Human error is cited over and over as a cause of incidents and accidents. The result is a widespread perception of a 'human error problem', and solutions are thought to lie in changing the people or their role in the system. For example, we should reduce the human role with more automation, or regiment human behavior by stricter monitoring, rules or procedures. But in practice, things have proved not to be this simple. The label 'human error' is prejudicial and hides much more than it reveals about how a system functions or malfunctions. This book takes you behind the human error label. Divided into five parts, it begins by summarising the most significant research results. Part 2 explores how systems thinking has radically changed our understanding of how accidents occur. Part 3 explains the role of cognitive system factors - bringing knowledge to bear, changing mindset as situations and priorities change, and managing goal conflicts - in operating safely at the sharp end of systems. Part 4 studies how the clumsy use of computer technology can increase the potential for erroneous actions and assessments in many different fields of practice. And Part 5 tells how the hindsight bias always enters into attributions of error, so that what we label human error actually is the result of a social and psychological judgment process by stakeholders in the system in question to focus on only a facet of a set of interacting contributors. If you think you have a human error problem, recognize that the label itself is no explanation and no guide to countermeasures. The potential for constructive change, for progress on safety, lies behind the human error label.
Once in a generation an essay is written that can rouse the Inhabitants of America and change our understanding of ourselves and the world in which we live. This is such an essay. Like his namesake, Paine articulates common sense ideas about science, politics, religion, and psychology, among other things. His belief that "life is adventure" has given him an optimistic outlook on life, despite the world's problems.
This book initiates a conversation about blue ecocriticism: critical, ethical, cultural, and political positions that emerge from oceanic or aquatic frames of mind rather than traditional land-based approaches. Ecocriticism has rapidly become not only a disciplinary legitimate critical form but also one of the most dynamic, active criticisms to emerge in recent times. However, even in its institutional success, ecocriticism has exemplified an "ocean deficit." That is, ecocriticism has thus far primarily been a land-based criticism stranded on a liquid planet. Blue Ecocriticism and the Oceanic Imperative contributes to efforts to overcome ecocriticism’s "ocean-deficit." The chapters explore a vast archive of oceanic literature, visual art, television and film, games, theory, and criticism. By examining the relationships between these representations of ocean and cultural imaginaries, Blue Ecocriticism works to unmoor ecocriticism from its land-based anchors. This book aims to simultaneously advance blue ecocriticism as an intellectual pursuit within the environmental humanities and to advocate for ocean conservation as derivative of that pursuit.
Set in 1884, Hell on the Border tells the story of Deputy U.S. Marshal Bass Reeves at the peak of his historic career. Famous for being a crack shot as well as for his nonviolent tendencies, Reeves uses his African American race to his strategic advantage. Along with a tramp or cowboy disguise, Reeves appears so nonthreatening that he often positions himself close enough to the outlaws he is pursuing to arrest them without bloodshed. After a series of heroic feats of capturing and killing infamous outlaws—most notably Jim Webb—and an introduction to Belle Starr, Reeves finds himself in the Fort Smith jail, charged with murder. This second book in the Bass Reeves Trilogy investigates what really happened when Reeves made the greatest mistake of his life on the heels of his greatest achievements.
Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about the links between colonialism, the Europeans' image of Africans, Africans' changing self representation, and the impact of global trade on cultural artifacts and the making of art. This intriguing history of the interaction between peoples, aesthetics, morals, artistic objects and practices, and the global trade in African art challenges current ideas about artistic production and representation.
Times are tough in and around the Little Brown House! The widowed Mrs. Pepper has to sew all day long just to earn enough to pay the rent and to feed the five growing Peppers. But she faces poverty and trouble with a stout heart, a smiling face, and the help of her jolly brood: blue-eyed Ben, the eldest and the man of the house at the age of 11; pretty Polly, so eager to cook for the family and make everyone happy and comfortable; and the three littlest Peppers, Joel, Davie, and baby Phronsie. The Pepper family would soon become beloved by readers all over America. Young people avidly followed the adventures of Ben, Polly, Joel, Davie, and Phronsie. While faced with many plausible trials and obstacles they remain eternally optimistic in the face of adversity, and reflect the real life issues of so many of their readers. Their universally appealing wholesome values and lives are not burdened with a heavy moralising tone which was present in many other popular works of the day. A favorite of children, parents, and teachers for generations, this heartwarming classic first appeared in 1880. Since then, it has inspired countless young imaginations with its tender tales of the ways in which courage and good cheer can overcome adversity. 10% of the profit from the sale of this book will be donated to charities. ==================== KEYWORDS/TAGS: the stories Polly Pepper told, Ann, ants, Araminta, arm, bad breath, bag, bags, basket, bear, beautiful, bed, Beebe, begged, Ben, better, Betty, bird, boys, Brook, Brown house, care, cheeks, chicken, children, corner, cried, cross, cry, Dave, David, Davie, dear, Dick, door, dreadful, dreadfully, end, everybody, exclaimed, eyes, fat, Father, fine, flew, glad, going, goose, Grandpapa, gray, green, hair, hand, hard, head, held, help, hiding place, hop, hopped, hundred, hurry, indeed, Jasper, Joe, Joel, Joey, jump, kitchen, kittle brown house, lady, laugh, laughed, like, little, Little, long, looked, loud, lovely, Lucy, made, Mamsie, Mamsie, man, mean, middle, minute, Mother, Mrs, Pepper, Nutcracker, old, Percy, perfect, Phronsie, Phronsie’s, pink, poor, pray, pretty, promised, queer, red, Richard, roared, robbers, screamed, shaking, shoes, show, sigh, Silly, single, sit, Sophia, splendid, sticks, stone, stories, stove, stuck, suddenly, table, tears, three, together, took, tumble, turn, umbrella, Van, voice, white, Whitney, wish, woman, work, worse, yellow,
Leading a burgeoning self-critical moment in composition studies and writing program administration, Postcomposition is a fundamental reconsideration of the field that attempts to shift the focus away from pedagogy and writing subjects and toward writing itself. In this forceful and reasoned critique of many of the primary tenets and widely accepted institutional structures of composition studies, Sidney I. Dobrin delivers a series of shocks to the system meant to disrupt the pedagogical imperative and move beyond the existing limits of the discipline. Dobrin evaluates the current state of composition studies, underscoring the difference between composition and writing and arguing that the field's focus on the administration of writing students and its historically imposed prohibition on theory greatly limit what can be understood about writing. Instead he envisions a more significant approach to writing, one that questions the field's conservative allegiance to subject and administration and reconsiders writing as spatial and ecological. Using concepts from ecocomposition, spatial theory, network theory, complexity theory, and systems theory, Postcomposition lays the groundwork for a networked theory of writing, and advocates the abandonment of administration as a useful part of the field. He also challenges the usefulness of rhetoric in writing studies, showing how writing exceeds rhetoric. Postcomposition is a detailed consideration of how posthumanism affects the field's understanding of subjectivity. It also tears at the seams of the "contingent labor problem." As he articulates his own frustrations with the conservatism of composition studies and builds on previous critiques of the discipline, Dobrin stages a courageous-and inevitably polemical-intellectual challenge to the entrenched ideas and assumptions that have defined composition studies.
Why, after several generations of suffrage and a revival of the women's movement in the late 1960s, do women continue to be less politically active than men? Why are they less likely to seek public office or join political organizations? The Private Roots of Public Action is the most comprehensive study of this puzzle of unequal participation. The authors develop new methods to trace gender differences in political activity to the nonpolitical institutions of everyday life--the family, school, workplace, nonpolitical voluntary association, and church. Different experiences with these institutions produce differences in the resources, skills, and political orientations that facilitate participation--with a cumulative advantage for men. In addition, part of the solution to the puzzle of unequal participation lies in politics itself: where women hold visible public office, women citizens are more politically interested and active. The model that explains gender differences in participation is sufficiently general to apply to participatory disparities among other groups--among the young, the middle-aged, and the elderly or among Latinos, African-Americans and Anglo-Whites.
In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare. The collection is divided into four sections: studying the text as a script for performance; exploring Shakespeare by performing; implementing specific techniques for getting into the plays; and working in different classrooms and settings. The contributors offer a rich variety of topics, including: working with cues in Shakespeare, such as line and mid-line endings that lead to questions of interpretation seeing Shakespeare’s stage directions and the Elizabethan playhouse itself as contributing to a play’s meaning using the "gamified" learning model or cue-cards to get into the text thinking of the classroom as a rehearsal playing the Friar to a student’s Juliet in a production of Romeo and Juliet teaching Shakespeare to inner-city students or in a country torn by political and social upheavals. For fellow instructors of Shakespeare, the contributors address their own philosophies of teaching, the relation between scholarship and performance, and—perhaps most of all—why in this age the study of Shakespeare is so important. Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.