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This is the story of the British Army's endeavours during the Great War to deceive the enemy and trick him into weakening his defences and redeploying his reserves. In this year-by-year account, Martin Davies shows how Sir John French and Sir Douglas Haig actively encouraged their Army commanders to employ trickery so that all attacks should come as a 'complete surprise' to the enemy. The methods of concealment of real military artefacts and the creation of dummy ones were ingenious enough but the real art lay in the development of geographically dispersed deception plans which disguised the real time and place of attack and forced the enemy to defend areas threatened by fake operations. Some of these plans, such as disguising mules as tanks and creating dummy airfields bordered on the farcical but were often amazingly effective. The driving force behind the deception plans was GHQ and the Army commanders, further dispelling the myth of 'Lions led by Donkeys'. Evidence shows that the British Army employed deception to advantage in all their theatres of operation.
Between May and October 1940, following Hitler's invasion of western Europe and the evacuation of the Expeditionary Force from Dunkirk, it was feared that the Germans would invade Britain. Over a million men volunteered for the Home Guard, beaches were covered with barbed wire, and pillboxes were scattered across the countryside. But even amid this frenzy of preparation, many Britons were indifferent to the perceived threat. In Don't Panic, Mark Rowe presents the definitive account of Britain's 'finest hour'. Using diaries, official documents and many previously unpublished photographs, he recounts the history of the invasion that never was, including how Churchill interfered with the defence of Whitehall, the many false alarms such as the 'Battle of Bewdley', and the general who boasted his orders were 'grandiloquent b*ll*cks'. Moreover, it shows how the people of Britain sought to defend their island against a truly formidable enemy, and how their preparations arguably prevented the invasion from ever taking place.
An examination of the concealment controversy in international refugee law.
Fact: Barings was an excellent company, with professional managers. Their careers were devastated by fraud. How many other managers are now in the same position without knowing it? Fact: The average company loses between 2 per cent and 5 per cent of its turnover as a result of dishonesty. When Mike Comer’s book first appeared it quickly established itself worldwide as the standard work in its field. This third edition is a radical revision reflecting the world of EDI, electronic commerce, derivatives, computerization, empowerment, downsizing and other recent developments. Ironically, many of these have exposed companies to an alarming range of new risks. With the help of real-life case histories the author identifies the main types of fraud, the circumstances in which they occur and the telltale signs that give them away. He examines internal control systems and the attitudes and practices that allow fraud to flourish. He explains in detail how fraud can be prevented and detected, and shows why it is that many fashionable management techniques can also potentially pave the way to corporate disaster.
Jay L. Garfield defends two exegetical theses regarding Hume's Treatise on Human Nature. The first is that Book II is the theoretical foundation of the Treatise. Second, Garfield argues that we cannot understand Hume's project without an appreciation of his own understanding of custom, and in particular, without an appreciation of the grounding of his thought about custom in the legal theory and debates of his time. Custom is the source of Hume's thoughts about normativity, not only in ethics and in political theory, but also in epistemological, linguistics, and scientific practice- and is the source of his insight that our psychological and social natures are so inextricably linked. The centrality of custom and the link between the psychological and the social are closely connected, which is why Garfield begins with Book II. There are four interpretative perspectives at work in this volume: one is a naturalistic skeptical interpretation of Hume's Treatise; a second is the foregrounding of Book II of the Treatise as foundational for Books I and III. A third is the consideration of the Treatise in relation to Hume's philosophical antecedents (particularly Sextus, Bayle, Hutcheson, Shaftesbury, and Mandeville), as well as eighteenth century debates about the status of customary law, with one eye on its sequellae in the work of Kant, the later Wittgenstein, and in contemporary cognitive science. The fourth is the Buddhist tradition in which many of the ideas Hume develops are anticipated and articulated in somewhat different ways. Garfield presents Hume as a naturalist, a skeptic and as, above all, a communitarian. In offering this interpretation, he provides an understanding of the text as a whole in the context of the literature to which it responded, and in the context of the literature it inspired.
In the past century the borders have blurred between art and design. Designers, artists, aestheticians, curators, art and design critics, historians and students all seem confused about these borders. Figurative painting was reduced to graphic design while still being called 'art'. Figurative sculpture was reduced to nonfunctional industrial design while being called 'sculpture'. This fundamental blunder resulted from total misunderstanding of the concept of "abstraction" by the founders of modern art. Comprehensive analysis shows that so-called "abstract art" is neither abstract nor art, but a very simple, even trivial, kind of design. In this book the prehistoric, philosophical, logical, historic and religious sources of the confusion between art and design are analyzed. A new and coherent conceptual framework is proposed, to distinguish between art and design. Nearly one hundred distinctions, contradistinctions and comparisons between art and design are presented, showing clearly that they are totally independent domains. Philosophy of art books are written by philosophers for philosophers, not for artists and designers; therefore they are irrelevant for the latter, especially for students who normally lack the necessary conceptual training. This book is not only for theoreticians but for art and design practitioners at all levels. This is a new kind of book: an illustrated philosophical book for the art and design world, which can make philosophical knowledge accessible and useful for solving real problems for designers and artists who are mostly visual rather than conceptual thinkers. The book contains over two hundred images; thus art and design people can easily follow the arguments and reasoning presented in this book in their own language; images. Lack of distinction between art and design harms both. Design is contaminated by the ills of modern art, while modern art cannot recover from its current stagnation whilst under the illusion that it is actually art rather than design.
Questioning the doctrines of conventional society, its economics, politics and religions, to find the answers to the "whys" of the senseless waste, destruction, poverty, violence, crime, drugs, brutality, terrorism, war, weapons of mass destruction, global warming, ozone depletion and other environmental damage, that challenge the notion of human intelligence.
Unearthing clues in a murder could be the last thing they do… To salvage his reputation, former forensic entomologist Jamie Dyer and his cadaver dog search for clues in a dismissed homicide—and find the victim’s sister, Detective Shaylee Adler, buried alive. Convinced her senator brother-in-law is behind the attack on her and her sister’s disappearance, Shaylee needs Jamie’s expertise. But can they uncover a deadly conspiracy before the killer buries the case—and them—for good? From Love Inspired Suspense: Courage. Danger. Faith.
Sandian heroines swirl around men in their sororal and sartorial disguises like moths around candle flames. However, as Disguise in George Sand's Novels illustrates, the disguise is not an instrument to seduce men but rather to assert the heroines' true selves. The portrayal of female and androgynous protagonists in Rose et Blanche (1831), Indiana (1832), Lélia (1833/39), Gabriel (1839), Consuelo (1842), and La Comtesse de Rudolstadt (1844) is a metaphor to demonstrate the continuity of identities before and after the disguise as George Sand stipulates in her theory of the ménechme. Disguise in George Sand's Novels explores the maturation process of Romantic and artistically inclined heroines and highlights the spiritual meaning of the disguise as a rite of passage for the birth of a new type of protagonist: spiritual, self-assertive, and dedicated to erasing gender inequality and helping the poor.