether writing as critic or composer, what he produced was created by him as a reflection of his often turbulent life. Best known was the tempestuous courtship of his future wife, the pianist Clara Wieck. Though marriage and family life seemed to provide a sense of constancy, he increasingly experienced periods of depression and instability. Mounting criticism of his performance as music director at Dusseldorf led to his attempted suicide in 1854. Schumann was voluntarily committed to an insane asylum near Bonn where, despite indications of improvement and dissatisfaction with his treatment, he spent the final two years of his life. Drawing on original research and newly published letters and journals from the time, author Eric Frederick Jensen presents a balanced portrait of the composer with both scholarly authority and engaging clarity. Biographical chapters alternate with discussion of Schumann's piano, chamber, choral, symphonic, and operatic works, demonstrating how the circumstances of his life helped shape the music he wrote. Chronicling the romance of Robert and Clara, Jensen offers a nuanced look at the evolution of their relationship, one that changed dramatically after marriage. He also follows Schumann's creative musical criticism, which championed the burgeoning careers of Chopin, Liszt, and Brahms and challenged the musical tastes of Europe.
Since the 1970s I have pursued three separate but overlapping and sometimes simultaneous careers: (1) philosopher / writer / teacher / historian of the long nineteenth century, 1789-1914; (2) editor / translator / photographer / publisher / biographer / encyclopedist; (3) cataloging librarian / rare books and special collections librarian / historian of medicine. Somehow these three vocations have garnered me some acclaim, even an entry in Who's Who in America. Each of them has resulted in some published or presented works. Because these works have been scattered in a wide variety of venues, some of which have gone out of print or have otherwise become generally unavailable - and of course with the oral presentations being gone as soon as they are given - I have thought it wise to select, epitomize, and bring them together in one place - here. Thus, what follows in these volumes is what I consider to be the most important of my shorter works.
This book is meant to be disconcerting. It asks many more questions than it answers, but perhaps that is how philosophy should be, especially if the questions posed are capable of rousing interest in a topic and stimulating individual thought. It challenges, sometimes attacks, and even ridicules, various traditions and theoretical positions in the history of the philosophy of art, not for merely destructive or polemical purposes, but rather to encourage insightful readers to proceed beyond these positions in their own minds. Its arguments are not didactic and its conclusions are not dogmatic, but evocative and provisional, in the hope that its readers will confront them with a vigor at least equal to that with which these arguments and conclusions have already confronted the traditional opinions. Its general aims are (1) to try to answer the basic questions: "What is art?" and "What is good art?" and (2) to try to develop a unified theory of art, i.e., a theory which would embrace and be equally applicable to all types and media of art, from architecture to rock songs, from symphonies to sculpture, from Shakespeare to street graffiti. Toward this second aim, it examines the traditional concept of beauty and finds it incoherent, undefinable, philosophically unsatisfactory, and incapable of serving as the ground of any rigorous unified theory of art, because it cannot, without equivocation, be made equally applicable to all sorts of art. Thus, instead of beauty, it proposes the concept of power, which can be clearly and precisely defined and which is not only universally and univocally applicable, but also rich enough as a concept to be able to shed light on the whole idea of art. It is not a difficult book. It is written for people at all levels of erudition from college frosh to tenured professors. It does not aim primarily toward any level, and tries not to pander, but presents interpretations within the philosophy of art which should be both sufficiently original to provide grist for the professors' speculative mills and at the same time sufficiently lucid for beginning students to be able to grasp the main ideas. In short, the book aims to become both a course textbook and a work which will be discussed at scholarly conferences and written about in journal articles. At least with regard to this twofold aim, to be simultaneously intelligible to tyros and interesting to experts, and its consequent claim to a broad audience, it is akin to such works as John Dewey's Art as Experience, Robin Collingwood's The Principles of Art, or Susanne Langer's Philosophy in a New Key.
Beyond 'all vestiges of doubt,' concluded a classified American intelligence report, 'Okawa moved in the best circles of nationalist intrigue.' Okawa's guilt as a conspirator appeared straightforward. But on the first day of the Tokyo trial, he made headlines around the world by slapping star defendant and wartime prime minister Tojo Hideki on the head. Had Okawa lost his sanity? Or was he faking madness to avoid a grim punishment? A U.S. Army psychiatrist stationed in occupied Japan, Major Daniel Jaffe--the author's grandfather--was assigned to determine Okawa's ability to stand trial, and thus his fate. Jaffe was no stranger to madness. He had seen it his whole life: in his mother, as a boy in Brooklyn; in soldiers, on the battlefields of Europe. Now his seasoned eye faced the ultimate test. If Jaffe deemed Okawa sane, the war crimes suspect might be hanged.
In Phenomenology of Spirit (1806) Hegel is often held to have announced the end of history, where 'history' is to be understood as the long pursuit of ends towards which humanity had always been striving. In this, the first book in English to thoroughly critique this entrenched view, Eric Michael Dale argues that it is a misinterpretation. Dale offers a reading of his own, showing how it sits within the larger schema of Hegel's thought and makes room for an understanding of the 'end of history' as Hegel intended. Through an elegant analysis of Hegel's philosophy of history, Dale guides the reader away from the common misinterpretation of the 'end of history' to other valuable elements of Hegel's arguments which are often overlooked and deserve to endure. His book will be of great interest to scholars and advanced students of Hegel, the philosophy of history, and the history of political thought.
In this insightful, erudite history of presidential campaign music, musicologist Benjamin Schoening and political scientist Eric Kasper explain how politicians use music in American presidential campaigns to convey a range of political messages. From “Follow Washington” to “I Like Ike” to “I Got a Crush on Obama,” they describe the ways that song use by and for presidential candidates has evolved, including the addition of lyrics to familiar songs, the current trend of using existing popular music to connect with voters, and the rapid change of music’s relationship to presidential campaigns due to Internet sites like YouTube, JibJab, and Facebook. Readers are ultimately treated to an entertaining account of American political development through popular music and the complex, two-way relationship between music and presidential campaigns.
A comprehensive guide to repairing, adjusting, and maintaining a piano, Pianos: Care and Restoration is suitable for pianists, amateurs, and would-be craftsmen. Eric Smith discusses the tools and materials required for restoration, and provides instructions for the repair and adjustment of the resonant parts, actions, and keyboard most often encountered. The book explains both upright and grand pianos in detail and includes explanations of toning piano hammers and purchasing and restoring older pianos. Illustrated with line drawings and photographs and including a glossary of terms, Pianos: Care and Restoration is an accessible guide which will enable anyone to improve the performance of their piano.
First published in 2006. The social history of music first makes an appearance—even if only sporadically—in treatises which during the seventeenth and eighteenth centuries gave some account of the manners and morals of specific periods, and of these socio-historical writings one of the most comprehensive is Voltaire's Siele de Louis XIV (1751). In this volume the author, without going over too much familiar ground, presents a view of English musical history from the Middle Ages.
Complete score of The Art of Fugue plus extensive commentary features all 14 fugues plus the four canons. The commentary outlines the fugues' contrapuntal devices and offers keen observations on the composer's craftsmanship.
Schumann, Liszt, Wagner, Brahms, Dvorak, Bizet and Rossini are but a few of the composers included in this book. The stories of their lives are accompanied by portraits.
The clarinet has a long and rich history as a solo, orchestral, and chamber musical instrument. In this broad-ranging account Eric Hoeprich, a performer, teacher, and expert on historical clarinets, explores its development, repertoire, and performance history. Looking at the antecedents of the clarinet, as well as such related instruments as the chalumeau, basset horn, alto clarinet, and bass clarinet, Hoeprich explains the use and development of the instrument in the Baroque age. The period from the late 1700s to Beethoven's early years is shown to have fostered ever wider distribution and use of the instrument, and a repertoire of increasing richness. The first half of the nineteenth century, a golden age for the clarinet, brought innovation in construction and great virtuosity in performance, while the following century and a half produced a surge in new works from many composers. The author also devotes a chapter to the role of the clarinet in bands, folk music, and jazz.
This accessible textbook provides an introductory guide to tort law, with a structured explanation of the key concepts and doctrines. Using a comparative approach, the discussion is illustrated with case law and provisions from three key jurisdictions: England, France and Germany. With liberal reference to other codes and cases from around the world, the book gives readers a contextual understanding and will appeal to classes with a global outlook.
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