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The troubling ethics and politics of philanthropy Is philanthropy, by its very nature, a threat to today’s democracy? Though we may laud wealthy individuals who give away their money for society’s benefit, Just Giving shows how such generosity not only isn’t the unassailable good we think it to be but might also undermine democratic values. Big philanthropy is often an exercise of power, the conversion of private assets into public influence. And it is a form of power that is largely unaccountable and lavishly tax-advantaged. Philanthropy currently fails democracy, but Rob Reich argues that it can be redeemed. Just Giving investigates the ethical and political dimensions of philanthropy and considers how giving might better support democratic values and promote justice.
Letters Home from Stanford, a collection of the hand-written and electronic correspondence of generations of Stanford students, recalls the common human experience of breaking out and trying to find our way as we observe the world around us and look over a shoulder toward home. From first letters home freshman year and firsthand accounts of historical events, to questions about self and questions about laundry, these letters, emails, and texts evoke a sense of the heritage, history, and shared experience common to college students everywhere, and Stanford students in particular. Walk the Quad with Lucy, member of the pioneer Class, who headed west to Stanford in 1891, and Laine, feisty member of the Class of 2016. Live history as Hope celebrates the end of World War I, throw snowballs in the Quad with Elaine in 1962, celebrate with Burnham when he makes the newspaper staff on his second try in 1923, root for the Cardinal-er, Trees?-at yet another Big Game, name the year. From desks, benches, and patches of grass across campus and the decades, Stanford's students challenge, engage, and inspire you-just like the gang back in the dorm. One person's correspondence tells one Stanford story. Together, they tell all of ours.
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An extraordinary debut novel that “hits that sweet spot where humor and melancholy comfortably coexist” (Entertainment Weekly) Before his brief marriage imploded, Neill Bassett took a job feeding data into what could be the world’s first sentient computer. Only his attempt to give it language—through the journals his father left behind after committing suicide—has unexpected consequences. Amidst this turmoil, Neill meets Rachel, a naïve young woman escaping a troubled past, and finds himself unexpectedly drawn to her and the possibilities she holds. But as everything he thought about the past becomes uncertain, every move forward feels impossible.
This book examines tragedy and tragic philosophy from the Greeks through Shakespeare to the present day. It explores key themes in the links between suffering and ethics through postcolonial literature. Ato Quayson reconceives how we think of World literature under the singular and fertile rubric of tragedy. He draws from many key works – Oedipus Rex, Philoctetes, Medea, Hamlet, Macbeth, and King Lear – to establish the main contours of tragedy. Quayson uses Shakespeare's Othello, Chinua Achebe, Wole Soyinka, Tayeb Salih, Arundhati Roy, Toni Morrison, Samuel Beckett and J.M. Coetzee to qualify and expand the purview and terms by which Western tragedy has long been understood. Drawing on key texts such as The Poetics and The Nicomachean Ethics, and augmenting them with Frantz Fanon and the Akan concept of musuo (taboo), Quayson formulates a supple, insightful new theory of ethical choice and the impediments against it. This is a major book from a leading critic in literary studies.
Transhumanists would have humanity's creation of posthumanity be our governing aim. Susan B. Levin challenges their overarching commitments regarding the mind, brain, ethics, liberal democracy, knowledge, and reality. Her critique unmasks their notion of humanity's self-transcendence via science and technology as pure, albeit seductive, fantasy.
The Stanford Album brings together some 600 photographs, largely unpublished, and an interpretive text to tell the story of the community life of Stanford University from the University's creation in 1885 through the Second World War. It is a fitting coincident that at the same time Stanford is celebrating its Centennial Years (1985-91), the art of photography has reached its own anniversary of 150 years since the birth of the daguerreotype. The founders of the university, Jane and Leland Stanford, sat for their wedding portraits in 1850, and these daguerreotypes were just the beginning of the Stanfords' fascination with patronage of the new art form. Leland Stanford's perception of the value of the camera as a medium of documentation resulted in a superb pictorial record of the planning, construction, and dedication of the university, some of which is reproduced in The Stanford Album. By the turn of the century, technical advances in photography made possible the small, handheld camera, and at Stanford the "snapshot" image of campus life began to proliferate. Commercial photographers mainly concentrated on athletic events, drama productions, student parades, and other campus rituals; students who owned cameras intruded everywhere with the mysterious little boxes--into dormitories, fraternities and sororities, classrooms, dances, picnics, and beer busts. The book revisits a bygone Stanford. Through the magic of the cmeara lens, a vanished world of college life comes alive again, and we can see the community that existed yesterday under the same arcades where those at Stanford today study, work, and stroll.
A narrative account of the author's investigation into the world's economic gap describes her rediscovery of a blue sweater she had given away to Goodwill and found on a child in Rwanda, in a passionate call to action that relates her work as a venture capitalist on behalf of impoverished nations. Reprint.