Born in 1747. Lord Timothy Dexter was born in Malden in the Province of Massachusetts Bay. At eight years old, he left school to work on a farm as a laborer, then at 16, he took a trade as an apprentice to a leather crafter. Later in his life he married a 32 year old rich widow named Elizabeth Frothinghamin Newburyport, MA. He was somewhat looked down upon in the upper echelons of the society in which his new wife circled, and they labeled him unintelligent. Ultimately, he had the last laugh due to a brilliant business acumen that amassed him quite a bit of money throughout his life. (Some contest by luck alone.) Published in 1802, A Pickle for the Knowing Ones is largely an autobiography written by Lord Dexter to present himself as a philosopher, aggrandize his role as a political observationist. The whole book, from his opinions to his use of punctuation is a sort of satire, and contains within an unwitting comedic overtone.
Born in 1747. Lord Timothy Dexter was born in Malden in the Province of Massachusetts Bay. At eight years old, he left school to work on a farm as a laborer, then at 16, he took a trade as an apprentice to a leather crafter. Later in his life he married a 32 year old rich widow named Elizabeth Frothinghamin Newburyport, MA. He was somewhat looked down upon in the upper echelons of the society in which his new wife circled, and they labeled him unintelligent. Ultimately, he had the last laugh due to a brilliant business acumen that amassed him quite a bit of money throughout his life. (Some contest by luck alone.) Published in 1802, A Pickle for the Knowing Ones is largely an autobiography written by Lord Dexter to present himself as a philosopher, aggrandize his role as a political observationist. The whole book, from his opinions to his use of punctuation is a sort of satire, and contains within an unwitting comedic overtone.
Lord Timothy Dexter was, by most accounts, a living embodiment of irony. Time and time again he beat insurmountable odds (often, it seems, without realizing they existed) and came out on top (and flush with cash). A farm laborer, with little schooling to speak of, Dexter catapulted himself into the 'Who's Who' of 18th Century New England society through numerous trading endeavors of all sorts. But for all of his quirks, he also seems to have been something of a cruel prankster. Many of the events of his later life would make most men of honor blush with shame. Doubly so when one reviews the treatment his wife endured. This work was originally published as an exercise in vanity. It became inexplicably popular, however, after Dexter freely handed out the first printing. In the second, he addressed the criticisms of 'lack of punctuation' by ending the work with an entire page devoted solely to it, which he suggested the reader insert anywhere they like within the work. The strange book went on to be formally reprinted eight times. This book is - and has remained - one of the oddest, most bizarre publications ever brought to public light. It's difficult to enjoy yet, strangely, it is equally difficult to dismiss.
While some view strategic planning with trepidation, it is one of a museum's strongest tools for improving quality, motivating staff and board members, adapting to environmental changes, and preparing the groundwork for future initiatives. The Manual of Strategic Planning for Museums offers proven methods for successful strategic planning in museums from two experienced leaders in the field.
The Manual of Museum Management, Third Edition presents a comprehensive and detailed analysis of: the principles of museum organization, the ways in which people work together to accomplish museum objectives, and the ways in which museums, large and small, can function most effectively. This new edition offers updated information on the key aspects of museum practice that dominate today – everything from “flatter” organizational models, shared leadership, the efflorescence of digital practice and complexity in the field, museums and social justice, the hard work and positive rewards of community engagement and partnership, platform “balance” to alternative revenue models. All new contemporary “snapshots” provided by practitioners and drawn from museums and galleries around the world bring the principles to life and digitally-accessed links and resources (in the e-book) round out the relevance and usefulness of this third edition.
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