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Książki & Multimedia > Książki
Opis - Pierwsze na świecie świadectwo ofiary zbrodni honorowej. Miała siedemnaście lat i zakochała się: zhańbiła rodzinę. Więc rodzina wydała na nią wyrok śmierci... Pokochała go pierwszą miłością. Myślała, że się z nią ożeni. Ale ukochany zniknął, a ona odkryła, że jest w ciąży. A w jej świecie to najcięższa zbrodnia... W zapomnianej przez Boga wiosce w Cisjordanii kobiety są warte mniej niż zwierzęta domowe. Tu mężczyzna jest panem życia i śmierci żony, córki, siostry. Brat może bezkarnie zabić siostrę, matka - córkę, kolejną bezużyteczną dziewczynkę, jaka się urodzi. Tu kobiecie odbiera się godność, a nawet życie zgodnie z odwiecznym obyczajem i uświęconą tradycją. A śmierć jest karą dla dziewczyny, która zhańbi rodzinę. Tak jak Souad. Wyrok wydaje jej ojciec. Szwagier dokonuje egzekucji. Oblewa Souad benzyną i podpala... SOUAD przeżyła - cudem, ale rodzina usiłowała zabić ją nawet w szpitalu. Na zawsze jednak pozostanie straszliwie okaleczona - na ciele i duszy. I wciąż musi się ukrywać; dopóki żyje, jej rodzinę okrywa hańba. Spalona żywcem, opublikowana pod pseudonimem szokująca opowieść o piekle, jakim było jej dzieciństwo i młodość, stała się międzynarodowym bestsellerem. Wydana w 37 w krajach książka przerywa tabu milczenia wobec istniejącej nadal w krajach muzułmańskich barbarzyńskiej tradycji. Nieludzkiego obyczaju, prawa mężczyzn, na mocy którego co najmniej pięć tysięcy kobiet pada co roku ofiarą zbrodni honorowej. Nazwa - Spalona Żywcem Wyd. Kieszonkowe Autor - Souad Oprawa - Miękka Wydawca - Amber Kod ISBN - 9788324159406 Kod EAN - 9788324159406 Wydanie - 1 Rok wydania - 2016 Tłumacz - 31182,maria rostworowska; Format - 110 x 175 x 14 Ilość stron - 224 Podatek VAT - 5% Premiera - 2016-06-23
All Through the Night CANTERBURY PRESS NORWICH
Książki / Literatura obcojęzyczna
Night time signifies many things. Apart from the rest and refreshment that sleep brings, the night is a time for gazing at the stars, dreaming and loving. For some it means keeping vigil as they tend the very young, or the sick. For others, it means working so that others may rest peacefully. For most people, there are occasions when the night brings no relief: when we are worried or afraid, trouble never looms larger than in the early sleepless hours. Yet such times can lead to a richer experience of intercession, meditation and contemplation. These experiences of the night are universal and have inspired poetry, prayers, lullabies, songs and stories down the ages. This wide-ranging collection is the perfect bedside companion and will help soothe us to sleep, dispel night time fears and attune us to the gifts and opportunities that each new day brings.
Książki & Multimedia > Książki
Opis - 'Only with the greatest of simplifications, for the sake of convenience, can we say Africa. In reality, except as a geographical term, Africa doesn't exist'. Ryszard Kapuscinski has been writing about the people of Africa throughout his career. In a study that avoids the official routes, palaces and big politics, he sets out to create an account of post-colonial Africa seen at once as a whole and as a location that wholly defies generalised explanations. It is both a sustained meditation on the mosaic of peoples and practises we call 'Africa', and an impassioned attempt to come to terms with humanity itself as it struggles to escape from foreign domination, from the intoxications of freedom, from war and from politics as theft. The Beginning: Collision, Ghana 1958 More than anything, one is struck by the light. Light everywhere. Brightness everywhere. Everywhere, the sun. Just yesterday, an autumnal London was drenched in rain. The airplane drenched in rain. A cold, wind, darkness. But here, from the morning's earliest moments, the airport is ablaze with sunlight, all of us in sunlight. In times past, when people wandered the world on foot, rode on horseback, or sailed in ships, the journey itself accustomed them to the change. Images of the earth passed ever so slowly before their eyes, the stage revolved in a barely perceptible way. The voyage lasted weeks, months. The traveller had time to grow used to another environment, a different landscape. The climate too, changed gradually. Before the traveller arrived from a cool Europe to the burning Equator, he already had left behind the pleasant warmth of Las Palmas, the heat of Al-Mahara, and the hell of the Cape Verde islands. Today, nothing remains of these gradations. Air travel tears us violently out of snow and cold and hurls us that very same day into the blaze of the tropics. Suddenly, still rubbing our eyes, we find ourselves in a humid inferno. We immediately start to sweat. If we've come from Europe in the wintertime, we discard overcoats, peel off sweaters. It's the first gesture of initiation we, the people of the North, perform upon arrival in Africa. People of the North. Have we sufficiently considered the fact that northerners constitute a distinct minority on our planet? Canadians and Poles, Lithuanians and Scandinavians, some Americans and Germans, Russians and Scots. Laplanders and Eskimos, Evenkis and Yakuts - the list is not very long. It may amount to o more than 500 million people: less than 10 per cent of the earth's population. The overwhelming majority live in hot climates, their days spent in the warmth of the sun. Mankind first came into being in the sun, the oldest traces of his existence have been found in warm climes. What was the weather like in the biblical paradise? It was eternally warm, hot even, so that Adam and Eve could go about naked and not feel chilled even in the shade of a tree. Something else strikes the new arrival even as he descends the steps of the airplane: the smell of the tropics. Perhaps he's had intimations of it. It is the scent that permeated Mr Kanzman's little shop, Colonial and Other Goods, on Perec Street in my hometown of Pinsk. Almonds, cloves, dates, and cocoa. Vanilla and laurel leaves, oranges and bananas, cardamom and saffron. And Drohobych. The interiors of Bruno Schulz's cinnamon shops. Didn't their
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1. Crazy Arms (1) (Master) 2. End Of The Road (Master) 3. Born To Lose 4. You're The Only Star (In My Blue Heaven) (1.1) 5. You're The Only Star (In My Blue Heaven) (1.2) 6. Deep Elem Blues (1) 7. Deep Elem Blues (2) 8. Silver Threads Among The Gold 9. Crawdad Song 10. Singing The Blues 11. Honey Hush 12. Goodnight Irene (1) 13. Goodnight Irene (2) 14. Goodnight Irene (3) (Undubbed Master) 15. Goodnight Irene (4) 16. The Marines' Hymn 17. Dixie 18. It'll Be Me (1.1) (Chat & Take) 19. It'll Be Me (1.2) (4 False Starts) 20. It'll Be Me (1.3) 21. It'll Be Me (1.4) (Chat, Take, Chat) 22. It'll Be Me (1.5) 23. It'll Be Me (1.6) (Single Master) 24. Whole Lot Of Shakin' Going On (1.1) (Fragment) 25. Whole Lot Of Shakin' Going On (1.2) 26. Whole Lot Of Shakin' Going On (1.3) 27. Whole Lot Of Shakin' Going On (1.4) 28. Whole Lot Of Shakin' Going On (1.5) 29. Ole Pal Of Yesterday (1) 30. Ole Pal Of Yesterday (2) 31. Ole Pal Of Yesterday (3) 32. Ole Pal Of Yesterday (4) 101. It'll Be Me (2.1) 102. It'll Be Me (2.2) (3 False Starts) 103. It'll Be Me (2.3) 104. It'll Be Me (2.4) 105. It'll Be Me (2.5) (4 False Starts) 106. It'll Be Me (2.6) 107. It'll Be Me (2.7) 108. It'll Be Me (2.8) (Lp Master) 109. It'll Be Me (2.9) 110. All Night Long (1) (Chat & Take) 111. All Night Long (2) 112. Old Time Religion (1) 113. Old Time Religion (2) 114. When The Saints Go Marching In (Undubbed Master) 115. It All Depends (1) (Undubbed Master) 116. You Are My Sunshine (1) (2 False Starts) 117. You Are My Sunshine (2) 118. You Are My Sunshine (3) 119. I Don't Love Nobody (1) 120. I Don't Love Nobody (2) 121. Long Gone Lonesome Blues 122. It'll Be Me (3) 123. Whole Lot Of Shakin' Going On (2) (Master) 124. My Carolina Sunshine Girl 125. Shame On You 126. Drinkin' Wine Spo-dee-o-dee (1) 127. Pumping Piano Rock 128. Little Green Valley (1) 129. Little Green Valley (2) 130. Little Green Valley (3) 131. Little Green Valley (4) 132. Little Green Valley (5) 133. Little Green Valley (6) 134. Little Green Valley (7) 135. Little Green Valley (8) 136. Little Green Valley (9) 137. Tomorrow Night 138. Love Letters In The Sand 201. Hand Me Down My Walking Cane 202. You Win Again (1.1) 203. You Win Again (1.2) 204. You Win Again (1.3) (False Start & Take) 205. You're The Only Star (In My Blue Heaven) (2.1) (Ch 206. You're The Only Star (In My Blue Heaven) (2.2) 207. You're The Only Star (In My Blue Heaven) (2.3) 208. Sixty Minute Man (1) 209. Sixty Minute Man (2) 210. Sixty Minute Man (3) 211. I'll Keep On Loving You 212. Lewis Boogie (1) 213. Lewis Boogie (2) (Master) 214. I'm Feelin' Sorry (1.1) 215. I'm Feelin' Sorry (1.2) 216. I'm Feelin' Sorry (1.3) (Fragment) 217. I'm Feelin' Sorry (1.4) (Master) 218. Turn Around (Master) 219. Great Balls Of Fire (1.1) 220. Great Balls Of Fire (1.2) 221. Great Balls Of Fire (1.3) 222. Great Balls Of Fire (1.4) 223. Great Balls Of Fire (1.5) 224. Great Balls Of Fire (1.6) 225. Great Balls Of Fire (1.7) (3 False Starts) 226. Great Balls Of Fire (1.8) 227. Religious Discussion 228. Great Balls Of Fire (1.9) (Movie Version) 229. You Win Again (2) (Chat & Undubbed Master) 230. It All Depends (2) 231. I Forgot To Remember To Forget (1.1) (4 False Star 232. I Forgot To Remember To Forget (1.2) (Chat & Take) 233. I Forgot To Remember To Forget (1.3) (False Start 234. I Forgot To Remember To Forget (1.4) 235. I Forgot To Remember To Forget (1.5) (False Start) 236. I Forgot To Remember To Forget (1.6) 301. Ooby Dooby (1) 302. Ooby Dooby (2) 303. Why Should I Cry Over You 304. I'm Feelin' Sorry (2.1) 305. I'm Feelin' Sorry (2.2) (Chat & Take) 306. I'm Feelin' Sorry (2.3) 307. I'm Feelin' Sorry (2.4) (Chat & Take) 308. I'm Feelin' Sorry (2.5) 309. I'm Feelin' Sorry (2.6) (Distorted) 310. I'm Feelin' Sorry (2.7) (Distorted) 311. I'm Feelin' Sorry (2.8) 312. I'm Feelin' Sorry (2.9) 313. I'm Feelin' Sorry (2.10) 314. Mean Woman Blues (Master) 315. Great Balls Of Fire (2.1) (2 False Starts & Take) 316. Great Balls Of Fire (2.2) 317. Great Balls Of Fire (2.3) (False Start & Take) 318. Studio Chatter 319. Great Balls Of Fire (2.4) 320. Great Balls Of Fire (2.5) (Chat & Take) 321. Great Balls Of Fire (2.6) (Master) 322. I Love You Because (1) 323. I Love You So Much It Hurts 324. I'm Sorry I'm Not Sorry 325. Sexy Ways (1.1) (False Start) 326. Sexy Ways (Cool Cool Ways) (1.2) 327. Down The Line (1) 328. Down The Line (2) (2 False Starts) 329. Down The Line (3) (Chat, Take, Chat) 330. Down The Line (4) 331. Down The Line (5) 332. Down The Line (6) 333. Down The Line (7) 334. Down The Line (8) 335. Down The Line (9) (Master) 401. Jambalaya (Master) 402. Milkshake Mademoiselle (1) 403. Milkshake Mademoiselle (2) (2 False Starts) 404. Milkshake Mademoiselle (3) 405. Milkshake Mademoiselle (4) (Chat & Take) 406. Milkshake Mademoiselle (5) (4 False Starts) 407. Milkshake Mademoiselle (6) (Fragment) 408. Milkshake Mademoiselle (7) 409. Milkshake Mademoiselle (8) 410. Breathless (1) 411. Breathless (2) 412. Breathless (3) 413. Breathless (4) 414. Breathless (5) 415. Breathless (6) 416. Breathless (7) 417. Breathless (8) 418. Breathless (9) (Master) 419. Cold Cold Heart (1) 420. Someday 421. Don't Be Cruel (Master) 422. Pink Pedal Pushers 423. Good Rockin' Tonight (1) 424. Hound Dog (1) 425. Jailhouse Rock 426. High School Confidential (1.1) 427. High School Confidential (1.2) 428. High School Confidential (1.3) 429. High School Confidential (1.4) (False Start & Take 430. High School Confidential (1.5) 431. High School Confidential (1.6) 432. High School Confidential (1.7) 433. High School Confidential (1.8) (False Start & Take 434. High School Confidential (1.9) 501. High School Confidential (1.10) (False Start & Tak 502. High School Confidential (1.11) 503. High School Confidential (1.12) 504. High School Confidential (1.13) 505. High School Confidential (1.14) (2 False Starts) 506. High School Confidential (1.15) 507. High School Confidential (2.1) 508. Keep Your Hands Off Of It (1) (False Start) 509. Rockin' With Red 510. Matchbox (1) (Chat & Undubbed Master) 511. Matchbox (2) 512. Ubangi Stomp (Master) 513. Rock & Roll Ruby 514. So Long I'm Gone (Fragment & Take) 515. Sexy Ways (Carryin' On) (2.1) 516. Sexy Ways (Carryin' On) (2.2) 517. Fools Like Me (1) (Fragment & 4 False Starts) 518. Fools Like Me (2) 519. Fools Like Me (3) (Undubbed Master) 520. Put Me Down (1) 521. Put Me Down (2) 522. Put Me Down (3) 523. Put Me Down (4) 524. Put Me Down (5) (Chat & Take) 525. Put Me Down (6) 526. Put Me Down (7) (Master) 527. I'm Throwing Rice 528. Your Cheatin' Heart (1) 529. Crazy Heart (1.1) (False Start & Take) 530. Crazy Heart (1.2) 531. Crazy Heart (1.3) 532. Crazy Heart (1.4) 533. Crazy Heart (1.5) 534. Hello Hello Baby (Master) 535. Slippin' Around (1) (False Start) 536. Slippin' Around (2) (Chat & Take) 601. Wild One (1) 602. Wild One (2) 603. Let The Good Times Roll 604. Sexy Ways (Carryin' On) (3) 605. High School Confidential (3.1) (False Start) 606. High School Confidential (3.2) 607. High School Confidential (3.3) (2 False Starts) 608. High School Confidential (3.4) (Chat & Take) 609. High School Confidential (3.5) 610. High School Confidential (3.6) 611. High School Confidential (3.7) 612. I'll See You In My Dreams (False Start & Take) 613. Break Up (1.1) 614. Break Up (1.2) (Fragment) 615. Break Up (1.3) (Chat & Take) 616. Break Up (1.4) 617. Break Up (1.5) (Chat & Take) 618. Break Up (1.6) (False Start) 619. Break Up (1.7) 620. Break Up (1.8) 621. Break Up (1.9) (Fragment) 622. Break Up (1.10) (Fragment) 623. Break Up (1.11) 624. Break Up (1.12) 625. Memory Of You 626. Come What May 627. Johnny B. Goode (1) 628. That Lucky Old Sun 629. Crazy Arms (2) (Chat & Take) 630. Live & Let Live (Chat & Take) 631. Crazy Heart (2) (Chat & Take) 632. Settin' The Woods On Fire 633. Break Up (2.1) (False Start To 'Settin' The Woods 634. Break Up (2.2) 635. Break Up (2.3) (Chat & Take) 636. Break Up (2.4) (Fragment) 637. Break Up (2.5) 701. I'll Make It All Up To You (1.1) (Fragment) 702. I'll Make It All Up To You (1.2) (False Start & Ta 703. I'll Make It All Up To You (1.3) (Chat & Take) 704. I'll Make It All Up To You (1.4) (Fragment Of Fals 705. I'll Make It All Up To You (1.5) 706. I'll Make It All Up To You (2.1) 707. I'll Make It All Up To You (2.2) 708. I'll Make It All Up To You (2.3) (Fs, Fragment, Ta 709. I'll Make It All Up To You (2.4) (Fragment) 710. I'll Make It All Up To You (2.5) 711. I'll Make It All Up To You (2.6) (Undubbed Master) 712. Break Up (3.1) (Chat & Take) 713. Break Up (3.2) (Chat & Take) 714. Break Up (3.3) (Fragment) 715. Break Up (3.4) (Fragment) 716. Break Up (3.5) 717. Break Up (3.6) (Fragment) 718. Break Up (3.7) 719. Break Up (4) (Master) 720. Big Legged Woman 721. Johnny B. Goode (2) 722. I Can't Help It (1) 723. Lovesick Blues 724. Studio Chatter 725. Drinkin' Wine Spo-dee-o-dee (2.1) 726. Drinkin' Wine Spo-dee-o-dee (2.2) (Chat & Take) 727. I'll Sail My Ship Alone (1) 728. I'll Sail My Ship Alone (2) (False Start & Take) 729. I'll Sail My Ship Alone (3) 730. I'll Sail My Ship Alone (4) (Chat & Take) 731. I'll Sail My Ship Alone (5) (Chat & Take) 732. I'll Sail My Ship Alone (6) (Master) 733. I'll Sail My Ship Alone (7) 801. You're The Only Star (In My Blue Heaven) (3.1) (3 802. You're The Only Star (In My Blue Heaven) (3.2) (Ch 803. You're The Only Star (In My Blue Heaven) (3.3) (Ch 804. Studio Chatter No.1 805. It Hurt Me So (1) 806. Studio Chatter No.2 807. It Hurt Me So (2) 808. It Hurt Me So (3) 809. It Hurt Me So (4) 810. It Hurt Me So (5) 811. It Hurt Me So (6) (Undubbed Master) 812. Lovin' Up A Storm (1) (Chat & Take) 813. Lovin' Up A Storm (2) (False Start & Take) 814. Lovin' Up A Storm (3) (4 False Starts) 815. Lovin' Up A Storm (4) (Fragment) 816. Lovin' Up A Storm (5) (False Start & Take) 817. Lovin' Up A Storm (6) (False Start & Take) 818. Lovin' Up A Storm (7) (Master) 819. Frankie & Johnny (Master) 820. Big Blon' Baby (1) (Master) 821. Big Blon' Baby (2) (Fragment) 822. Studio Chatter 823. I Could Never Be Ashamed Of You (1.1) 824. I Could Never Be Ashamed Of You (1.2) 825. I Could Never Be Ashamed Of You (1.3) (Master) 826. Shanty Town (Unfinished) 827. Release Me 828. Sick & Tired 829. Hillbilly Music (Master) 830. I Could Never Be Ashamed Of You (2.1) 831. I Could Never Be Ashamed Of You (2.2) (2 False Sta 832. I Could Never Be Ashamed Of You (2.3) (2 False Sta 833. I Could Never Be Ashamed Of You (2.4) (False Start 834. Near You (1) (Chat & False Start) 835. Near You (2) (Chat & Take) 836. Near You (3) 901. My Blue Heaven (1.1) 902. My Blue Heaven (1.2) 903. My Blue Heaven (1.3) (Chat & Take) 904. My Blue Heaven (1.4) 905. Let's Talk About Us (1.1) (Chat & Take) 906. Let's Talk About Us (1.2) (Chat & Take) 907. Let's Talk About Us (1.3) (3 False Starts) 908. Let's Talk About Us (1.4) 909. Let's Talk About Us (1.5) (False Start & Take) 910. Let's Talk About Us (1.6) 911. Let's Talk About Us (1.7) 912. Let's Talk About Us (1.8) 913. Let's Talk About Us (1.9) 914. Let's Talk About Us (1.10) 915. Let's Talk About Us (1.11) (Chat & Take) 916. Let's Talk About Us (1.12) 917. Let's Talk About Us (1.13) (Chat & Take) 918. Let's Talk About Us (1.14) 919. Little Queenie (Master) 920. Home (Master) 921. Friday Night 922. I'm The Guilty One (Chat & Take) 923. Let's Talk About Us (2.1) (Undubbed Master) 924. Let's Talk About Us (2.2) 925. Will The Circle Be Unbroken 926. Night Train To Memphis 927. The Ballad Of Billy Joe (Master) 928. Sail Away (1) 929. Sail Away (2) 930. Am I To Be The One (1) 931. Am I To Be The One (2) (False Start & Take) 932. Am I To Be The One (3) (3 False Starts) 933. Am I To Be The One (4) 934. Am I To Be The One (5) 1001. Mexicali Rose (1) (Chat, Slate No.1, False Start) 1002. Mexicali Rose (2) (Part 1) 1003. Mexicali Rose (3) (Chat, Slate No.2, Part 2) 1004. In The Mood (1) (Chat & Take) 1005. Studio Chatter 1006. In The Mood (2) (Master) 1007. I Get The Blues When It Rains (1) (Chat & Take) 1008. I Get The Blues When It Rains (2) (False Start & M 1009. Don't Drop It (1) (Chat, Slate, Take 1) 1010. Don't Drop It (2) (Chat & Take) 1011. Great Speckled Bird (1) (Slate No.1 & 5 False Star 1012. Great Speckled Bird (2) (Take 1) 1013. Great Speckled Bird (3) (Chat & Take) 1014. Bonnie B (1) (Chat, Slate, Take 1) 1015. Studio Chatter No.1 & Slate No.1-channel B 1016. Bonnie B (2) (Take 1 Channel B) 1017. Studio Chatter No.2 & Slate No.2-channel B 1018. Bonnie B (3) (Take 2 Channel B) 1019. Bonnie B (4) (Chat, Slate, Take 3 Channel B) 1020. Studio Chatter No.3 1021. Bonnie B (5) (Master) 1022. Bonnie B (6) (Fragment) 1023. Bonnie B (7) (Chat & Take) 1024. As Long As I Live (1) (Slate & Take 1) 1025. As Long As I Live (2) (Slate & Take 2) 1026. As Long As I Live (3) (Slate, False Start, Take 3) 1027. As Long As I Live (4) (Chat, Slate, Take 4) 1028. As Long As I Live (5) (Slate No.5 & False Start) 1029. As Long As I Live (6) (Slate & Take 5) 1030. As Long As I Live (7) (Chat, Slate, Take 6) 1031. As Long As I Live (8) (Chat, Slate (Wrongly 6), Ta 1032. As Long As I Live (9) (Slate No.1-track B & 3 Fals 1033. As Long As I Live (10) (Take 1 Track B) 1034. As Long As I Live (11) (Slate, Fs, Master Take 3 T 1035. I Can't Help It (You Can't Help It) (2.1) (Slate & 1036. I Can't Help It (You Can't Help It) (2.2) (Slate & 1037. I Can't Help It (You Can't Help It) (2.3) (Slate N 1038. I Can't Help It (You Can't Help It) (2.4) (Take 3) 1039. Studio Chatter & Slate No.4 1040. I Can't Help It (You Can't Help It) (2.5) (Take 4) 1041. Your Cheatin' Heart (2) 1101. Baby Baby Bye Bye (1) (Slate & Take 1) 1102. Baby Baby Bye Bye (2) (Slate & Take 2) 1103. Baby Baby Bye Bye (3) (Chat, Slate, Take 3) 1104. Baby Baby Bye Bye (4) (Chat, Slate, Take 4 Channel 1105. Baby Baby Bye Bye (5) (Unfinished) 1106. Baby Baby Bye Bye (6) (Chat, Slate, Take 6) 1107. Baby Baby Bye Bye (7) (Chat & Take) 1108. Studio Chatter No.1 & Slate No.8-track B 1109. Baby Baby Bye Bye (8) (Take 8 Track B) 1110. Studio Chatter No.2 & Slate No.9-track B-tk2 1111. Baby Baby Bye Bye (9) (Take 9-track B-take 2) 1112. Studio Chatter No.3 & Slate No.10 1113. Baby Baby Bye Bye (10) (Take 10) (Unfinished) 1114. Studio Chatter No.4 & Slate No.11 1115. Baby Baby Bye Bye (11) (Undubbed Master Take 11) 1116. Old Black Joe (1) (Slate, Take 1, Chat) 1117. Old Black Joe (2) (Slate No.2 & False Start) 1118. Old Black Joe (3) (Take 2) 1119. Old Black Joe (4) (Slate & Undubbed Master Take 3) 1120. Old Black Joe (5) (Slate & Take 1 Track B) 1121. Hound Dog (2) (Slate & Take 8) 1122. What'd I Say (1.1) (Slate & Take 1) 1123. What'd I Say (1.2) (Slate & Take 2) 1124. Keep Your Hands Off Of It (2) (Chat, Slate, Take 1 1125. The Wild Side Of Life 1126. Billy Boy (Slate & Take 7) 1127. My Bonnie (Slate & Take 4) 1128. Hang Up My Rock & Roll Shoes (Fs, Slate, Master 1129. John Henry (Extended Master) 1130. What'd I Say (2) 1131. C. C. Rider (1) 1132. When My Blue Moon Turns To Gold Again (1) 1133. When My Blue Moon Turns To Gold Again (2) (Slate & 1134. No More Than I Get 1135. When I Get Paid (Extended Master) 1136. Love Made A Fool Of Me (Extended Master) 1201. I Forgot To Remember To Forget (2) 1202. Cold Cold Heart (2) (Slate & Master Take 5) 1203. Livin' Lovin' Wreck (Master) 1204. What'd I Say (3) (Master) 1205. It Won't Happen With Me (1) 1206. It Won't Happen With Me (2) (Master) 1207. C. C. Rider (2) 1208. I Love You Because (2) 1209. Save The Last Dance For Me (Master) 1210. Lewis Workout 1211. Hello Josephine (1) (Slate & Master Take 10) 1212. High Powered Woman (1) (Slate & Take 5) 1213. My Blue Heaven (2.1) 1214. My Blue Heaven (2.2) (Slate & Take 4) 1215. Sweet Little Sixteen (1) (Slate & Take 2) 1216. Ramblin' Rose (1) (Extended Master) 1217. Ramblin' Rose (2) 1218. Money (Extended Master) 1219. Rockin' The Boat Of Love 1220. I've Been Twistin' (1) 1221. I've Been Twistin' (2) (Slate & Take 4) 1222. Whole Lotta Twistin' Going On (3) 1223. I Know What It Means (1) (Master) 1224. I Know What It Means (2) 1225. High Powered Woman (2) 1226. Sweet Little Sixteen (2.1) (Slate & Take 1) 1227. Sweet Little Sixteen (2.2) 1228. Sweet Little Sixteen (2.3) 1229. Sweet Little Sixteen (2.4) (Slate & Master Take 4) 1301. Hello Josephine (2) 1302. Set My Mind At Ease (1) 1303. Set My Mind At Ease (2) 1304. Set My Mind At Ease (3) 1305. Waiting For A Train (1.1) 1306. Waiting For A Train (1.2) 1307. How's My Ex Treating You (1) (Master) 1308. How's My Ex Treating You (2) 1309. How's My Ex Treating You (3) 1310. Good Rockin' Tonight (2) (Slate, Take 2, Chat) 1311. Be-bop-a-lula 1312. Hello Josephine (3) (Slate, Chat, Take) 1313. Good Golly Miss Molly (1) (Chat & Take) 1314. Good Golly Miss Molly (2) (False Start & Rehearsal 1315. Good Golly Miss Molly (3) (Chat, Take, Chat) 1316. Good Golly Miss Molly (4) (Chat, False Start, Chat 1317. Good Golly Miss Molly (5) (Slate, Chat, Take 4) 1318. Studio Chatter (Snippet Of 'Good Golly Miss Molly' 1319. Good Golly Miss Molly (6) (Master) 1320. I Can't Trust Me (In Your Arms Anymore) (1) (Slate 1321. I Can't Trust Me (In Your Arms Anymore) (2) (Slate 1322. I Can't Trust Me (In Your Arms Anymore) (3) (Maste 1323. My Pretty Quadroon 1324. Waiting For A Train (2.1) (Take 1 & Chat) 1325. Waiting For A Train (2.2) (Slate, Take 2, Chat) 1326. Waiting For A Train (2.3) (Slate, False Start, Tak 1327. Waiting For A Train (2.4) (Back Vocal Tune, Slate 1328. Waiting For A Train (2.5) (Slate No.6 & False Star 1329. Waiting For A Train (2.6) (Chat & Take 6) 1330. Waiting For A Train (2.7) (Chat, False Start, Slat 1331. Waiting For A Train (2.8) 1332. Seasons Of My Heart (Slate & Master Take 1) 1333. Teenage Letter (Slate, False Start, Master Take 2) 1401. Your Lovin' Ways (Slate & Take 8) 1402. Just Who Is To Blame (1) (False Start & Take) 1403. Just Who Is To Blame (2) (Slate & Take 12) 1404. Just Who Is To Blame (3) 1405. Hong Kong Blues (1) (Slate & Take 2) 1406. Hong Kong Blues (2) (Slate No.4 & False Start) 1407. Hong Kong Blues (3) (Take 4) 1408. Love On Broadway (Chat & Take) 1409. One Minute Past Eternity (1) (Slate & Take 12) 1410. One Minute Past Eternity (2) 1411. One Minute Past Eternity (3) 1412. Invitation To Your Party (1) (Slate No.2 & False S 1413. Invitation To Your Party (2) (Take 2) 1414. Invitation To Your Party (3) (Slate, Chat & Chords 1415. Invitation To Your Party (4) 1416. Invitation To Your Party (5) (Slate No.5, 2 False 1417. Invitation To Your Party (6) (Take 6) 1418. Invitation To Your Party (7) (Slate & Take 7) 1419. Invitation To Your Party (8) (Slate No.8, False St 1420. Invitation To Your Party (9) 1421. I Can't Seem To Say Goodbye (1) (Slate No.1, Fs, T 1422. I Can't Seem To Say Goodbye (2) 1423. Carry Me Back To Old Virginia (1) (Slate & Take 1) 1424. Carry Me Back To Old Virginia (2) (False Start, Sl 1425. Studio Chatter (Fragment, Slate No.3) 1426. Carry Me Back To Old Virginia (3) (Take 3) 1427. Carry Me Back To Old Virginia (4) (Chat, Slate No. 1428. Carry Me Back To Old Virginia (5) (Take 4) 1429. Carry Me Back To Old Virginia (6) (Slate No.5, Cha 1430. Carry Me Back To Old Virginia (7) (Extended Master 1431. The Wild Side Of Life (Stereo) 1432. Billy Boy (Stereo) 1433. My Bonnie (Stereo) (Slate & Take 4) 1434. Hang Up My Rock & Roll Shoes (Stereo) (Master) 1435. John Henry (Stereo) (Extended Master) 1436. What'd I Say (2 Stereo) 1437. C. C. Rider (1 Stereo) 1501. When My Blue Moon Turns To Gold Again (1 Stereo) 1502. When My Blue Moon Turns To Gold Again (2 Stereo) 1503. No More Than I Get (Stereo) 1504. When I Get Paid (Stereo) (Master) 1505. Love Made A Fool Of Me (Stereo) (Master) 1506. I Forgot To Remember To Forget (2 Stereo) 1507. Cold Cold Heart (2 Stereo) (Master) 1508. Livin' Lovin' Wreck (Stereo) (Master) 1509. What'd I Say (3 Stereo) (Master) 1510. It Won't Happen With Me (2 Stereo) (Master) 1511. C. C. Rider (2 Stereo) 1512. I Love You Because (2 Stereo) 1513. Save The Last Dance For Me (Stereo) (Master) 1514. Lewis Workout (Stereo) 1515. Hello Josephine (1 Stereo) (Slate & Master Take 1) 1516. High Powered Woman (1 Stereo) 1517. My Blue Heaven (2.1 Stereo) 1518. My Blue Heaven (2.2 Stereo) 1519. Sweet Little Sixteen (1 Stereo) 1520. Ramblin' Rose (1 Stereo) (Extended Master) 1521. Ramblin' Rose (2 Stereo) 1522. Money (Stereo) (Master) 1523. Rockin' The Boat Of Love (Stereo) 1524. I've Been Twistin' (2 Stereo) (Slate & Take 4) 1525. Whole Lotta Twistin' Going On (3 Stereo) 1526. High Powered Woman (2 Stereo) 1527. Sweet Little Sixteen (2.1 Stereo) (Slate & Take 1) 1528. Sweet Little Sixteen (2.4 Stereo) (Master) 1529. Hello Josephine (2 Stereo) 1530. Set My Mind At Ease (1 Stereo) 1531. Set My Mind At Ease (2 Stereo) 1601. Waiting For A Train (1.1 Stereo) (Chat & Take) 1602. Waiting For A Train (1.2 Stereo) 1603. How's My Ex Treating You (2 Stereo) 1604. Good Rockin' Tonight (2 Stereo) 1605. Be-bop-a-lula (Stereo) 1606. Hello Josephine (3 Stereo) 1607. Good Golly Miss Molly (3 Stereo) 1608. Good Golly Miss Molly (4 Stereo) (False Start) 1609. Good Golly Miss Molly (5 Stereo) 1610. Good Golly Miss Molly (6 Stereo) (Master) 1611. I Can't Trust Me (In Your Arms Anymore) (1 Stereo) 1612. I Can't Trust Me (In Your Arms Anymore) (2 Stereo) 1613. I Can't Trust Me (In Your Arms Anymore) (3 Stereo) 1614. My Pretty Quadroon (Stereo) 1615. Waiting For A Train (2.1 Stereo) (Take 1) 1616. Waiting For A Train (2.2 Stereo) (Take 2) 1617. Waiting For A Train (2.3 Stereo) 1618. Waiting For A Train (2.4 Stereo) (Back Vocal Tune 1619. Waiting For A Train (2.6 Stereo) (Take & False Sta 1620. Waiting For A Train (2.8 Stereo) 1621. Seasons Of My Heart (Stereo) (Master) 1622. Teenage Letter (Stereo) (False Start & Master Take 1623. Your Lovin' Ways (Stereo) 1624. Just Who Is To Blame (1 Stereo) 1625. Just Who Is To Blame (2 Stereo) 1626. Just Who Is To Blame (3 Stereo) 1627. Hong Kong Blues (1 Stereo) 1628. Hong Kong Blues (3 Stereo) (False Start & Take 4) 1629. Love On Broadway (Stereo) 1630. One Minute Past Eternity (1 Stereo) 1631. One Minute Past Eternity (2 Stereo) 1632. Invitation To Your Party (9 Stereo) 1633. I Can't Seem To Say Goodbye (2 Stereo) 1634. Carry Me Back To Old Virginia (7 Stereo) (Master) 1701. Great Balls Of Fire (2.6) (Master Take With Altern 1702. You Win Again (2d) (Master) 1703. High School Confidential (3.8) (Master: 3.5 & 3.2 1704. Fools Like Me (3d) (Master) 1705. Goodnight Irene (3d) (Master) 1706. When The Saints Go Marching In (D) (Master) 1707. It All Depends (1d) (Alternate Overdub) 1708. It All Depends (1d) (Master) 1709. Matchbox (1d) (Master) 1710. I'll Make It All Up To You (2.6d) (Guitar Overdub) 1711. I'll Make It All Up To You (2.6d) (Master) 1712. It Hurt Me So (6d) (Master) 1713. Let's Talk About Us (2.1d) (Chorus Rehearsal & Alt 1714. Let's Talk About Us (2.1d) (Master) 1715. Baby Baby Bye Bye (11d) (Master) 1716. Baby Baby Bye Bye (Backing Vocals By Gene Lowery S 1717. Old Black Joe (4d) (Master) 1718. Old Black Joe (Backing Vocals By Gene Lowery Singe 1719. I've Been Twistin' (3) (Master: 1 & 2 Spliced) 1720. Settin' The Woods On Fire (D) (Instrumental Overdu 1721. Break Up (1.8d) (Chorus Overdub) 1722. Break Up (2.1d1) (Chat & Overdub No.1) 1723. Break Up (2.1d2) (Fs To 'Settin' The Woods On Fire 1724. Break Up (2.1d3) (Fs To 'Settin' The Woods On Fire 1725. Break Up (3.5d) (Chorus Overdub & Fragment) 1726. I'll Make It All Up To You (1.3d) (Chat & Chorus O 1727. I'll Make It All Up To You (1.5d) (Chorus Overdub) 1728. Let's Talk About Us (1.5d) (Female Chorus Overdub) 1729. High School Confidential (2.2d) (Movie Version) 1730. The Return Of Jerry Lee 1731. Two Unidentified Snippets Of Unknown 'Lost' Tracks
Consolations of Philosophy Penguin
Alain de Botton, best-selling author of How Proust can Change Your Life, has set six of the finest minds in the history of philosophy to work on the problems of everyday life. Here then are Socrates, Epicurus, Seneca, Montaigne, Schopenhauer and Nietzsche on some of the things that bother us all; lack of money, the pain of love, inadequacy, anxiety, the fear of failure and the pressure to conform.
Shadow of the Sun Penguin
'Only with the greatest of simplifications, for the sake of convenience, can we say Africa. In reality, except as a geographical term, Africa doesn't exist'. Ryszard Kapuscinski has been writing about the people of Africa throughout his career. In a study that avoids the official routes, palaces and big politics, he sets out to create an account of post-colonial Africa seen at once as a whole and as a location that wholly defies generalised explanations. It is both a sustained meditation on the mosaic of peoples and practises we call 'Africa', and an impassioned attempt to come to terms with humanity itself as it struggles to escape from foreign domination, from the intoxications of freedom, from war and from politics as theft. The Beginning: Collision, Ghana 1958 More than anything, one is struck by the light. Light everywhere. Brightness everywhere. Everywhere, the sun. Just yesterday, an autumnal London was drenched in rain. The airplane drenched in rain. A cold, wind, darkness. But here, from the morning
Management - The Essence of the Craft Campus Verlag GmbH
Książki / Literatura obcojęzyczna
Author's Preface to the English Edition 2010 In this book I am presenting a new kind of management for a new kind of world. It is my concept of right and good management for functioning organizations in functioning societies of exceeding complexity. The need for such a concept arises because conventional management - by which, basically, I mean the US-type management theory and practice now applied worldwide - has come to its very limits as it is unable to deal with the consequences of its own success. The result of its tremendous achievements is a world of inextricably interrelated dynamic systems which are incomprehensibly complex. This has largely been ignored by the dominating US management approach because it was never designed for such conditions. It now fails exactly for this reason, thereby causing the present crisis. I have actually been predicting this for years in many of my publications, including the German version of this book which was first published in 2005. The fact that success almost inevitably breeds its own failure is often overlooked, although it is well known in many fields and in particular in those that accept complexity explicitly as their research subject such as biology or ecology. Albert Einstein already remarked that one cannot solve problems with the same methods which produced them. Failure to manage complexity as the major cause of the worldcrisis What, at present, a majority - at least in the West - considers to be a mere financial crisis can probably be much better understood if it is looked at from an altogether different perspective: the failure to understand and manage complexity. Business and society seem to be undergoing one of the most fundamental transformations in history. Only on the surface, and only if perceived in conventional categories, do present changes appear to be financial and economic in nature. What is happening might better be understood as an Old World dying because a New World is being born. There will hardly be any bridges back to the old state of affairs. Perhaps the most practical premise to navigate by is that whatever can change will change. If so, we are witnessing no less than the almost complete collapse of the formerly so efficient US management approach, which was developed mainly in the context of business administration and taught in business schools as the ultimate wisdom with regard to the running of corporations in a world where its premises applied to an ever lesser degree. Its realities have already been changing for quite some time but this went largely unnoticed because most people tend to see only the old familiar patterns in the new realities. We are experiencing in particular the failure of the US-type of corporate governance and the kind of top management which is dominated almost exclusively by financial variables only. We see the collapse of the shareholder value approach, which due to its short term profit orientation is largely ignoring the customer and is hostile to future-oriented investing and innovating, thereby systematically misdirecting the allocation of societal resources. The failure of the US-approach is, among other aspects, the consequence of mistaking financial investment for real investment, thereby undermining the former strengths of the US-economy, of confusing mountains of bad debts with sustainable wealth, and of failing to distinguish between healthy and pathological growth. Ironically, what collapsed first was the financial system which appeared to be the most highly developed and sophisticated system ever designed. It was believed to be free of systemic risk by most experts and run by the world's most excellent executives educated in what were thought to be the best universities and business schools worldwide. However, complex systems have properties and laws of their own. Their driving forces - if systematically ignored - make them inevitably go out of control. Such systems are incomputable and unpredictable in principle and incomprehensible to the conventionally educated mind. They are non-linear, self-dynamic and continuously self-changing and self-restructuring in unforeseeable ways. They are largely self-organizing and self-regulating. Nevertheless, they can be - up to a degree - controlled and regulated albeit only by a fundamentally different kind of thinking, a new approach for managing complexity and by applying the right methods and tools which are the subject of this book and its companion volumes. Reliable Functioning by Wholistic Management Systems Economic and financial measures on the macro level alone will hardly cure the crisis. What it takes on the level of societal institutions is a new way of functioning which is described in my six volume series Management: Mastering Complexity in which I present my Malik Wholistic General Management Systems. This first volume contains an overview of the system as a whole whereas the other five volumes will describe the constitutive parts of the system. The second volume "Corporate Policy and Governance: How Organizations Self-Organize", was published in 2008 in German and will be available in English soon. The third volume on strategy is still due in 2010. The remaining three volumes will be dedicated to the new structure for functioning complex organizations, their appropriate culture and the kind of executives who have to be able to understand and master complexity. Together these six volumes will contain the essence of the most comprehensive General Management System worldwide. To the best of my knowledge my Wholistic General Management Systems are globally the only ones explicitly designed to ensure reliable functioning under conditions of exceedingly high and dynamic complexity. For this reason and because my Management Systems are universally applicable conventional business administration plays a limited role in my book. For practical reasons, however, I am going to illustrate the application of my systems mainly in the context of the business enterprise. Familiar concepts and terms are left unchanged wherever possible in order to avoid confusion for the practitioner whereas their meaning and most contents are new and different. The important new knowledge for mastering complex systems does not come from economics or business administration but from what I call the Complexity Sciences, i.e. Systemics, Bionics and Cybernetics, which can also be called the Sciences of Functioning. For the term "Functioning" I often use the synonym "Right and Good Management" as opposed to wrong and bad management. By this I want to point to the need to understand management as a true profession with its own standards of craftsmanship as indicated in the subtitle of this book. If the institutions of today's and more so of tomorrow's societies are supposed to function, management needs to liberate itself from fashions and fads and has to become a profession of the same status as for example the profession of the surgeon, the aircraft pilot or the lawyer all of which have as a matter of course their standards of professionalism. The foundation for a profession of effective management for functioning institutions is to be found in my earlier book Managing Performing Living. My General Management Systems - with the support of the experts of my own organization - have been developed, tested and implemented in numerous cases over more than 30 years in all sorts of institutions in business and non-business areas mostly in Europe and particularly in the German speaking world including their worldwide subsidiaries. What works in the complexities of these areas will almost certainly work worldwide. Having discussed the structure, functioning principles and effects of my systems with tens of thousands of executives of all levels I have strong arguments that there is only one kind of management that works effectively, namely Right and Good Management as I present it in my books, and that it is - contrary to mainstream thinking - universally valid and culturally invariant. Fashionable arbitrariness which so often characterizes management should not be given any place in what is one of the most important social functions. In most respects my Wholistic Management Systems for Functioning are the opposite of what is taught in most business schools. That they will have to change fundamentally as a consequence of the global crisis is hesitatingly becoming apparent to some - among them also a few leading ivy league schools. But it might be a long and hard way for them to recover from the fallacies of their own teachings and partly from the application of wrong management to themselves. At the same time, however, if they manage to change radically and fast it is one of the greatest opportunities for them to show effective leadership in the service of a functioning society in times of great change. Fredmund Malik St. Gallen, January 2010 Introduction "The very first step toward success in any occupation is to become interested in it." Sir William Osler (1849 - 1919), physician Our increasingly complex world cannot function without management, and it can hardly function without precise management. This is true for all kinds of societal institutions, be it commercial enterprises or other organizations. The purpose of this book is to help their managers and employees fulfill their demanding occupational tasks in a professional manner. In the midst of a jumble of doctrines, ideologies, and true innovations, this book will provide the overview required to distinguish right from wrong and useful from useless. These distinctions are indispensable for meeting both individual and shared responsibilities at each stage of a professional career. They are also crucial for successful and productive interaction. This book is a compact compendium for right and good management - for general management - in that it provides the necessary overview of what it entails. In the following volumes of this series, each of the elements of right and good management will be described in greater detail, including both theoretical content and recommended implementation approaches. Interested readers will be able to familiarize themselves with the tools and practices of the craft, along with numerous practical examples. As such, the present book is a prelude to a practical, comprehensive guide to what the management craft and managerial professionalism must entail. Sound general management is not about doing something new, modern, or fashionable. What matters is that it is right, that it works, and that it helps practitioners fulfill their tasks to the best of their abilities. The subject of this book - and of the rest of my publications - is not the "management thinking of today". Rather, all my books are practical guides to effectiveness. They point out my personal opinions on different matters, which are often not in sync with mainstream thinking. Management. The Essence of the Craft continues, enlarges upon, and complements my book Managing Performing Living. While the latter deals with the conduct and actions of the individual manager, the present book goes much further in that it deals with the institution as a whole - with system-oriented general management. The book contains a series of propositions which, compared to mainstream thinking, may be regarded as provocative, unusual, and frequently even wrong - at least initially. In this book, and the books to follow, I am putting my arguments forward for discussion. Central Propositions 1.Management is society's most important function. The functioning of society depends on management. Only management turns resources into results. 2.Management can largely be acquired by learning. It is a profession and a craft. It follows the same rules of professionalism that are known and have proven useful in other professions. Talents are useful but not essential. 3.The only kind of management a person needs to learn is right and good management. Right and good management is universal, invariant, and independent of culture. It is equally valid for all kinds of organizations and all countries. There is no need for international, multicultural, or global management. All effective institutions function in the same way. They employ the same functional principles. 4.Apparent differences are not related to management but to the nature of the different tasks to be fulfilled in different organizations. 5.Not everyone can manage just any organization. This is not due to management skills but to the difference in operational tasks. 6.All managers in all organizations and across all hierarchy levels need the same kind of management skills. Not all, however, need them in the same degree of comprehensiveness and detail. Disregarding this principle leads to a lack of orientation and direction, which, in turn, means the end of communication and function. 7.In my view, most of the management ideas prevailing over the past fifteen years or so are false, misleading, and harmful. This is true in particular for anything related to the doctrine of shareholder value and its consequences - such as value-increasing strategies and a way of thinking that focuses predominantly on financial aspects. The stakeholder approach is equally wrong. 8.The economic difficulties of our time, which I believe will inevitably deepen, are largely due to factors other than political errors. They are results of misguided management, of faulty and poor management. As a result, the question as to what right and good management is gains all the more importance. A Word on the Terms Used In management - as opposed to other, more advanced and mature disciplines of learning - there is no such thing as uniform or common parlance. Quite to the contrary: most authors attempt to impress readers by inventing their own terms and slogans. This is a roadblock to progress and to acquiring management skills. For this book, I essentially draw on the terms used in the St. Gallen Management Model, the first and so far only wholistic, system-driven management model, as well as on the linguistic usage of Peter F. Drucker, the doyen of management theory. As far as cybernetics and system sciences are concerned, I draw on the terms used by Stafford Beer, the originator of management cybernetics, and my own book Strategie des Managements komplexer Systeme ["Strategy for the Management of Complex Systems"]. 1.The terms "company", "organization", and "institution" are largely used in the same sense. Certain variances in meaning relate to the degree of generality, or the special limitation to a segment of society. The most general terms are "institution" and "organization". They refer to all organizations existing in a society, no matter what kind or legal form. The term "company", in essence, belongs to the business sector. Whenever no specific pointers are provided, it will be clear from the context what I mean when using each of these terms. The term most frequently used in this book is "company" and other terms related to it, such as "corporate policy". The statements made will generally be applicable to all kinds of institutions. Depending on the field of usage, the terms might need to be adapted somewhat, as in "educational policy" or "health policy". 2.The term "management" itself can be understood in several ways: Firstly, as a function that exists in any kind of organization and is indispensable for its functioning. This is the so-called functional dimension of management. It is neither linked to specific persons nor to organizational elements. This function is not perceptible to our senses. It is incorporated in certain actions taken by individuals and in this way its impact is perceived. Secondly, the term "management" can be understood to be the sum of the legal and/or organizational authorities in an institution. Examples include the executive board of a private company, the executive committee of a public company, a national government, or a university's board of directors. This is referred to as the institutional dimension, and it also includes expanded boards of managers, group management, management circles, or partners' conferences. As far as mandatory and/or higher-level authorities are concerned, the respective responsibilities, rights, obligations, and accountabilities are governed by laws, articles of incorporation, or statutes. Those of other organizational entities are determined by common sense and habits. Thirdly, management can be understood to include the persons that belong to the institutional authorities mentioned. This is the personal dimension of management. In particular the terms "top management" and "top manager" frequently carry that meaning. 3.I use the term "management" in the same meaning as its German equivalent "Führung". Both terms mean the same. In all my German-language publications, I use the two terms synonymously. By contrast, the terms "management" and "leadership" do not mean the same. 4.In the chapter on structure, the term "organization" carries two different meanings: the first, as mentioned above, is what we refer to when we speak of an institution being an organization; the second is what we mean when we speak of an institution having an organization. Which one of the two meanings applies should be clear from the particular context.
Wanna Cook? Myrmidon Books
Książki / Literatura obcojęzyczna
"I am not in danger ...I am the danger." With those words, Breaking Bad's Walter White solidified himself as TV's greatest antihero. Wanna Cook? explores the most critically lauded series on television with analyses of the individual episodes and ongoing storylines. From details like stark settings, intricate camerawork, and jarring music to the larger themes, including the roles of violence, place, self-change, legal ethics, and fan reactions, this companion book is perfect for those diehards who have watched the Emmy Award - winning series multiple times as well as for new viewers. Wanna Cook? elucidates without spoiling, and illuminates without nit-picking. A must have for any fan's collection. Excerpt. (c) Reprinted by permission. All rights reserved. From Wanna Cook's Episode Guide 1.01 Pilot/Breaking Bad Original air date: January 20, 2008 Written and directed by: Vince Gilligan "I prefer to see [chemistry] as the study of change ...that's all of life, right? It's the constant, it's the cycle. It's solution - dissolution, just over and over and over. It is growth, then decay, then - transformation! It is fascinating, really." - Walter White We meet Walter White, Jesse Pinkman, and Walt's family. Walt is poleaxed by some tragic news. With nothing to lose, Walt decides to try to make one big score, and damn the consequences. For that, however, he needs the help of Jesse Pinkman, a former student of Walt's turned loser meth cook and drug dealer. From the moment you see those khakis float down out of a perfectly blue desert sky, you know that you're watching a show like nothing else on television. The hard beauty and stillness of the American Southwest is shattered by a wildly careening RV driven by a pasty white guy with a developing paunch wearing only a gas mask and tighty-whities. What the hell? Like all pilots, this one is primarily exposition, but unlike most, the exposition is beautifully handled as the simple background of Walter's life. The use of a long flashback as the body of the episode works well, in no small part due to Bryan Cranston's brilliant performance in the opening, which gives us a Walter White so obviously, desperately out of his element that we immediately wonder how this guy wound up pantsless in the desert and apparently determined to commit suicide-by-cop. After the opening credits, the audience is taken on an intimate tour of Walt's life. Again, Cranston sells it perfectly. The viewer is presented with a middle-aged man facing the back half of his life from the perspective of an early brilliance and promise that has somehow imploded into a barely-making-ends-meet existence as a high school chemistry teacher. He has to work a lousy second job to support his pregnant wife and disabled teenage son and still can't afford to buy a hot water heater. Executive producer and series creator Vince Gilligan, along with the cast and crew (Gilligan & Co.), take the audience through this day in the life of Walt, and it's just one little humiliation after another. The only time Walt's eyes sparkle in the first half of the episode is when he is giving his introductory lecture to his chemistry class. Here Walt transcends his lower-middle-class life in an almost poetic outpouring of passion for this incredible science. Of course, even that brief joy is crushed by the arrogant insolence of the archetypal high school jackass who stays just far enough inside the line that Walt can't do a damn thing about him. So this is Walt and his life, as sad sack as you can get, with no real prospects of improvement, a brother-in-law who thinks he's a wuss, and a wife who doesn't even pay attention during birthday sex. Until everything changes. The sociologist and criminologist Lonnie Athens would likely classify Walt's cancer diagnosis as the beginning of a "dramatic self change," brought on by something so traumatic that a person's self - the very thoughts, ideas, and ways of understanding and interacting with the world - is shattered, or "fragmented," and in order to survive, the person must begin to replace that old self, those old ideas, with an entirely new worldview. (Athens and his theories are discussed much more fully in the previous essay, but since we warned you not to read that if you don't want to risk spoilage, the basic - and spoiler-free - parts are mentioned here.) Breaking Bad gives us this fragmentation beautifully. Note how from the viewer's perspective Walt is upside down as he is moved into the MRI machine, a motif smoothly repeated in the next scene with Walt's reflection in the top of the doctor's desk. Most discombobulating of all, however, is the consultation with the doctor. At first totally voiceless behind the tinnitus-like ambient soundtrack and faceless except for his chin and lips, the doctor and the news he is imparting are made unreal, out of place, and alien. As for Walt, in an exquisite touch of emotional realism, all he can focus on is the mustard stain on the doctor's lab coat. How many of us, confronted with such tragic news, have likewise found our attention focused, randomly, illogically, on some similar mundanity of life? It is from this shattered self that Walt begins to operate and things that would have been completely out of the question for pre-cancer Walt are now actual possibilities - things like finding a big score before he dies by making and selling pure crystal meth. Remember that Walt is a truly brilliant chemist, and knows full well what crystal meth is and what it does to people who use it. He may not know exactly what he's getting into, but he knows what he is doing. Enter Jesse Pinkman (Aaron Paul, best known previously for his role on Big Love), a skinny white-boy gangster wannabe, who under the name "Cap'n Cook" makes a living cooking and selling meth. He's also an ex-student of Walt's, and after being recognized by his former teacher during a drug bust, Walt has all the leverage he needs to coerce Jesse into helping him. Why does he need him? Because, as Walt says, "you know the business, and I know the chemistry." Symbolizing just how far beyond his old life Walt is moving, he and Jesse park their battered RV/meth lab in the desert outside of Albuquerque, far from the city and any signs of human life. All that is there is a rough dirt road and a "cow house" in the distance. The desert is a place without memory, a place outside of things, where secrets can be kept, and meth can be cooked. This is where Walt lives now. It is in this desert space that Walt becomes a killer, albeit in self defense. Ironically, the one thing that Walt views as holding the keys to the secret of life - chemistry - becomes the means to end lives. Walt, a father, teacher, and an integral part of an extended family - in other words, an agent of life and growth - has now become a meth cook, using chemical weapons to kill his enemies. Walter White has become an agent of death. The transformation is just beginning, but already Skyler (Anna Gunn, previously known for her roles on The Practice and Deadwood) is having some trouble recognizing her husband: "Walt? Is that you?" LAB NOTES Highlight: Jesse to Walt: "Man, some straight like you - giant stick up his ass all of a sudden at age what? Sixty? He's just going to break bad?" Did You Notice: This episode has the first (but not the last!) appearance of Walt's excuse that he's doing everything for his family. There's an award on the wall in Walt's house commemorating his contributions to work that was awarded the Nobel Prize back in 1985. The man's not a slouch when it comes to chemistry, so what's happened since then? At Walt's surprise birthday party, Walt is very awkward when he handles Hank's gun. Speaking of Hank (Dean Norris, whose other roles were in the TV series Medium, and the movies Total Recall, and Little Miss Sunshine), he waits until the school bus has left the neighborhood before ordering his team into the meth lab, showing what a good and careful cop he is. Maybe it's just us, but J.P. Wynne High School (where Walt teaches chemistry) seems to have the most well-equipped high school chemistry lab in the country. As Walt receives his diagnosis, the doctor's voice and all other sounds are drowned out by a kind of numbing ringing, signifying a kind of psychic overload that prevents Walt from being fully engaged with the external world. This effect will be used again several times throughout the series. Walt literally launders his money to dry it out, foreshadowing what's to come. Shooting Up: Thanks to John Toll, who served as cinematographer for the first season of Breaking Bad, the show has one of the most distinctive opening shots ever. Just watch those empty khaki pants flutter across a clear sky. Breaking Bad loves certain camera angles and this section is where we'll point out some of the shots that make the show stand out. Look at that taped non-confession Walt makes for his family when he thinks the cops are coming for him. We're used to watching recordings of characters - shows are filmed (or taped), but here, we're watching him recording himself on tape. Who's the real Walt? Title: Many pilot episodes share the name with the title of the show and Breaking Bad's pilot is no exception. Vince Gilligan, who grew up in Farmville, Virginia, has stated that "breaking bad" is a Southernism for going off the straight and narrow. When you bend a stick until it breaks, the stick usually breaks cleanly. But sometimes, sticks (and men) break bad. You can wind up in the hospital with a splinter in your eye, or you can wind up in Walter White's world. Either way, it's no kind of good. Interesting Facts: Show creator Vince Gilligan's early educational experience was at J. P. Wynne Campus School in Farmville, Virginia. He recycled the name for the high school in Breaking Bad. SPECIAL INGREDIENTS What Is Crystal Meth, Anyway? While there is some evidence that methamphetamine can be found naturally in several species of acacia plants, commercial meth making involves chemistry, not agriculture. The history of the drug dates back to 1893 when Japanese chemist Nagai Nagayoshi first synthesized the substance from ephedrine. The name "methamphetamine...
Książki / Literatura obcojęzyczna
This book is primarily a practical reference book for professional XSLT developers. It assumes no previous knowledge of the language, and many developers have used it as their first introduction to XSLT; however, it is not structured as a tutorial, and there are other books on XSLT that provide a gentler approach for beginners. The book does assume a basic knowledge of XML, HTML, and the architecture of the Web, and it is written for experienced programmers. There's no assumption that you know any particular language such as Java or Visual Basic, just that you recognize the concepts that all programming languages have in common. The book is suitable both for XSLT 1.0 users upgrading to XSLT 2.0, and for newcomers to XSLT. The book is also equally suitable whether you work in the Java or .NET world. As befits a reference book, a key aim is that the coverage should be comprehensive and authoritative. It is designed to give you all the details, not just an overview of the 20 percent of the language that most people use 80 percent of the time. It's designed so that you will keep coming back to the book whenever you encounter new and challenging programming tasks, not as a book that you skim quickly and then leave on the shelf. If you like detail, you will enjoy this book; if not, you probably won't. But as well as giving the detail, this book aims to explain the concepts, in some depth. It's therefore a book for people who not only want to use the language but who also want to understand it at a deep level. The book aims to tell you everything you need to know about the XSLT 2.0 language. It gives equal weight to the things that are new in XSLT 2.0 and the things that were already present in version 1.0. The book is about the language, not about specific products. However, there are appendices about Saxon (the author's own implementation of XSLT 2.0), about the Altova XSLT 2.0 implementation, and about the Java and Microsoft APIs for controlling XSLT transformations, which will no doubt be upgraded to handle XSLT 2.0 as well as 1.0. A third XSLT 2.0 processor, Gestalt, was released shortly before the book went to press, too late to describe it in any detail. But the experience of XSLT 1.0 is that there has been a very high level of interoperability between different XSLT processors, and if you can use one of them, then you can use them all. In the previous edition we split XSLT 2.0 and XPath 2.0 into separate volumes. The idea was that some readers might be interested in XPath alone. However, many bought the XSLT 2.0 book without its XPath companion and were left confused as a result; so this time, the material is back together. The XPath reference information is in self-contained chapters, so it should still be accessible when you use XPath in contexts other than XSLT. The book does not cover XSL Formatting Objects, a big subject in its own right. Nor does it cover XML Schemas in any detail. If you want to use these important technologies in conjunction with XSLT, there are other books that do them justice. This book contains twenty chapters and eight appendixes (the last of which is a glossary) organized into four parts. The following section outlines what you can find in each part, chapter, and appendix. Part I: Foundations: The first part of the book covers essential concepts. You should read these before you start coding. If you ignore this advice, as most people do, then you read them when you get to that trough of despair when you find it impossible to make the language do anything but the most trivial tasks. XSLT is different from other languages, and to make it work for you, you need to understand how it was designed to be used. Chapter 1: XSLT in Context: This chapter explains how XSLT fits into the big picture: how the language came into being and how it sits alongside other technologies. It also has a few simple coding examples to keep you alert. Chapter 2: The XSLT Processing Model: This is about the architecture of an XSLT processor: the inputs, the outputs, and the data model. Understanding the data model is perhaps the most important thing that distinguishes an XSLT expert from an amateur; it may seem like information that you can't use immediately, but it's knowledge that will stop you making a lot of stupid mistakes. Chapter 3: Stylesheet Structure: XSLT development is about writing stylesheets, and this chapter takes a bird's eye view of what stylesheets look like. It explains the key concepts of rule-based programming using templates, and explains how to undertake programming-in-the-large by structuring your application using modules and pipelines. Chapter 4: Stylesheets and Schemas: A key innovation in XSLT 2.0 is that stylesheets can take advantage of knowledge about the structure of your input and output documents, provided in the form of an XML Schema. This chapter provides a quick overview of XML Schema to describe its impact on XSLT development. Not everyone uses schemas, and you can skip this chapter if you fall into that category. Chapter 5: The Type System: XPath 2.0 and XSLT 2.0 offer strong typing as an alternative to the weak typing approach of the 1.0 languages. This means that you can declare the types of your variables, functions, and parameters, and use this information to get early warning of programming errors. This chapter explains the data types available and the mechanisms for creating user-defined types. Part II: XSLT and XPath Reference: This section of the book contains reference material, organized in the hope that you can easily find what you need when you need it. It's not designed for sequential reading, though you might well want to leaf through the pages to discover what's there. Chapter 6: XSLT Elements: This monster chapter lists all the XSLT elements you can use in a stylesheet, in alphabetical order, giving detailed rules for the syntax and semantics of each element, advice on usage, and examples. This is probably the part of the book you will use most frequently as you become an expert XSLT user. It's a "no stone unturned" approach, based on the belief that as a professional developer you need to know what happens when the going gets tough, not just when the wind is in your direction. Chapter 7: XPath Fundamentals: This chapter explains the basics of XPath: the low-level constructs such as literals, variables, and function calls. It also explains the context rules, which describe how the evaluation of XPath expressions depends on the XSLT processing context in which they appear. Chapter 8: XPath: Operators on Items: XPath offers the usual range of operators for performing arithmetic, boolean comparison, and the like. However, these don't always behave exactly as you would expect, so it's worth reading this chapter to see what's available and how it differs from the last language that you used. Chapter 9: XPath: Path Expressions: Path expressions are what make XPath special; they enable you to navigate around the structure of an XML document. This chapter explains the syntax of path expressions, the 13 axes that you can use to locate the nodes that you need, and associated operators such as union, intersection, and difference. Chapter 10: XPath: Sequence Expressions: Unlike XPath 1.0, in version 2.0 all values are sequences (singletons are just a special case). Some of the most important operators in XPath 2.0 are those that manipulate sequences, notably the "for" expression, which translates one sequence into another by applying a mapping. Chapter 11: XPath: Type Expressions: The type system was explained in Chapter 5; this chapter explains the operations that you can use to take advantage of types. This includes the "cast" operation which is used to convert values from one type to another.A big part of this chapter is devoted to the detailed rules for how these conversions are done. Chapter 12: XSLT Patterns: This chapter returns from XPath to a subject that's specific to XSLT. Patterns are used to define template rules, the essence of XSLT's rule-based programming approach. The reason for explaining them now is that the syntax and semantics of patterns depends strongly on the corresponding rules for XPath expressions. Chapter 13: The Function Library: XPath 2.0 includes a library of functions that can be called from any XPath expression; XSLT 2.0 extends this with some additional functions that are available only when XPath is used within XSLT. The library has grown immensely since XPath 1.0. This chapter provides a single alphabetical reference for all these functions. Chapter 14: Regular Expressions: Processing of text is an area where XSLT 2.0 and XPath 2.0 are much more powerful than version 1.0, and this is largely through the use of constructs that exploit regular expressions. If you're familiar with regexes from languages such as Perl, this chapter tells you how XPath regular expressions differ. If you're new to the subject, it explains it from first principles. Chapter 15: Serialization: Serialization in XSLT means the ability to generate a textual XML document from the tree structure that's manipulated by a stylesheet. This isn't part of XSLT processing proper, so (following W3C's lead) it's separated it into its own chapter. You can control serialization from the stylesheet using an declaration, but many products also allow you to control it directly via an API. Part III: Exploitation: The final section of the book is advice and guidance on how to take advantage of XSLT to write real applications. It's intended to make you not just a competent XSLT coder, but a competent designer too. The best way of learning is by studying the work of others, so the emphasis here is on practical case studies. Chapter 16: Extensibility: This chapter describes the "hooks" provided in the XSLT specification to allow vendors and users to plug in extra functionality. The way this works will vary from one implementation to another, so we can't cover all possibilities, but one important aspect that the chapter does cover is how to use such extensions and still keep your code portable. Chapter 17: Stylesheet Design Patterns: This chapter explores a number of design and coding patterns for XSLT programming, starting with the simplest "fill-in-the-blanks" stylesheet, and extending to the full use of recursive programming in the functional programming style, which is needed to tackle problems of any computational complexity. This provides an opportunity to explain the thinking behind functional programming and the change in mindset needed to take full advantage of this style of development. Chapter 18: Case Study: XMLSpec: XSLT is often used for rendering documents, so where better to look for a case study than the stylesheets used by the W3C to render the XML and XSLT specifications, and others in the same family, for display on the web? The resulting stylesheets are typical of those you will find in any publishing organization that uses XML to develop a series of documents with a compatible look-and-feel. Chapter 19: Case Study: A Family Tree: Displaying a family tree is another typical XSLT application. This example with semi-structured data-a mixture of fairly complex data and narrative text-that can be presented in many different ways for different audiences. It also shows how to tackle another typical XSLT problem, conversion of the data into XML from a legacy text-based format. As it happens, this uses nearly all the important new XSLT 2.0 features in one short stylesheet. But another aim of this chapter is to show a collection of stylesheets doing different jobs as part of a complete application. Chapter 20: Case Study: Knight's Tour: Finding a route around a chessboard where a knight visits every square without ever retracing its steps might sound a fairly esoteric application for XSLT, but it's a good way of showing how even the most complex of algorithms are within the capabilities of the language. You may not need to tackle this particular problem, but if you want to construct an SVG diagram showing progress against your project plan, then the problems won't be that dissimilar. Part IV: Appendices: A ppendix A: XPath 2.0 Syntax Summary: Collects the XPath grammar rules and operator precedences into one place for ease of reference. Appendix B: Error Codes: A list of all the error codes defined in the XSLT and XPath language specifications, with brief explanations to help you understand what's gone wrong. Appendix C: Backward Compatibility: The list of things you need to look out for when converting applications from XSLT 1.0. Appendix D: Microsoft XSLT Processors: Although the two Microsoft XSLT processors don't yet support XSLT 2.0, we thought many readers would find it useful to have a quick summary here of the main objects and methods used in their APIs. Appendix E: JAXP: the Java API for XML Processing: JAXP is an interface rather than a product. Again, it doesn't have explicit support yet for XSLT 2.0, but Java programmers will often be using it in XSLT 2.0 projects, so the book includes an overview of the classes and methods available. Appendix F: Saxon: At the time of writing Saxon (developed by the author of this book) provides the most comprehensive implementation of XSLT 2.0 and XPath 2.0, so its interfaces and extensions are covered in some detail. Appendix G: Altova: Altova, the developers of XML Spy, have an XSLT 2.0 processor that can be used either as part of the development environment or as a freestanding component. This appendix gives details of its interfaces. Appendix H: Glossary Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.
Minin And Pozharsky Melodija
1. Muratova, Irina - Minin & Pozharsky (Liberation Of 2. Introduction (1. Akt) 3. Rezitativ: Citizens, Prepare Yourselves To Hear Th 4. Chor: Misfortune, Calamity Overtake Us 5. Rezitativ: When A Single Cause Unites All Hearts 6. Chor: We Russians Offer Ourselves Immediately 7. Duett - Chor: Great & Omnipotent Creator 8. Rezitativ: Let Us Go To Pozharsky 9. Introduction (2. Akt) 10. Rezitativ: What Do I See? 11. Arie: Go Forth To Save Freedom 12. Rezitativ: Sons Of Of Motherland, I Will Go With Y 13. Duett: Whenever I Part From You 14. Rezitativ: Forgive, Forgive Me, My Dear Spouse 15. Arie: Love Shows Itself Everywhere Around Us 16. Rezitativ: Prepare Yourselves, Warriors 17. Trio, Chor: Behold The Most High, Our Help 18. Choral Fuge: To You, To You, We All Cry 19. Introduction (3. Akt) 20. Rezitativ: The Great Deed Is Accomplished 21. Chor: Praise To Minin & Pozharsky 22. Chor: Honor The Throne, The Law, The Truth 23. Rezitativ: Posterity Will Not Forget My Fellow Fig 24. Trio: After The Terror, The Storms Of War 101. Rezitativ: My Husband, The Most High Has Saved You 102. Arie: Is There Anything In The World More Dear 103. Chor: Oh, Happy Pair 104. Rezitativ: Not Everything Is Brought To Conclusion 105. Chor: Pozharsky Liberated Russia 106. Rezitativ: Accept The Consensus, Honored Leader 107. Arie: I Am Not Tempted By Supreme Power 108. Rezitativ: Great Man, An Example For All Centuries 109. Chor: We Exclaim Praise To God! 110. Chor: To Yo, Most Holy Lord Of All Creatures 111. Choral Fuge: Hear In The Height Of Heaven 112. Kozhevnikov, Andrei - My Lord, My Lord (Konzert Fu 113. Kozhevnikov, Andrei - Don't Be Jealous (Konzert Fu 114. Kozhevnikov, Andrei - Oh, My Lord (Konzert Fuer Ch 115. Kozhevnikov, Andrei - Come, Come The Bride From Le 116. Kozhevnikov, Andrei - Orthodox Trinity (Konzert Fu
Przepraszamy za brak polskiego opisu, nasi copywriterzy już nad nim pracują. Tymczasem zapraszamy do zapoznania się z opisem producenta.Make your fridge even cooler with the addition of these PAC-MAN Magnets from Paladone Products. Cute, colourful and practical, the sheet contains 28 magnets, all featuring the well-known icons from the famous video game.This sheet of PAC-MAN Magnets is composed of isotropic rubber which means that each magnet is flexible and hard-wearing. Simply punch out the magnet of your choice and attach to your fridge door, white board or any other metallic surface. These PAC-MAN Magnets will help keep you organised and your work surfaces free of clutter.The PAC-MAN Magnets feature PAC-MAN, the four ghosts plus other features from the game play such as the fruit and power pellets. Surprisingly strong for such thin magnets, you
Książki & Multimedia > Książki
Opis - Książka, posiadająca istotne walory praktyczne, jest pierwszą pozycją polskiej autorki w tak kompleksowy sposób analizującą nie tylko istotę funkcjonowania kredytowych instrumentów pochodnych, ale również modele ich wyceny, doskonalenie których autorka słusznie uznaje za kluczowe dla rozwoju tego rynku. Niewątpliwą zaletą opracowania jest mnogość przykładów, przeprowadzających Czytelnika przez kolejne etapy szacowania wartości omawianych struktur i tworzących idealną bazę dla zrozumienia konstrukcji tych złożonych produktów. Prof. zw. dr hab. Janusz Soboń Publikacja stanowi cenne kompendium wiedzy zarówno dla praktyków rynku finansowego, jak i studentów oraz słuchaczy studiów podyplomowych i doktoranckich, jak również dla pracowników nauki zainteresowanych wdrażaniem metod kwantyfikacji ryzyka kredytowego w praktykę. Prof. nadzw. SGH dr hab. Paweł Niedziółka Nazwa - Pochodne instrumenty kredytowe Autor - Izabela Pruchnicka-Grabias Oprawa - Miękka Wydawca - CeDeWu Kod ISBN - 9788375563733 Kod EAN - 9788375563733 Wydanie - 1 Rok wydania - 2011 Język - polski Format - 16.5x23.0cm Ilość stron - 280 Podatek VAT - 5%
A Word for the Weary: A Biblical Approach to Breaking Through the Power of Sin and Addiction AuthorHouse
Książki / Literatura obcojęzyczna
A Word for the Weary is a book of short meditations written for those who are about to embark on this wonderful yet challenging experience called recovery and to those who are currently working hard everyday to defeat this demon, which I choose to call addiction, once and for all. There is a word for the weary. There is some good news for those who are tired of being tired. My friend, you don't have to fight this opponent (addiction) all by yourself. You have a friend in Jesus and he knows all about your hurts, your pains, your setbacks, and your struggles. The bible says in Hebrews 4: 15-16, "For we have not an high priest which cannot be touched with the feeling of our infirmities; but was in all points tempted like as we are, yet without sin. Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help in time of need."
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