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How do Tiffany Haddish, Tom Hanks, Meryl Streep and Apple’s Tim Cook turn us on, and why do some other public figures drive us crazy and turn us off? And who are the behind-the-scenes gurus who help public figures turn us on or off? Steven Goldstein, a civil rights leader who has worked in politics, business and entertainment, breaks down the industry of creating likeability and how public figures manufacture likeability—and how they sometimes destroy it through scandals. As a television producer, Congressional lawyer, leader of state and national civil rights organizations, and communications advisor to corporate and political leaders, Steven Goldstein has been a mover and shaker in every sector of American power. He knows what makes public figures likeable. Based on his twenty-five years of experience and original teachings, Goldstein tells us why we like certain people, and dislike others, in politics, business, and entertainment. Why do we let some into our personal world and refuse to let others enter? Goldstein has developed a paradigm that describes how we fall in like, reminiscent of falling in love, with the public figures who shape our lives. And Goldstein names names. Why do we like Ellen DeGeneres and Morgan Freeman, yet find Gwyneth Paltrow sometimes maddening? Why do we like Warren Buffett, Microsoft’s Satya Nadella and Google’s Sundar Pichai aside from their products and profits? And apart from our ideology, why do some of us like Barack and Michelle Obama and others Donald Trump, and what does Ben Franklin have to do with any of it? Goldstein identifies eight traits of likeability that every public figure reveals to us in pairs, with each pair deepening our relationship with that person. The pairs are: Captivation and Hope Authenticity and Relatability Protectiveness and Reliability Perceptiveness and Compassion Goldstein not only tells us how we fall in like with public figures, but he also reveals the behind-the-scenes players in politics, business and entertainment who shape who we like. Likeability isn’t just something you have or you don’t. Likeability can be manufactured—and it can be destroyed. Public figures can be their own worst enemies in saying or doing things that turn us off. Why do we forgive some but not others? The Turn-On will make you think twice about a celebrity reinvention, a glamorous media appearance or a perfectly crafted speech, and will give you tools to take control of your own likeability and become more like your favorite star.
On the Turn: The Ethics of Fiction in Contemporary Narrative in English is an attempt to listen to the various voices that participate in the current dialogue on the relationship between fiction and ethics. The editors’ introduction investigates the current state of affairs on the return to ethics in critical and literary consideration, and it opens up the way for the variety of approaches that follows. Participants include internationally recognized scholars like Andrew Gibson, Patricia Waugh, or Native American fiction writer and poet Gordon Henry, winner of the American Book Award in 1995. All in all, contributors cover a significant geographical diversity, and their approaches also vary from general theory to particular examples, from traditional interpretations to post-deconstruction ethics. Authors analyze texts both mainstream and marginal, colonial and postcolonial; they examine the ethics of race, gender and sexuality; the ethics of self-positioning and orientation; the ethics of style; the ethics of reception; the ethics of mode and genre; the ethics of extreme situations of evil, disease and fascism. In its search for a better understanding of the global/nationalistic world of today, On the Turn therefore moves beyond the scope of literary criticism into issues of wider, more urgent relevance. What should I, ought I, may I, must I, do, if anything, on the basis of reading, when I have read a literary work? What does reading a literary work authorize, or even command, me to do? Writing an essay about the work would be one response. On the Turn is a wonderfully diverse, learned, challenging, provocative, even sometimes controversial, collection of essays on the ethical dimensions of literature. This book is testimony to the continued lively interest in the ethical turn in literary studies. The authors are, for the most part, concerned with ethical theory and with ethically charged situations in postmodern novels in English, as they shape readers’ values and judgments. Poetry and non-print media are, however, also discussed. J. Hillis Miller UCI Distinguished Research Professor of Comparative Literature and English, University of California at Irvine The Ethics of Fiction is an important and exciting volume that explores with energy and rigour the connections between ethics and literature. Relating literature to philosophy, neurobiology, politics, religion, deconstruction and psychoanalysis, the twenty two contributors richly advance ‘the ethical turn’ recently embraced by many critics. Works by authors such as Ian McEwan, A.S.Byatt, Charles Palliser, Hanif Kureishi, J.M. Coetzee, David Malouf, George Orwell, E.L. Doctorow, Flannery O’Connor, Toni Morrison and Paul Auster are presented in a new light and complex topics such as territoriality, the nature of love, Islamophobia and the politics of representation are tackled with imagination and intellectual integrity. This book is essential reading for anyone interested in the dialogue between ethics and literature. Avril Horner, Professor of English, Kingston University
It's no fun when you have to wait. And Hanna has to wait for her little brother Peter a lot. She waits at the speech-language pathologist's office, at story time-will it ever be her turn? Many brothers and sisters of children with a speech-language disorder have a hard time understanding why their sibling is getting extra attention. It's no surprise when they feel left out. This engaging story shows how Hanna, with a little help, learns to understand her feelings and find a way for both Peter and her to have their turn. The endearing illustrations bring the story to life and make this a warm and accessible story for sharing at bedtime-or anytime. This book can be used by parents, speech-language pathologists, and educators as a springboard for more conversations. It includes a section of helpful and practical communication tips for the whole family. Discussion starters help children understand and communicate their feelings.
Giang Binh Tam came to sit in front of the police station several times, but in the end Ha Xuyen Chau advised her to leave. It seemed like she had some special technique. Ha Xuyen Chau's eyelids twitched repeatedly. What surprised her was another thing, did Giang Binh Tam see the murderer?
In 'The Young Engineers in Nevada; Or, Seeking Fortune on the Turn of a Pick' by H. Irving Hancock, the reader is taken on an adventurous journey with a group of young engineers in search of fortune in Nevada. The book captures the excitement of the mining industry in the late 19th century with vivid descriptions of the landscapes and the challenges faced by the characters. Written in a straightforward and engaging style, the book appeals to readers interested in historical fiction and tales of exploration. Hancock's attention to detail and character development enrich the narrative, making it a compelling read in the literary context of adventure fiction. H. Irving Hancock, a prolific writer known for his works centered around young protagonists and their adventures, draws from his own experiences to create a realistic and immersive story in 'The Young Engineers in Nevada'. His passion for storytelling and fascination with the American West likely inspired him to craft this thrilling tale of perseverance and discovery amidst the harsh conditions of mining operations. I highly recommend 'The Young Engineers in Nevada; Or, Seeking Fortune on the Turn of a Pick' to readers who enjoy historical fiction, adventure stories, and tales of young protagonists navigating challenging environments. Hancock's attention to detail and descriptive writing style make this book a captivating and educational read for anyone interested in the excitement of the mining industry and the spirit of exploration in the Wild West.
Design of complex artifacts and systems requires the cooperation of multidisciplinary design teams using multiple sophisticated commercial and non-commercial engine- ing tools such as CAD tools, modeling, simulation and optimization software, en- neering databases, and knowledge-based systems. Individuals or individual groups of multidisciplinary design teams usually work in parallel and independently with various engineering tools, which are located on different sites, often for quite a long period of time. At any moment, individual members may be working on different versions of a design or viewing the design from various perspectives, at different levels of details. In order to meet these requirements, it is necessary to have efficient comput- supported collaborative design systems. These systems should not only automate in- vidual tasks, in the manner of traditional computer-aided engineering tools, but also enable individual members to share information, collaborate, and coordinate their activities within the context of a design project. Based on close international collaboration between the University of Technology of Compiègne in France and the Institute of Computing Technology of the Chinese Ac- emy of Sciences in the early 1990s, a series of international workshops on CSCW in Design started in 1996. In order to facilitate the organization of these workshops, an International Working Group on CSCW in Design (CSCWD) was established and an International Steering Committee was formed in 1998. The series was converted to int- national conferences in 2000 building on the success of the four previous workshops.
E. B. White Read-Aloud winner Mac Barnett celebrates individuality in a story told with tenderness and subtlety. It’s John’s big day at school today—a performance for Sharing Gifts time. His bag is carefully packed and prepared, his classmates are ready, and the curtain is waiting to open. John is nervous, looking out at all the other children staring back at him. But he takes a big breath and begins. Mac Barnett’s compassionate text and Kate Berube’s understated and expressive art tell the story of a kid who finds the courage to show others his talent for dancing.
Turn On, Tune In, Drift Off: Ambient Music's Psychedelic Past rethinks the history and socioaesthetics of ambient music as a popular genre with roots in the psychedelic countercultures of the late twentieth century. Victor Szabo reveals how anglophone audio producers and DJs between the mid-1960s and century's end commodified drone- and loop-based records as "ambient audio": slow, spare, spacious audio sold as artful personal media for creating atmosphere, fostering contemplation, transforming awareness, and stilling the body. The book takes a trip through landmark ambient audio productions and related discourses, including marketing rhetoric, artist manifestos and interviews, and music criticism, that during this time plotted the conventions of what became known as ambient music. These productions include nature sounds records, experimental avant-garde pieces, "space music" radio, psychedelic and cosmic rock albums, electronic dance music compilations, and of course, explicitly "ambient" music, all of which popularized ambient audio through vivid atmospheric concepts. In paying special attention to the sound of ambient audio; to ambient audio's relationship with the psychedelic, New Age, and rave countercultures of the US and UK; and to the coincident evolution of therapeutic audio and "head music" across alternative media and independent music markets, this history resituates ambient music as a hip highbrow framing and stylization of ongoing practices in crafting audio to alter consciousness, comportment, and mood. In so doing, Turn On, Tune In, Drift Off illuminates the social and aesthetic rifts and alliances informing one of today's most popular musical experimentalisms.