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Dive into 'A Selfie with Words,' a compilation of short essays through which the author embarks on a quest for deeper understanding of the inner self and the outer world. The essays cover a range of topics including spirituality, leadership, politics, technology, innovation and society. These essays emerged from the author’s unique work experiences that includes a social venture to help teen mothers in Mexico, building the Global Shapers Community in 450 cities, launching an innovative health care business model in India, leading a Disney style 3D animation series for Cartoon Network to name a few along with some unique travel experiences including visiting the lowest point on earth, climbing Mt. Fuji, embarking on a risky MBA journey, meeting influential leaders, traveling to 43 countries and living in India, Sri Lanka, US, Japan and Switzerland. Be prepared, for within these leaves, you'll embark on a voyage along with the curious mind of the author to experience the power of questions and the temporary nature of our answers. These essays explore questions that challenge an assumption or a status quo, reframe some of our commonly held assumptions, offer new interpretations, ideas and perspectives. Through gentle queries, woven with the threads of lived experience, this book shares a tapestry of introspection, urging the reader to revisit their own certainties.
“An intriguing odyssey” though the history of the self and the rise of narcissism (The New York Times). Self-absorption, perfectionism, personal branding—it wasn’t always like this, but it’s always been a part of us. Why is the urge to look at ourselves so powerful? Is there any way to break its spell—especially since it doesn’t necessarily make us better or happier people? Full of unexpected connections among history, psychology, economics, neuroscience, and more, Selfie is a “terrific” book that makes sense of who we have become (NPR’s On Point). Award-winning journalist Will Storr takes us from ancient Greece, through the Christian Middle Ages, to the self-esteem evangelists of 1980s California, the rise of the “selfie generation,” and the era of hyper-individualism in which we live now, telling the epic tale of the person we all know so intimately—because it’s us. “It’s easy to look at Instagram and selfie-sticks and shake our heads at millennial narcissism. But Will Storr takes a longer view. He ignores the easy targets and instead tells the amazing 2,500-year story of how we’ve come to think about our selves. A top-notch journalist, historian, essayist, and sleuth, Storr has written an essential book for understanding, and coping with, the 21st century.” —Nathan Hill, New York Times-bestselling author of The Nix “This fascinating psychological and social history . . . reveals how biology and culture conspire to keep us striving for perfection, and the devastating toll that can take.”—The Washington Post “Ably synthesizes centuries of attitudes and beliefs about selfhood, from Aristotle, John Calvin, and Freud to Sartre, Ayn Rand, and Steve Jobs.” —USA Today “Eminently suitable for readers of both Yuval Noah Harari and Daniel Kahneman, Selfie also has shades of Jon Ronson in its subversive humor and investigative spirit.” —Bookseller “Storr is an electrifying analyst of Internet culture.” —Financial Times “Continually delivers rich insights . . . captivating.” —Kirkus Reviews
On the brink of a burn-out? Take a selfie with this book. One in five people are on antidepressants or have professional mental supervision. Not even half feel any improvement. Take your life back.
Translingual Words is a detailed case study on lexical integration, or mediation, occurring between East Asian languages and English(es). In Part I, specific examples from global linguistic corpora are used to discuss the issues involved in lexical interaction between East Asia and the English-speaking world. Part II explores the spread of East Asian words in English, while Part III discusses English words which can be found in East Asian languages. Translingual Words presents a novel approach on hybrid words by challenging the orthodox ideas on lexical borrowing and explaining the dynamic growth of new words based on translingualism and transculturalism.
What explains our current obsession with selfies? In I Love My Selfie noted cultural critic Ilan Stavans explores the selfie's historical and cultural roots by discussing everything from Greek mythology and Shakespeare to Andy Warhol, James Franco, and Pope Francis. He sees selfies as tools people use to disguise or present themselves as spontaneous and casual. This collaboration includes a portfolio of fifty autoportraits by the artist ADÁL; he and Stavans use them as a way to question the notion of the self and to engage with artists, celebrities, technology, identity, and politics. Provocative and engaging, I Love My Selfie will change the way readers think about this unavoidable phenomenon of twenty-first-century life.
This book presents a rich and nuanced analysis of selfie culture. It shows how selfies gain their meanings, illustrates different selfie practices, explores how selfies make us feel and why they have the power to make us feel anything, and unpacks how selfie practices and selfie related norms have changed or might change in the future.
My First Book of Japanese Words is a beautifully illustrated book that introduces young children to Japanese language and culture through everyday words. The words profiled in this book are all commonly used in the Japanese language and are both informative and fun for English-speaking children to learn. The goals of My First Book of Japanese Words are multiple: to familiarize children with the sounds and structure of Japanese speech, to introduce core elements of Japanese culture, to illustrate the ways in which languages differ in their treatment of everyday sounds and to show how, through cultural importation, a single word can be shared between languages. Both teachers and parents will welcome the book's cultural and linguistic notes and appreciate how the book is organized in a familiar ABC structure. Each word is presented in Kanji (when applicable), Kana, and Romanized form (Romaji). With the help of this book, we hope more children (and adults) will soon be a part of the 125 million people worldwide that speak Japanese!
This volume explores the selfie not only as a specific photographic practice that is deeply rooted in digital culture, but also how it is understood in relation to other media of self-portrayal. Unlike the public debate about the dangers of 'selfie-narcissism', this anthology discusses what the practice of taking and sharing selfies can tell us about media culture today: can the selfie be critiqued as an image or rather as a social practice? What are the technological conditions of this form of vernacular photography? By gathering articles from the fields of media studies; art history; cultural studies; visual studies; philosophy; sociology and ethnography, this book provides a media archaeological perspective that highlights the relevance of the selfie as a stereotypical as well as creative practice of dealing with ourselves in relation to technology.
A series of philosophical meditations on the nature of aesthetics across a wide array of filmmaking styles Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the general thesis underlying So What, a collection of essays on canonical filmmakers like Luchino Visconti and Orson Welles; more experimental directors, such as Marguerite Duras and Albert Serra; and visual artists, including Hollis Frampton and Agnes Martin. Alexander García Düttmann aims to make their films as if they did not precede his text, capturing their idea and experience. If the relationship between filmic image and text is a heterogeneous one, then this heterogeneity must leave a trace. This is why the book’s chapters are organized not according to historical periods or on the basis of film theories but rather by single concepts that function like dictionary entries. The chapters adopt different forms, blurring the lines between art and philosophy. So What is a practical exercise in “making films with words,” inviting readers to draw out insights from its conceptual play. So What compiles previously untranslated and hard-to-find essays into a single volume, one that represents the absorbing and singular thought process of a major contemporary philosopher.
Does the Internet Have an Unconscious? is both an introduction to the work of Slavoj Žižek and an investigation into how his work can be used to think about the digital present. Clint Burnham uniquely combines the German idealism, Lacanian psychoanalysis, and Marxist materialism found in Žižek's thought to understand how the Internet, social and new media, and digital cultural forms work in our lives and how their failure to work structures our pathologies and fantasies. He suggests that our failure to properly understand the digital is due to our lack of recognition of its political, aesthetic, and psycho-sexual elements. Mixing autobiographical passages with critical analysis, Burnham situates a Žižekian theory of digital culture in the lived human body.