95,52 zł

Understanding Greek Vases - A Guide to Terms, Styles, and Techniques Getty Trust Publications

Książki / Literatura obcojęzyczna

What is a pyxis? Who was the Amasis Painter? How did Greek vases get their distinctive black and orange colours? This volume offers definitions and descriptions of these and many other Greek vase shapes, painters and techniques encountered in museum exhibitions and publications. There is discussion of how to look at Greek vases and on the conservation of ancient ceramics. The concise definitions are divided into two sections, one on potters and painters and another on vase shapes and technical terms relating to the construction and decoration of the vases. Featuring numerous colour illustrations of Greek vases, many from the Getty Museum's collection, the work should be useful to students, scholars, and those wishing to obtain a greater understanding of Greek ceramics and a heightened enjoyment of them.

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106,28 zł

Adventure Cycle-Touring Handbook Trailblazer Publications

Książki / Literatura obcojęzyczna

'...the definitive guide to how, where, why and what to do on a cycle expedition...' Adventure Travel Magazine (UK) Every cyclist dreams of making the Big Trip, the Grand Cycle Tour abroad. Whether that s a two-week trip or a year-long journey, the Adventure Cycle-Touring Handbook is the comprehensive manual that will make that dream a reality. Riding across Asia, cycling in Africa or pedaling from Patagonia to Alaska, whether you're planning your own Big Trip or just enjoy reading about other people's adventures, the Handbook is guaranteed to illuminate, entertain and above all, inspire. This fully revised 3rd edition includes: PART 1 Practical information How to prepare for a long-distance trip What to look for in a new bike with reviews of some of the world s best touring- and trekking-bikes Adapting a standard bike for the Big Ride Choosing components, equipment for the road and reviews of camping gear Health precautions, inoculations, visas, money and safety PART 2 Worldwide route outlines Across Europe, Asia, Australasia, North and South America and Africa; recommended routes within countries and overland. Everything from popular routes eg India s Leh-Manali Highway to lesser-known cycle-touring areas such as Mongolia. PART 3 Tales from the Saddle Ten first-hand accounts of spoke-bending biking adventures worldwide. Introduction Why are so many people going bike touring these days? A minority pastime during the heyday of the car, cycling has once again become a popular choice for travelling especially for long overseas trips. The first cycle-touring craze began in the 1870s. Then, as now, the bicycle offered a revolutionary way of touring: you go exactly where you want, when you want, and all under your own steam. This was before the age of the car and walking or riding a horse were the only other options until the bicycle. In 1885 the Rover Safety Bicycle came along, and for all the innovation since then, most modern touring bicycles would be recognizable to a Victorian, as would their derailleur gears. Bike touring is undergoing a boom at the moment but it is really one of many periodic rediscoveries. Bicycle design, components and gear are evolving to suit the changing needs and tastes of people. It s a combination of experimentation and using tried and tested designs, such as the 'diamond' frame of the Rover Safety Bicycle. The Adventure Cycle-Touring Handbook is all about looking at what people are choosing and using: what kind of bikes, what gear and what destinations are being chosen by today s bike tourers. There are many reasons for taking a bike on your next long trip. My own guess as to why bike touring is back in fashion is that many travellers get burned out by backpacking, which really amounts to travelling by bus and train for most of the time. Buses are certainly fast but they go from one noisy town to another, leaving little possibility of exploring the spaces in between, the places where the bus doesn t stop. Others use bikes to go even further off the beaten track: they want to go where buses don t go at all and perhaps where other vehicles cannot get to either. Paul Woloshansky built his own racks to carry extra gear after being told all too often: 'There s a prettier way to go but there s nothing out there at all.' Other adventurers, such as Sweden s Janne Corax (see p122), have said the same thing: there were times when there was no other way of getting to where they wanted to go. You couldn t get there on foot and you couldn t get there in a truck. It was possible only on a bicycle. Half the adventure, though, is in the riding itself. Being out in the fresh air and seeing much more than is possible from a bus or train window is always a good feeling, whether you are wandering around France or riding across India. A lot of today s cycle tourists are interested in the riding but not that interested in bikes. It s a means of transport and a way to carry bags comfortably, while sitting down and enjoying the view. Not everyone is drawn to the high passes of the Andes or the Himalaya but they are all enjoying that same sense of freedom and all that comes with it unexpected discoveries, off-route detours or an impromptu day off when you find a great place to stay. Trips like these are not as arduous as some expeditions but they are every bit as satisfying and they are still adventures, for they allow for spontaneity. And if you are carrying a tent and camping gear, you re prepared for just about any eventuality because you ve always got a place to spend the night. This book looks at the possibilities out there, the different styles of travelling and the basic gear and know-how that you need. We also look at some of the more exciting cycling destinations around the world, complete with suggestions as to which routes to take and what you need to plan a trip in that region. The Adventure Cycle-Touring Handbook does not set out to tell you exactly where to go: it s your adventure, after all. But it s good to have a general idea of a destination and what you re likely to find when you re there and this is what this book aims to do. In the final part of this book we include stories from all around the world, not just about the biking but also about the adventures cyclists had on their journeys. It s the old idea that a bike ride isn t just about the riding but also about the places you were able to get to and the people you got to meet and all because you decided to travel by bicycle."

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61,87 zł

Craftsman's Handbook Dover Publications Inc.

Książki / Literatura obcojęzyczna

PrefaceII The first chapter of the first section of this bookII "How some enter the profession through loftiness of spirit, and some, for profit"III Fundamental provisions for anyone who enters this professionIIII How the schedule shows you into how many sections and branches the occupations are dividedV How you begin drawing on a little panel; and the system for itVI How to draw on several kinds of panelsVII What kind of bone is good for treating the panelsVIII "How you should start drawing with a style, and by what light"VIIII "How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief"X "The method and system for drawing on sheep parchment and on paper, and shading with washes"XI How you may draw with a leaden styleXII "How, if you have made a slip in drawing with leaden style, you my erase it, and by what means"XIII How you should practice drawing with a penXIIII How to learn to cut the quill for drawingXV How you should advance to drawing on tinted paperXVI How the green tint is made on paper for drawing; and the way to temper itXVII "How you should tint kid parchment, and by which method you burnish it"XVIII How you should tint paper turnsole colorXVIIII How you should tint paper with an indigo tintXX "How you should tint papers with reddish color, or almost peach color"XXI How you should tint papers with flesh colorXXII "How you should tint papers greenish gray, or drab"XXIII How you may obtain the essence of a good figure or drawing with tracing paperXXIIII The first way to learn how to make a clear tracing paperXXV A second way to make tracing paper: with glueXXVI How to make tracing paper out of paperXXVII How you should endeavor to copy and draw after as few masters as possibleXXVIII How you should regulate your life in the interests of decorum and the condition of your hand; and in what company; and what method you should first adopt for copying a figure from high upXXX "How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style"XXXI "How you should draw and shade with washes on tinted paper, and then put lights on with white lead"XXXII How you may put on lights with washes of white lead just as you shade with washes of inkXXXIII How to make good and perfect and slender coals for drawingXXXIIII About a stone which has the character of charcoal for drawing. This ends the first section of this bookIIXXXV The second section of this book: bringing you to the working up of the colorsXXXVI "This shows you the natural colors, and how you should grind black"XXXVII How to make various sorts of blackXXXVIII On the character of the red color called sinoperXXXVIIII "How to make the red called cinabrese, for doing flesh on the wall; and about its character"XL On the character of the red called vermilion; and how it should be worked upXLI On the character of a red called red leadXLII On the character of a red called hematiteXLIII On the character of a red called dragonsbloodXLIIII On the character of a red called lacXLV On the character of a yellow color called ocherXLVI On the character of a yellow color called giallorinoXLVII On the character of a yellow called orpimentXLVIII On the character of a yellow called realgarXLVIIII On the character of a yellow called saffronL On the character of a yellow called arzicaLI On the character of a green called terre-verteLII On the character of a green called malachiteLIII How you make a green with orpiment and indigoLIIII How you make a green with blue and giallorinoLV How you make a green with ultramarine blueLVI On the character of a green called verdigrisLVII How you make a green with white lead and terre-verte; or lime whiteLVIII On the character of lime whiteLVIIII On the character of white leadLX On the character of azuriteLXI To make an imitation of azurite with other colorsLXII "On the character of ultramarine blue, and how to make it"LXIII The importance of knowing how to make brushesLXIIII How to make minever brushesLXV "How you should make bristle brushes, and in what manner"LXVI How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the thirdIIILXVII "The method and system for working on a wall, that is, in fresco; and on painting and doing flesh for a youthful face"LXVIII The method for painting an aged face in frescoLXVIIII The method for painting various kinds of beards and hair in frescoLXX The proportions which a perfectly formed man's body should possessLXXI The way to paint a drapery in frescoLXXII The way to paint on a wall in secco; and the temperas for itLXXIII How to make a violet colorLXXIIII To execute a violet color in frescoLXXV To try to imitate an ultramarine blue for use in frescoLXXVII To paint a shot green drapery in frescoLXXVIII To paint in fresco a drapery shot with ash grayLXXVIIII To paint one in secco shot with lacLXXX To paint one in fresco or in secco shot with each otherLXXXI To paint a greenish-gray costume in fresco or in seccoLXXXII "To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood"LXXXIII "To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue"LXXXIIII "To make a black drapery for a monk's or friar's robe, in fresco and in secco"LXXXV "On the way to paint a mountain, in fresco or in secco"LXXXVI "The way to paint trees and plants and foliage, in fresco and in secco"LXXXVII "How buildings are to be painted, in fresco and in secco"LXXXVIII The way to copy a mountain from nature. This ends the third section of this bookIVLXXXVIIII "How to paint in oil on a wall, on panel, on iron, and where you please"LXXXX How you should start for working in oil on a wallLXXXXI "How you are to make oil, good for a tempera, and also for mordants, by boiling with fire"LXXXXII How good and perfect oil is made by cooking in the sunLXXXXIII "How you should work up the colors with oil, and employ them on the wall"LXXXXIIII "How you should work in oil on iron, on panel, on stone"LXXXXV The way to embellish with gold or with tin on a wallLXXXXVI How you should always make a practice of working with fine gold and with good colorsLXXXXVII "How you should cut the golden tin, and embellish"LXXXXVIII How to make green tin for embellishingLXXXXVIIII "How to make the golden tin, and how to lay fine gold with this vermeil"C "How to fashion or cut out the stars, and put them on the wall"CI How you can make the diadems of the saints on the wall with this tin gilded with fine goldCII How you should model up a diadem in lime mortar on a wallCIII How from the wall you enter upon panel-painting. This ends the fourth section of the bookVCIIII The system by which you should prepare to acquire the skill to work on panelCV How you make batter or flour pasteCVI How you should make cement from mending stonesCVII How to make cement for mending dishes of glassCVIII "How fish glue is used, and how it is tempered"CVIIII "How goat glue is made, and how it is tempered; and how many purposes it will serve"CX A perfect size for tempering gessos for anconas or panelsCXI A size which is good for tempering blues and other colorsCXII To make a glue out of lime and cheese. This ends the fifth section of this bookVICXIII How you should start to work on a panel or anconasCXIIII How you should put cloth on a panelCXV How the flat of a panel should be gessoed with the slice with gesso grossoCXVI How to gesso sottile for gessoing panelsCXVII How to gesso an ancona with gesso sottile; and how to temper itCXVIII How you may gesso with gesso sottile without having gessoes with gesso grosso firstCXVIIII How you should temper and grind gesso sottile for modelingCXX How you should start to scrape down an ancona flat gessoed with gesso sottileCXXI "How the gesso sottile on the flats should be scraped down, and what these scrapings are good for"CXXII "How to draw on panel with charcoal, to begin with, and to fix it with ink"CXXIII How you should mark out the outlines of the figures for gilding the groundsCXXIIII "How to model on a panel with gesso sottile, and how to mount precious stones"CXXV How you should cast a relief for embellishing areas of anconasCXXVI How to plaster reliefs on a wallCXXVII How to model with mortar on a wall the say you model with gesso on panelCXXVIII "How to take reliefs from a stone mold, and how they are good on wall and on panel"CXXVIIII How you may model on a wall with varnishCXXX How you may model on a wall with waxCXXXI "How to lay bole on panel, and how to temper it"CXXXII "Another way to temper bole on panel, for gilding"CXXXIII How you may gild on panel with terre-verteCXXXIIII How to gild on panelCXXXV What stones are good for burnishing this gildingCXXXVI How to prepare the stone for burnishing goldCXXXVII "How you should burnish the gold, or mend matters in case it could not get burnished"CXXXVIII "Now I will show you how to burnish, and in what direction, especially a flat"CXXXVIIII "What gold is good for burnish and mordant gilding, and what thickness"CXL "How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures"CXLI How to design gold brocades in various colorsCXLII How to execute gold or silver brocadesCXLIII Several rules for cloths of gold and silverCXLIV "How to do velvet, wool, and silk"CXLV How to paint on panelCXLVI How to make draperies in blue and purpleCXLVII How to paint facesCXLVIII How to paint a dead manCXLVIX How to paint woundsCL How to paint waterVIICLI "A short section on mordant gilding. How to make a standard mordant, and how to gild with it"CLII How to control the drying of the mordantCLIII How to make a mordant out of garlicVIIICLIV Introduction to a short section on varnishingCLV When to varnishCLVI How to make a painting look as if it were varnishedIXCLVII "A short section on illuminating: first, how to gild on parchment"CLVIII Another kind of size: for grounds onlyCLIX How to make and use mosaic goldCLX How to grind gold and silver for use as colorsCLXI Colors for use on parchmentXCLXII "A section dealing with work on cloth: first, painting and gilding"CLXIII Various ways to do hangingsCLXIV How to draw for embroiderersCLXV "How to work on silk, on both sides"CLXVI How to paint and gild on velvetCLXVII How to lay gold and silver on woolen clothCLXVIII How to make devices out of gilded paperCLXIX How to model crests or helmetsCLXX How to do caskets or chestsXICLXXI "A short section on operations with glass: first, for windows"CLXXII How to gild for reliquary ornamentsCLXXII Arrangements for drawing on this glassCLXXII How to draw on the gilded glassCLXXII How to scrape the gold off the backgroundsCLXXII How to back up the drawing with colorsXIICLXXII "Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost"CLXXII Mosaic of quill cuttingsCLXXII "Mosaic of crushed eggshells, painted"CLXXII Mosaic of paper or foilCLXXII "Mosaic of eggshells, gilded"XIIICLXXIII "A section dealing with miscellaneous incidental operations: first, block printing on cloth"CLXXIV How to gild a stone figureCLXXV The dangers of a wet wall for frescoCLXXV Preliminary precautions against moistureCLXXV Waterproofing with boiled oilCLXXVI Waterproofing with pitchCLXXVI Waterproofing with liquid varnishCLXXVII How to distemper inside walls with greenCLXXVIII How to varnish terre-verteCLXXIX How to clean off the paint after you have made up a face CLXXX The perils of indulgence in cosmeticsCLXXXI "The final section, devoted to methods of casting, begins here"CLXXXII How to take a life maskCLXXXIII The breathing tubesCLXXXIV The operations of casting the matrixCLXXXIV How to cast this waste moldCLXXXV How to cast whole figuresCLXXXVI How to make a cast of your own personCLXXXVII Castings in gesso for use on panelCLXXXVIII How to cast medalsCLXXXIX How to make a mold from a seal or coinIndex

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59,89 zł

Little Eyes Oneworld Publications

Książki / Literatura obcojęzyczna

They look harmless enough: you could even call them cute. A cuddly panda, a brightly-coloured dragon, a miniature crow. They're part of the latest craze exploding from Croatia to Norway to Brazil: they are 'Kentukis'. Not quite a phone, not quite a toy, not quite a robot, Kentukis contain cameras which allow someone on the other side of the planet to access the most intimate moments of another person's life. And it doesn't take long for these apparently innocent devices to fall prey to our dark obsession with technology. Reminiscent of the very best of Black Mirror, Kentukis is a chilling portrait of our compulsively interconnected society. Schweblin irresistibly pulls the reader into an unsettling, unforgettable world of voyeurism, narcissism, and the sinister reality that lies beneath the most seductive of masks.

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64,04 zł

Rackham's Fairy Tale Illustrations Dover Publications Inc.

Książki / Literatura obcojęzyczna

List of PlatesLITTLE BROTHER AND LITTLE SISTER AND OTHER TALES BY THE BROTHERS GRIMM1 "She took off her golden garter and put it round the roe-buck's neck ("Little Brother and Little Sister")"2 "The end of his beard was caught in a crack in the tree ("Snow-White and Rose-Red)"3 "The third time she wore the star-dress which sparkled at every step ("The True Sweetheart")"4 "Suddenly the branches twined round her and turned into two arms ("The Old Woman in the Wood")"5 "He played until the room was entirely full of gnomes ("The Gnomes")"6 "What did she find there but real ripe strawberries ("The Three Little Men in the Wood")"7 "The waiting maid sprang down first and Maid Maleen followed ("Maid Maleen")"8 "She begged quite prettily to be allowed to spend the night there ("The Hut in the Forest")"SNOWDROP AND OTHER TALES BY THE BROTHERS GRIMM9 "The Dwarfs, when they came in the evening, found Snowdrop lying on the ground ("Snowdrop")"10 "The King could not contain himslef for joy ("Briar Rose")"11 "The young Prince said, "I am not afraid; I am determined to go and look upon the lovely Briar Rose" ("Briar Rose")"12 "Ashenputtel goes to the ball ("Ashenputtel")"13 "The fishes, in their joy, stretched up their head above the water, and promised to reward him ("The White Snake")"14 "So the four brothers took their sticks in their hands, bade their father good-bye, and passed out of the town gate ("The Four Clever Brothers")"15 "The King's only daughter had been carried off by a dragon ("The Four Clever Brothers")"16 "She went away accompanied by the lions ("The Lady and the Lion")"17 "Alas! Dear Falada, there thou hangest ("The Goosegirl")"18 "Bow, blow, little breeze, And Conrad's hat seize ("The Goosegirl")"19 "Good Dwarf, can you not tell me where my brothers are? ("The Water of Life")"20 "The son made a circle, and his father and he took their places within it, and the little black Manniken appeared ("The King of the Golden Mountain")"21 "But they said one after another: "Halloa! Who has been eating off my plate? Who has been drinking out of my cup?" ("The Seven Ravens")"22 "The beggar took her by the hand and led her away ("King Thrushbeard")"HANSEL AND GRETHEL AND OTHER TALES BY THE BROTHERS GRIMM23 "All at once the door opened and an old, old woman, supporting herself on a crutch, came hobbling out ("Hansel and Grethel")"24 "Hansel put out a knuckle-bone, and the old woman, whose eyes were dim, could not see it, and thought it was his finger, and she was much astonished that he did not get fat ("Hansel and Grethel")"25 "Once there was a poor old woman who lived in a village ("The Straw, the Coal, and the Bean") "26 "So she seized him with two fingers, and carried him upstairs ("The Frog Prince")"27 "The cat stole away behind the city walls to the church ("The Cat and Mouse in Partnership")"28 "The witch climbed up ("Rapunzel")"29 "When she got to the wood, she met a wolf ("Red Riding Hood")"30 "O Grandmother, what big ears you have got" she said ("Red Riding Hood")"31 "The old man had to sit by himself, and ate his food from a wooden bowl ("The Old Man and His Grandson")"THE ALLIES' FAIRY BOOK32 "In a twinkling the giant put each garden, and orchard, and castle in the bundle as they were before ("The Battle of the Birds")"33 "If thou wilt give me this pretty little one," says the king's son. "I will take thee at they word" ('"The Battle of the Birds")"34 "Now, Guleesh, what good will she be to you when she'll be dumb? It's time for us to go-but you'll remember us, Guleesh")"35 "The sleeping Princess ("The Sleeping Beauty")"36 "So valiantly did they grapple with him that they bore him to the ground and slew him ("Cesarino and the Dragon")"37 "The birds showed the young man the white dove's nest ("What Came of Picking Flowers")"38 "Art thou warm, maiden? Art thou warm, pretty one? Art thou warm, my darling?" ("Frost")"39 "Nine peahens flew towards the tree, and eight of them settled on its branches, but the ninth alighted near him and turned instantly into a beautiful girl ("The Golden Apple-Tree and the Nine Peahens")"40 "The dragon flew out and caught the queen on the road and carried her away ("The Golden Apple Tree and the Nine Peahens")"ENGLISH FAIRY TALES41 "Mr. And Mrs. Vinegar at home ("Mr. And Mrs. Vinegar")"42 "Somebody has been at my porriedge, and has eaten it all up!" ("The Story of the Three Bears")"43 "The giant Cormoran was the terror of all the country-side ("Jack the Giant-Killer")"44 "Tree of mine! O tree of mine! Have you seen my naughty little maid?" ("The Two Sisters")"45 "Fee-fi-fo-fum, I smell the blood of an Englishman" ("Jack and the Beanstalk")"46 "She went along, and went along, and went along ("Catskin")"47 "They thanked her and said good-bye, and she went on her journey ("The Three Heads of the Well")"48 "Many's the beating he had from the broomstick or the ladle ("Dick Whittington and his Cat")"49 "When Puss saw the rats and mice she didn't want to be told ("Dick Whittington and his Cat")"50 "She sat down and plaited herself an overall of rushes and a cap to match ("Caporushes")"IRISH FAIRY TALES51 "In a forked glen into which he slipped at night-fall he was surrounded by giant toads ("Becuma of the White Skin")"52 "My life became a ceaseless scurry and wound and escape, a burden and anguish of watchfullness" ("The Story of Tuan Mac Cairill")"53 "She looked angry woe at the straining and snarling horde below ("The Wooing of Becfola")"Headpiece [on title page] By day she made herself into a cat . . .Tailpiece [following Plate 53] . . . or a screech owl

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488,60 zł

Narrative Methods for Organizational & Communication Research SAGE Publications Inc

Książki / Literatura obcojęzyczna

'The book is a unique and excellent introduction to postmodern narrative analyses' - Organization Studies '[This book] should succeed in putting the metaphorical cat amongst just about every metaphorical pigeon that might imaginably take flight within the organization and communication research arenas. Story time will never be the same again, nor will interpretative research' - Stewart Clegg, University of Technology, Sydney 'Timely and first rate. It nicely stretches a reader's thinking about the topic' - Thomas Lee, University of Washington, School of Business 'David Boje is a pioneering theorist in organization studies and management...[His book] is yet another example of Boje's pioneering spirit and concern for exactitude. [His] scholarly account of narrative and antenarrative methods is both corrective and exploratory of how stories must be understood in terms of their own internal dynamics, and not viewed as static entities. Boje's book is a magnificent start...A book that breaks new ground in organizational analysis, this is a must-read for researchers and practitioners in the fields of organization and management studies' - Adrian Carr, University of Western Sydney 'Boje masterfully shows how to analyze texts and ideas before they are reduced and fitted into the dominant ideological frameworks of the day.[He] provides a powerful tool for achieving greater democracy in how we approach doing social science...[and] liberates our capacity to make meanings for ourselves' - Paul Hirsch, Northwestern University, Kellogg Graduate School of Management 'This is an important book. It is a major methodological contribution to critical, postmodern studies of organizations and management. It is essential reading for critical management scholars' - Robert P. Gephart, Jr., University of Alberta School of Business 'David Boje has emerged as the leading postmodern thinker in management theory and organization science. His prolific output lights the path for others to follow in a field awakening to the challenge of postmodern critical theory. Updating and revising narrative theory for the prevailing "postmodern condition," Boje masterfully reconstructs the concepts and methods of storytelling, as he subverts the dominant principles of modernist organization theory. He offers a subtle and complex notion of narrative...This impressive book should leave an indelible mark on management and organization studies' - Steven Best, University of Texas, El Paso An essential guide for academics and researchers needing to look at alternative discourse analysis strategies.As a research tool, narrative methods have become increasingly useful in organization studies, where much research involves the interpretation of 'stories' in some form. This methodology can be applied where qualitative story analyses can help to assess interview, newspaper or web document stories for research projects. In this book, Boje sets out eight analysis options that can deal with storytelling, recognizing that stories in organizations can be self-destructing, flowing, networking and not at all static. In so doing, he shows ways in which narrative methods can be supplemented by 'antenarrative' methods, where fragmented and collective storytelling can be interpreted. A valuable resource that will be widely used in organizational or communications research, for graduate level qualitative methods seminars and by researchers wanting to do story analysis. David Boje is Professor at the New Mexico State University. He is also on the editorial board of the journal Organization.

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372,54 zł

Preparing Dinosaurs MIT Press Ltd

Książki / Literatura obcojęzyczna

An investigation of the work and workers in fossil preparation labs reveals the often unacknowledged creativity and problem-solving on which scientists rely.Those awe-inspiring dinosaur skeletons on display in museums do not spring fully assembled from the earth. Technicians known as preparators have painstakingly removed the fossils from rock, repaired broken bones, and reconstructed missing pieces to create them. These specimens are foundational evidence for paleontologists, and yet the work and workers in fossil preparation labs go largely unacknowledged in publications and specimen records. In this book, Caitlin Wylie investigates the skilled labor of fossil preparators and argues for a new model of science that includes all research work and workers.Drawing on ethnographic observations and interviews, Wylie shows that the everyday work of fossil preparation requires creativity, problem-solving, and craft. She finds that preparators privilege their own skills over technology and that scientists prefer to rely on these trusted technicians rather than new technologies. Wylie examines how fossil preparators decide what fossils, and therefore dinosaurs, look like; how labor relations between interdependent yet hierarchically unequal collaborators influence scientific practice; how some museums display preparators at work behind glass, as if they were another exhibit; and how these workers learn their skills without formal training or scientific credentials.The work of preparing specimens is a crucial component of scientific research, although it leaves few written traces. Wylie argues that the paleontology research community's social structure demonstrates how other sciences might incorporate non-scientists into research work, empowering and educating both scientists and nonscientists.

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159,77 zł

LA Graffiti Black Book Getty Trust Publications

Książki / Literatura obcojęzyczna

Many graffiti artists carry sketchbooks, called black books, and they ask crew members and others whose work they admire to inscribe their books with lettering or drawings. A few years ago, the Getty Research Institute invited artists, including Angst, Axis, Big Sleeps, Chaz, Cre8, Defer, EyeOne, Fishe, Heaven, Hyde, Look, ManOne, and Prime, to consider the idea of a citywide graffiti black book. During visits to the Getty Center, the artists viewed rare books related to calligraphy and letterforms, including works by Albrecht Durer and Leonardo da Vinci.The artists instantly recognized the connections to their own practices and were particularly drawn to a liber amicorum (book of friends), a form of autograph book popular in the seventeenth century. Passed from hand to hand, it was filled with signatures, poetry, and coats of arms, like a black book from another era. Inspired by this meeting of minds across centuries, these artists became both creators and curators, crafting their own pages and inviting others to contribute.Eventually 150 Los Angeles artists decorated 143 individual pages. These were bound together into an exquisite artists' book that became known as the Getty Graffiti Black Book. This publication reproduces each page from the original artists' book and recounts the story of an unprecedented collaboration across the diverse artistic landscape of Los Angeles.

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114,67 zł

How to be a Billionaire John Wiley & Sons Inc

Książki / Literatura obcojęzyczna

"A truly enlightening work filled with fundamental strategies that have worked for others.Martin Fridson documents the essential principles inherent in every billionaire's success." -Gordon Bethune Chairman of the Board and CEO Continental Airlines Self-made billionaires all have one thing in common: they excel at making money. But hard work, thrift, and focus are only part of the story-you hold the rest of it in your hands. How to Be a Billionaire is the first comprehensive picture of the real strategies and tactics that built the great business fortunes of modern times. Packed with engaging accounts of titans like Ross Perot, Richard Branson, Phil Anschutz, John D. Rockefeller, Wayne Huizenga, Bill Gates, J. Paul Getty, and Kirk Kerkorian, How to Be a Billionaire will show you principles that can increase your wealth and business acumen to the mogul level. How to Be a Billionaire looks at the careers, the methods, and the minds of self-made billionaires to distill the common keys to titanic accumulations of wealth. Each chapter explores a specific strategy and brings it to life through extended profiles of past and present masters of the art of making money.Do you think innovation is the best way to prosper in business? Sam Walton, founder of the Wal-Mart retail chain, would tell you otherwise. The key to Walton's success was supreme devotion to copying the methods of other successful discounters. What could be less complicated than buying low and selling high? But the ascent of Warren Buffett, John Kluge, and Laurence Tisch to billionaire status depended on much more than an eye for good bargains. And if you're looking to thrive by outmanaging the competition, look no further than Richard Branson. When the founder of Virgin Atlantic needed to reduce his staff by 400 people, 600 volunteered to take off a few months on sabbatical. How to Be a Billionaire identifies the methods, beliefs, and behaviors every businessperson must understand and emulate to reach the pinnacle of riches. A manual for success that can benefit every aspiring tycoon, it is a fascinating read for anyone intrigued by wealth and how it's gotten. Praise for HOW TO BE A BILLIONAIRE "How to Be a Billionaire offers fascinating insight into the subject of building wealth.As a result of his exhaustive research, Martin Fridson is able to explain the wealth-creation process from a unique perspective. As the reader will discover, there is no single formula for success, but there are certain categories into which these concepts can be placed. My personal advice is to remember the words of Winston Churchill who said, 'Success is the ability to go from one failure to another with no loss of enthusiasm.'" -Ross Perot "Martin Fridson has created the ultimate roadmap to the American Dream. He comes as close to extracting a formula for the acquisition of wealth as any book I have ever read." -Jeff Sagansky CEO, Paxson Communications "Martin Fridson's book has a number of very insightful and thoughtful analyses, something you don't pick up in many business schools." -Philip F. Anschutz Chairman and CEO, The Anschutz Corporation "How to Be a Billionaire is a powerful arsenal of dead-on strategies for increasing your personal wealth and business acumen. Marty Fridson details the tactics of self-made billionaires with great intelligence and insight. I wish this book had been available when I was starting my career."-Spencer Hays Founder, Tom James Company Executive Chairman, Southwestern/Great American, Inc. Chairman, Athlon Publications

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216,72 zł

Minorities of one. Skeptical naturalism in ethics Unigrafia

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Publications of the Faculty of Social Sciences 49 (2017) Social and Moral Philosophy This dissertation aims to provide an alternative way to look at morality. This means changing the traditional division of labour in metaethics between moral semantics and moral psychology. This gives grounds for disconnecting morality from moral judgments and strengthening the connection to human well-being. Finally, in at least one area of applied ethics, in business ethics, this means acknowledging the minorities of one, the unique individuals as the vital actors whose very individuality is the most valuable resource for promoting our wealth and well-being. It also means organising our society in a way that allows the widest possible individual liberty. Concentrating on moral psychology means following the thought expressed by Adam Smith in The Theory of Moral Sentiments that we study how actual human beings make moral judgments. This has been done in many areas outside philosophy. It appears that our moral judgments are mostly driven by their possible consequences to us, not any thoughts about judging in a coherent manner the deeds done. Our actual morality thus appears to mostly concern our own well-being. Also, the moral judgments appear to be consequences or post hoc rationalisations of the preceding choices, decisions, or judgments made subconsciously and under framing and priming effects. In other words, we are guided more by our instincts and situational factors than any theoretical deliberations. This accumulated knowledge conflicts with our philosophical tradition about normative human nature. Skeptical naturalism in ethics means acknowledging the obvious: a lot of people believe in objective moral facts and some construct elaborate arguments to defend this belief, but so far there is no empirical evidence to support either the belief or the arguments. A different approach is recommendable. As Smith puts it, we have a propensity to truck, barter, and exchange one thing for another, which means that we are ultra-social animals. We constantly observe our conspecifics and interpret their actions as intentional behaviour. We also instinctively care for their well-being, and these prosocial actions of ours are more dependent on our prosocial emotions than our prosocial judgments. Our social coherence thus depends more on our inhibitions than our prohibitions. It depends mostly on our generally decent behaviour which is most probably produced by the biological, not the cultural evolution. We can use the effects of the biological evolution on the level of cultural evolution by designing our commercial and social institutions accordingly. We can acknowledge that our wealth and well-being depend on our individuality, our different ways of seeing life and world and thus our different aspirations, desires, and evaluations that make possible our division of labour. This drives voluntary exchange and innovation which produce our wealth and well-being.

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67,30 zł

Finger Monkeys or Pygmy Marmosets as Pets. Including information on baby finger monkeys, finger monkey adoption, cage setup, breeding, colors, facts, Atticus Publications

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This guide is all about helping you understand finger monkeys and what they are like. This includes a look at what you can do when getting one as a pet. You will learn about every critical aspect associated with having a finger monkey through this guide. This will profile information on how to take care of such a monkey, how to keep a healthy habitat intact and the legal considerations associated with having one. You will even learn about how to keep your budget for your finger monkey intact. Wendy Davis, a renown author, pet trainer, animal coach and lover for over 15 years in the local scene. She brings yet another straight forward and comprehensive guide to owning a Finger Monkey. She is considered the go-to person for any sound pet advice and information. Everything you need to know about the tiniest breed of monkeys from the Amazon. This is the must have guide and informative book for anyone who is interested in owning their very own Finger Monkey.

Sklep: Libristo.pl

Sklepy zlokalizowane w miastach: Warszawa, Kraków, Łódź, Wrocław, Poznań, Gdańsk, Szczecin, Bydgoszcz, Lublin, Katowice

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