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167 kirjaa tekijältä David Brown
The negotiating secrets that experts and top professionals use. Get results fast with this quick, easy guide to the fundamentals of Negotiating.Includes how to:• Set clear goals and limits• Understand your potential adversary or partner• Use and interpret body language• Deal with difficult people• Close brilliant deals
The tricks that experts and top professionals use to overcome difficult people.
The Art of Business Wars: Battle-Tested Lessons for Leaders and Entrepreneurs from History's Greatest Rivalries
David Brown
HARPER BUSINESS
2021
sidottu
Nearly nine decades after the event, the sinking of the Titanic continues to command more attention than any other twentieth-century catatrophe. Yet most of what is commonly believed about that fateful night in 1912 is, at best, a body of myth and legend nurtured by the ship's owners and surviving officers and kept alive by generations of authors and moviemakers. That, at least, is the thesis presented in this compellingly bold, thoroughly plausible contrarian reconstruction of the last hours of the pride of the White Star Line.The new but no-less harrowing Titanic story that Captain David G. Brown unfolds is one involving a tragic chain of errors on the part of the well-meaning crew, the pernicious influence of the ship's haughty owner, who was aboard for the maiden trip, and a fatal overconfidence in the infallibility of early twentieth-century technology. Among the most startling facts to emerge are that the Titanic did not collide with an iceberg but instead ran aground on a submerged ice shelf, resulting in damage not to the ship's sides but to the bottom of her hull. First Officer Murdoch never gave the infamous CRASH STOP ("reverse engines") order; rather, he ordered ALL STOP, allowing him to execute a nearly successful S-curve maneuver around the berg. The iceberg did not materialize unheralded from an ice-free sea; the Titanic was likely steaming at 22 1/2 knots through scattered ice, with no extra lookouts posted, for two hours or more before the fatal encounter. Visibility was not poor that night, and the only signs of haze or distortion were those produced by the ice field itself as the Titanic approached. Most startling of all, however, is evidence that the ship might have stayed afloat long enough to permit the rescue of all passengers and crew if Captain Smith, at the behest of his employer, Bruce Ismay, had not given the order to resume steaming.Offering a radically new interpretation of the facts surrounding the most famous shipwreck in history, The Last Log of the Titanic is certain to ignite a storm of controversy.
Everything you need to know about pontoons and deckboats Wide, stable, and perfectly adapted for family fun andentertaining, pontoons and deckboats are among the mostpopular lake and river vessels in America. The Pontoon and Deckboat Handbook explains to you how these boats differ from conventional types in handling, safety, maintenance, and other aspects of ownership and use.
A practical guide to turning your love forboating into money in the bankYou may dream of making your passion forthe sport a means for a livelihood. Whetheryou are looking for new employmentpossibilities or wanting to remain active inyour golden years, Captain Brown can help turn yourdreams of making money afloat into a reality.Brown describes how to get a job on a boat or run apractical boat-based business, including fishing charters,excursions, dinner cruises, and water taxis. He alsocovers business issues, safety, marketing, liability, andCoast Guard licensing requirements. The author detailsthe possible ups and downs and risks about running aboat-based business.
Musorgsky created stunning masterpieces in such creations as his opera "Boris Godunov" and piano suite "Pictures at an Exhibition" - yet his life was tragic. It is this pathetic tale, interlaced with critical discussion of music, that is this volume's concern.
Tradition and revelation are often seen as opposites: tradition is viewed as being secondary and reactionary to revelation which is a one-off gift from God. Drawing on examples from Christian history, Judaism, Islam, and the classical world, this book challenges these definitions and presents a controversial examination of the effect history and cultural development has on religious belief: its narratives and art. David Brown pays close attention to the nature of the relationship between historical and imaginative truth, and focuses on the way stories from the Bible have not stood still but are subject to imaginative 'rewriting'. This rewriting is explained as a natural consequence of the interaction between religion and history: God speaks to humanity through the imagination, and human imagination is influenced by historical context. It is the imagination that ensures that religion continues to develop in new and challenging ways.
David Brown explores the ways in which the symbolic associations of the body and what we do with it have helped shape religious experience and continue to do so. A Church narrowly focused on Christ's body wracked in pain needs to be reminded that the body as beautiful and sexual has also played a crucial role not only in other religions but also in the history of Christianity itself. Dance was one way in which the connection was expressed. The irony is not that such a connection has gone but that it now exists almost wholly outside the Church. Much the same could be said about music more generally, and Brown writes excitingly about the spiritual potential of not just classical music but also pop, jazz, musicals, and opera. Like Brown's much-praised earlier volumes, God and Enchantment of Place, Tradition and Imagination, and Discipleship and Imagination, the present book will enlarge horizons and challenge the narrowness of much theological thinking.
In God and Mystery in Words David Brown uses the way in which poetry and drama have in the past opened people to the possibility of religious experience as a launch pad for advocating less wooden approaches to Christian worship today. So far from encouraging imagination and exploration, hymns and sermons now more commonly merely consolidate belief. Again, contemporary liturgy in both its music and its ceremonial fails to take seriously either current dramatic theory or the sociology of ritual. Yet this was not always so. Poetry and drama, Brown suggests, grew out of religion, and therefore that creative potential needs to be rediscovered by religion.
David Brown argues for the importance of experience of God as mediated through place in all its variety. He explores the various ways in which such experiences once formed an essential element in making religion integral to human life, and argues for their reinstatement at the centre of theological discussions about the existence of God. In effect, the discussion continues the theme of Brown's two much-praised earlier volumes, Tradition and Imagination and Discipleship and Imagination, in its advocacy of the need for Christian theology to take much more seriously its relationship with the various wider cultures in which it has been set. In its challenge to conventional philosophy of religion, the book will be of interest to theologians and philosophers, and also to historians of art and culture generally.
How have the arrangement of biblical narratives over the centuries had an impact on the understanding and practice of discipleship? David Brown's Tradition and Imagination was described on its publication as 'an achievement unmatched by any British theologian for a long time' (Maurice Wiles). In this controversial sequel Professor Brown tackles questions about the presentation of biblical narratives over the centuries, and asks whether it has had an impact on our understanding of discipleship. He explores presentations of Job, the biblical Marys, heaven, and the saints to argue that the Church went beyond purely scriptural ideas to keep the life of Christ continually relevant to a changing society. This book includes new attitudes to suffering and sexual equality, and concludes with arguments for a new way of understanding Bible and Tradition. Professor Brown shows in his consistently open and sensitive way that not only does conflict exercise a creative role in the search for truth, but that the most important type of truth, far from being narrowly historical, is in fact imaginative.
Tradition and revelation are often seen as opposites: tradition is viewed as secondary and reactionary in relation to revelation which is a one-off gift from God. Drawing on examples from Christian history, Judaism, Islam, and the classical world this book challenges these definitions and presents a controversial examination of the effect history and cultural development has on religious belief: its narratives and art. David Brown pays close attention to the nature of the relationship between historical and imaginative truth, and focuses on the way stories from the Bible have not stood still but are subject to imaginative 'rewriting'. This rewriting is explained as a natural consequence of the interaction between religion and history: God speaks to humanity through the imagination, and human imagination is influenced by historical context. It is the imagination that ensures that religion continues to develop in new and challenging ways.
David Brown argues for the importance of experience of God as mediated through place in all its variety. He explores the various ways in which such experiences once formed an essential element in making religion integral to human life, and argues for their reinstatement at the centre of theological discussions about the existence of God. In effect, the discussion continues the theme of Brown's two much-praised earlier volumes, Tradition and Imagination and Discipleship and Imagination, in its advocacy of the need for Christian theology to take much more seriously its relationship with the various wider cultures in which it has been set. In its challenge to conventional philosophy of religion, the book will be of interest to theologians and philosophers, and also to historians of art and culture generally.
David Brown explores the ways in which the symbolic associations of the body and what we do with it have helped shape religious experience and continue to do so. A Church narrowly focused on Christ's body wracked in pain needs to be reminded that the body as beautiful and sexual has also played a crucial role not only in other religions but also in the history of Christianity itself. Dance was one way in which the connection was expressed. The irony is not that such a connection has gone but that it now exists almost wholly outside the Church. Much the same could be said about music more generally, and Brown writes excitingly about the spiritual potential of not just classical music but also pop, jazz, musicals, and opera. Like Brown's much-praised earlier volumes, God and Enchantment of Place, Tradition and Imagination, and Discipleship and Imagination, the present book will enlarge horizons and challenge the narrowness of much theological thinking.
In God and Mystery in Words David Brown uses the way in which poetry and drama have in the past opened people to the possibility of religious experience as a launch pad for advocating less wooden approaches to Christian worship today. So far from encouraging imagination and exploration, hymns and sermons now more commonly merely consolidate belief. Again, contemporary liturgy in both its music and its ceremonial fails to take seriously either current dramatic theory or the sociology of ritual. Yet this was not always so. Imagery and hymns mattered, liturgial msic encouraged a sense of drama, sermons required rhetoric. In a characteristically stimulatling and inspiringly expansive study, that ranges from ancient Greek drama to modern poetry, from the meaning of the Logos to the history of vestments, David Brown pleads for a much wider focus on the kind of factors that aid experience of God.
Hailed by the New York Times Book Review as a "no-holds-barred biography" and "a state-of-the-art guide to the composer's life and works," this superb volume in the Master Musicians series offers the first life-and-works study of this towering composer of nineteenth-century Russian music to appear in English for over a half century. David Brown shows how the largely untrained Modest Musorgsky emerged as a supreme musical dramatist in his first opera, Boris Godunov. Along with this impressive debut and his much-loved piano suite, Pictures at an Exhibition, Musorgsky produced some of the most startlingly novel music of the nineteenth century. He also displayed a prodigious gift for uncovering the emotional content of a text in his highly original song compositions. While illuminating Musorgsky's work, Brown paints a detailed portrait of a fitful composer who could apply himself with superhuman intensity when the inspiration was upon him, but who deteriorated into alcoholism and died tragically young.
Amelia draws herself into her magical pad and goes missing! Meanwhile Greg is cooking up another plan to get hold of the magical stationery set. And, while all of this is going on, Finola is trying to decide whether she really does want to be Amelia's best friend.
How much pressure do you feel under to buy your loved one the perfect Christmas present? What if you only had one hour to buy it... and the future of your relationship might depend on how good it is? Heartfelt, thoughtful, occasionally funny... possibly overcrowded? The Christmas Market is packed with far more than you would think possible. Hopefully, you will find just what you are looking for... even if it is just sauerkraut and candles.