2015 Reprint of 1957 Edition. Full facsimile of the original edition. Not reproduced with Optical Recognition Software. "Active Listening," first developed by Rogers and Farson, is a therapeutic technique designed to promote positive change in the client. Active listening is a communication technique used in counselling, training and conflict resolution, which requires the listener to feed back what they hear to the speaker, by way of re-stating or paraphrasing what they have heard in their own words, to confirm what they have heard and moreover, to confirm the understanding of both parties. It continues to have a lasting influence to this day.
In The Innovation Paradox, Richard Farson and Ralph Keyes argue that failure has its upside, success its downside. Both are steps toward achievement, and the two extremes are not as distinct as we imagine. In today's business economy, it's not success or failure -- it's success and failure that lead to genuine innovation. History's great innovators, from Thomas Edison and Charles Kettering to Bill Gates and Jack Welch, saw failure as an important stepping-stone -- and with this groundbreaking book, you too can learn how to become more failure tolerant, more risk friendly, and therefore more innovative. Today's most prominent businesspeople agree that The Innovation Paradox has the formula for failure and success down to a science, Make no mistake: If you're looking to reinvent yourself, your ideas, or your business model, this book is your sure-fire way to start.
A "Business Week" bestseller, this original, contrarian philosophy challenges today's leaders to look past the quick fix and deal thoughtfully with the real complexities of managing people.
Active Listening is a short 1957 work by Drs. Carl R. Rogers and Richard E. Farson, two influential American psychologists. The work brings the counselling technique of active listening to the layperson, demonstrating how it can be applied to interactions between an employee and employer. Carl R. Rogers (1902-1987) was one of the pioneers of the "client-centered" approach to psychotherapy. He is considered one of the founding fathers of modern psychotherapy research and is widely regarded among others in the field as the most influential psychotherapist of all time - viewed even more highly than Sigmund Freud. Dr. Rogers served as a professor of psychology at the University of Chicago, where he set up the university's counselling and research clinic, the Industrial Relations Center. He wrote many books on psychotherapy, and in later years, travelled the world to bring his theories to areas of great political and social strife like Northern Ireland, South Africa, and Brazil. Richard E. Farson (1926-2017) had already completed his bachelor's and master's degrees when he met Dr. Rogers in 1949. Dr. Rogers invited Farson to continue his studies with him at the University of Chicago. Farson became Dr. Rogers' research assistant while he completed his Ph.D. in psychology and began counselling at the Industrial Relations Center. Dr. Farson held leadership positions in a number of research institutions. He co-founded the Western Behavioral Sciences Institute, where he served as president and CEO. He was later appointed as the founding dean of the California Institute of the Arts School of Design and served as president of the Esalen Institute. Drs. Rogers and Farson collaborated on many projects, including 1957's Active Listening. They also led a 16-hour group therapy session that was recorded and released as a film called Journey Into Self. The film won the 1968 Academy Award for Best Documentary. Active Listening describes a method of communication used in counselling and conflict resolution. Rather than serving as a passive participant in a conversation, active listeners take a functional role in helping the speaker to work out their issues. As the speaker shares, the listener repeats back what they've heard in their own words. This both confirms that they've heard the speaker and verifies that they understand. Unlike the way many of us instinctively communicate - trying to get another to see things from our own perspective - active listening requires that we see things from the speaker's perspective. The listener must address not only the meaning of the words, but also the feeling behind them, in order to make the speaker truly feel heard. These feelings can be conveyed through words, tone, volume, body language, and even breathing. This method is not without risks. It can be tempting to lose your sense of self in the practice of sensing the feelings of another person. As Drs. Rogers and Farson put it, "It takes a great deal of inner security and courage to be able to risk one's self in understanding another." In contrast to many psychological texts, Active Listening is written for the non-clinician or psychologist. In plain, everyday language, the book explains both the concepts of active listening and how they can be applied to the workplace. Employers who engage in active listening, the book argues, can help employees to become more cooperative, less argumentative, and clearer in their own communication. While the book is written in the context of the employee/employer relationship, the technique can be applied to all relationships in our lives. The concept is still highly influential, and Drs. Rogers and Farson's ideas about client-centered psychology are used in clinical practice today.
Before Cliff Richard and the Shadows, there was nothing worth listening to in British music.' - John Lennon. Cliff Richard tells his story, in his own words, in his highly anticipated new autobiography. Achieving a hit in every decade since the 1950s, Cliff Richard stands alone in pop history. Coming of age in 1950s London, he began his music career at Soho's legendary 2i's Cafe, and now he's approaching his 80th birthday with record sales of over 250m and counting. Cliff Richard was a pioneer, forging the way for British rock 'n' roll with his unique sound. The original British teen idol, his incredible story takes us into the studio of TV's first pop show Oh Boy!, through 40 years of Top of the Pops, and playing live up and down the country and across the world, with a constant backdrop of screaming fans. Cliff looks back on his humble upbringing, and how he went on to fulfil his wildest dreams by becoming a pop star and even a film star. He talks about finding Christianity, reflects on the ups and downs of life in the public eye, and reveals how the false allegations against him changed his life forever. He's seen era-defining pop stars come and go, and he's still making new music, with a new project to be released this year. As a teenage Elvis-fan in Cheshunt, this may have seem a distant dream. Here's his story of how he made it all happen.
“An illustrated history of good old-fashioned entertainment from names like Tessie O’Shea, George Formby, and the early days of Bruce Forsyth.” —Yours As one of the richest sources of diversion for the people of Britain between the end of the First World War and the 1960s, the variety theater emerged from the embers of music hall, a vulgar and rambunctious entertainment that had held the working classes in thrall since the 1840s. Music hall bosses decided they would do better business if a man going to theaters on his own could take his wife and children with him, knowing they would see or hear nothing that would scandalize them. So variety, a gentler, less red-blooded entertainment was gradually established. At the top of the profession were Gracie Fields, a peerless singer and comedienne, and Max Miller, a comic who was renowned for being risqué, but who, in fact, never cracked a dirty joke. They were supported by acts that matched the word variety: ventriloquists, drag artists, animal acts, acrobats, jugglers, magicians and many more. But the variety theater was constantly under threat, first from revue, then radio, the cinema, girlie shows, the birth of rock ’n’ roll and finally television. By the end of the 1950s, the variety business seemed to have given up, but the recent and extraordinary popularity of talent shows on television has proved the public appetite is still there. Variety could be about to start all over again. “A priceless record of the people who entertained several generations between the wars and, for a brief time, after WWII . . . thoroughly entertaining.” —Books Monthly
Eric Hobsbawm's works have had a nearly incalculable effect across generations of readers and students, influencing more than the practice of history but also the perception of it. Born in Alexandria, Egypt, of second-generation British parents, Hobsbawm was orphaned at age fourteen in 1931. Living with an uncle in Berlin, he experienced the full force of world economic depression, and in the charged reaction to it in Germany was forced to choose between Nazism and Communism, which was no choice at all. Hobsbawm's lifelong allegiance to Communism inspired his pioneering work in social history, particularly the trilogy for which he is most famous--The Age of Revolution, The Age of Capital, and The Age of Empire--covering what he termed "the long nineteenth century" in Europe. Selling in the millions of copies, these held sway among generations of readers, some of whom went on to have prominent careers in politics and business. In this comprehensive biography of Hobsbawm, acclaimed historian Richard Evans (author of The Third Reich Trilogy, among other works) offers both a living portrait and vital insight into one of the most influential intellectual figures of the twentieth century. Using exclusive and unrestricted access to the unpublished material, Evans places Hobsbawm's writings within their historical and political context. Hobsbawm's Marxism made him a controversial figure but also, uniquely and universally, someone who commanded respect even among those who did not share-or who even outright rejected-his political beliefs. Eric Hobsbawm: A Life in History gives us one of the 20th century's most colorful and intellectually compelling figures. It is an intellectual life of the century itself.
The music hall ...had no place for reticence; it was downright, it shouted, it made noise, it enjoyed itself and made the people enjoy themselves as well.' W.J. MACQUEEN POPE??Music Hall lies at the root of all modern popular entertainment. With stars such as Marie Lloyd, Harry Lauder and Dan Leno, it reached its glorious, brassy height between 1890 and the First World War. In the first book on this subject for many years, Richard Anthony Baker whisks us off on a colourful and nostalgic tour of the rise and fall of British music hall.??At the beginning of the nineteenth century people sang traditional songs in taverns for entertainment. This was so popular that rooms started to be added to inns for shows to be staged, and, before long, songs were being specially composed and purpose-built theatres were springing up everywhere. ??Britain's working class had, for the first time, its own form of public entertainment and its own breed of stars. The colour and vitality attracted serious writers and artists, as well as the future Edward VII, and music hall became simultaneously the haunt of the working classes and the avant-garde.??Including stories of a clergyman who wrote music-hall sketches, a hall in Glasgow where luckless entertainers were pulled off stage by a long hooked pole, and Cockney dictionaries that helped Americans understand touring British performers, this book is a hugely engaging slice of social history, rich in humour, tragedy and bathos.??As featured on BBC Radio Lincolnshire and in the Sunderland Echo.
A psychologist proposes a restructured American society in which children can vote, work, reject compulsory education, choose their guardians, and enjoy the other privileges of adulthood
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