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In recent years, many disciplines have become interested in the scientific study of morality. However, a conceptual framework for this work is still lacking. In The Moral Background, Gabriel Abend develops just such a framework and uses it to investigate the history of business ethics in the United States from the 1850s to the 1930s. According to Abend, morality consists of three levels: moral and immoral behavior, or the behavioral level; moral understandings and norms, or the normative level; and the moral background, which includes what moral concepts exist in a society, what moral methods can be used, what reasons can be given, and what objects can be morally evaluated at all. This background underlies the behavioral and normative levels; it supports, facilitates, and enables them. Through this perspective, Abend historically examines the work of numerous business ethicists and organizations—such as Protestant ministers, business associations, and business schools—and identifies two types of moral background. "Standards of Practice" is characterized by its scientific worldview, moral relativism, and emphasis on individuals' actions and decisions. The "Christian Merchant" type is characterized by its Christian worldview, moral objectivism, and conception of a person's life as a unity. The Moral Background offers both an original account of the history of business ethics and a novel framework for understanding and investigating morality in general.
Between the advent of print advertising and the dawn of radio came cinema ads. These ads, aimed at a captive theater audience, became a symbol of the developing binary between upper-class film consumption and more consumerist media. In Profit Margins, Jeremy Groskopf examines how the ad industry jockeyed for direct advertisement space in American motion pictures. In fact, advertisers, who recognized the import of film audiences, fought exhibitors over what audiences expected in a theater outing. Looking back at these debates in four case studies, Groskopf reveals that advertising became a marker of class distinctions in the cinema experience as the film industry pushed out advertisers in order to create a space free of ads. By restricting advertising, especially during the rise of high-class, palatial theaters, the film industry continued its ongoing effort to ascend the cultural hierarchy of the arts. An important read for film studies and the history of marketing, Profit Margins exposes the fascinating truth surrounding the invention of cinema advertising techniques and the resulting rhetoric of class division.
This book addresses and demonstrates the importance of critical approaches to autoethnography, particularly the commitment that such approaches make to theorizing the personal and to creating work that embodies a social justice ethos. Arts-based and practice-led approaches to this work allow the explanatory power of critical theory to be linked with creative, aesthetically engaging, and personal examples of the ideas at work. By making use of personal stories, critical autoethnography also allows for commenting on, critiquing, and transforming damaging and unjust cultural beliefs and practices by questioning and problematizing the relationships of power that are bound up in these selves, cultures and practices. The essays in this volume provide readers with work that demonstrates how critical autoethnography offers researchers and scholars across multiple disciplines a method for creatively putting critical theory into action. The book will be vital reading for students, researchers and scholars working in the fields of education, communication studies, sociology and cultural anthropology, and the performing arts.
Nice is the secret ingredient to a better life. It makes us happy. It may even be what makes us civilized—when we say thank you, shake hands, send flowers, we’re doing the nice things that bring people together. ?A compulsive and chunky book for lovers of trivia, popular history, customs, and culture—and a perfect gift to say “you’re nice”—The Book of Nice is an entertaining, quirky compendium of those signs, traditions, and expressions that we so often take for granted, yet turn out to be quite fascinating. It’s about why we cover a yawn (originally to prevent evil spirits from entering our bodies, now to hide the impression that something’s boring us). About holiday traditions—it’s thanks to Guy Lombardo’s December 31 broadcast in 1929 that we now sing “Auld Lang Syne” on New Year’s Eve. About customary offerings—the wedding cake evolved out of the Roman use of wheat as a symbol of fertility (and it’s much tastier than bits of grain). And about those simple yet essential niceties—how Thomas Edison championed an obscure term, “hello” (if Alexander Graham Bell had gotten his way, we’d all be saying “ahoy”). Why not put a little nice in your day?
So many works of golfing history focus on the greats: the best players, the most prestigious championships, the hardest courses, and the like. But most avid golfers are average players, relishing in the joy of the sport itself. In Golf’s Iron Horse, celebrated golf writer John Sabino chronicles the previously untold story of Ralph Kennedy, a golf amateur whose love of the game set him on par to play more courses than anyone before. A founding member of Mamaroneck, New York’s prestigious Winged Foot Golf Club, Kennedy had long been an avid golfer when he met Charles Leonard Fletcher in 1919. When the Englishman told Kennedy that he had played more than 240 courses in his lifetime, Kennedy took it as a challenge and became determined to play more. In a feat that caused the New York Sun to declare him “golf’s Lou Gehrig” in 1935, Kennedy succeeded in beating Fletcher’s record, and then some. He played golf on more than 3,165 different courses in all forty-eight states, nine Canadian provinces, and more than a dozen different countries during his forty-three year love affair with the game. In addition to the 3,165 unique courses he played, the unrelenting Ralph also played golf a total of 8,500 times over his lifetime, the equivalent of teeing it up every day for twenty-three straight years. Lou Gehrig’s seventeen years in professional baseball pales in comparison. This intriguing story includes details of the special conditions under which he was able to play the Augusta National Golf Club and the unique circumstances of his visits to Pebble Beach and the Old Course at St. Andrews. Perfect for golf aficionados, Golf’s Iron Horse will inspire every reader to tee off at a new course.