With a pedigree going back over ten years, The Definitive Handbook of Business Continuity Management can rightly claim to be a classic guide to business risk management and contingency planning, with a style that makes it accessible to all business managers. Some of the original underlying principles remain the same -- but much has changed. This is reflected in this radically updated third edition, with exciting and helpful new content from new and innovative contributors and new case studies bringing the book right up to the minute. This book combines over 500 years of experience from leading Business Continuity experts of many countries. It is presented in an easy-to-follow format, explaining in detail the core BC activities incorporated in BS 25999, Business Continuity Guidelines, BS 25777 IT Disaster Recovery and other standards and in the body of knowledge common to the key business continuity institutes. Contributors from America, Asia Pacific, Europe, China, India and the Middle East provide a truly global perspective, bringing their own insights and approaches to the subject, sharing best practice from the four corners of the world. We explore and summarize the latest legislation, guidelines and standards impacting BC planning and management and explain their impact. The structured format, with many revealing case studies, examples and checklists, provides a clear roadmap, simplifying and de-mystifying business continuity processes for those new to its disciplines and providing a benchmark of current best practice for those more experienced practitioners. This book makes a massive contribution to the knowledge base of BC and risk management. It is essential reading for all business continuity, risk managers and auditors: none should be without it.

This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between formalist-analytical and cultural-historical approaches. Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially, historically and aesthetically oriented approaches with analytical methods in imaginative ways.

Modernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the 'new musicology'. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be. At the same time, it resists any dilution of the term that would see its indiscriminate application to practically any and all music of a certain period. In addition to addressing issues already well established in modernist studies such as aesthetics, history, institutions, place, diaspora, cosmopolitanism, production and performance, communication technologies and the interface with postmodernism, this volume also explores topics that are less established; among them: modernism and affect, modernism and comedy, modernism versus the 'contemporary', and the crucial distinction between modernism in popular culture and a 'popular modernism', a modernism of the people. In doing so, this text seeks to define modernism in music by probing its margins as much as by restating its supposed essence.

The Routledge Companion to Art and Disability explores disability in visual culture to uncover the ways in which bodily and cognitive differences are articulated physically and theoretically, and to demonstrate the ways in which disability is culturally constructed. This companion is organized thematically and includes artists from across historical periods and cultures in order to demonstrate the ways in which disability is historically and culturally contingent. The book engages with questions such as: How are people with disabilities represented in art? How are notions of disability articulated in relation to ideas of normality, hybridity, and anomaly? How do artists use visual culture to affirm or subvert notions of the normative body? Contributors consider the changing role of disability in visual culture, the place of representations in society, and the ways in which disability studies engages with and critiques intersectional notions of gender, race, ethnicity, class, and sexuality. This book will be particularly useful for scholars in art history, disability studies, visual culture, and museum studies.

Mauricio Kagel was undoubtedly one of the major figures in the new music of the last fifty years. Growing up in the rich cultural atmosphere of Buenos Aires in the 1940s and '50s, where the writer Jorge Luis Borges was one of his teachers, he became a member of avant-garde circles as well as receiving a rigorous musical education. By 1957 Kagel had acted on the advice of Pierre Boulez to move to Europe to pursue a career as a composer. He quickly established himself at Cologne, the rallying point for young composers at the time, and became one of the leading, if controversial, figures at the famous Darmstadt summer courses. He embraced multiple serialism, aleatory technique and electronics, but he is best known for his pioneering explorations in music theatre, radio play, film and mixed media. BjArn Heile charts Kagel's compositional development, considering the aesthetic and ideological issues the composer raises in his work. Focusing on Kagel's use of music as a means of intellectual inquiry, Heile shows Kagel to constantly question the nature of music and its role in society. Kagel's broadening of the concept of music to include theatre, film and other media, his disdain for purism as well as his subversive humour and sense of the absurd have challenged reified notions of music and art. Heile considers Kagel's background as Argentine immigrant to Europe (born to Russian-Jewish immigrants to Argentina) to situate the composer's aesthetic. What emerges is the breadth of Kagel's imagination and the multiplicity of contexts he drew from, which were both distinctive and, in the age of pluralist multiculturalism and globalization, exemplary. As Heile demonstrates, it was Kagel's enlarged notion of music as inherently multimedial that may be his most important contribution to new music, and on which his reputation ultimately rests.

Communicating Endangered Species: Extinction, News, and Public Policy is a multidisciplinary environmental communication book that takes a distinctive approach by connecting how media and culture depict and explain endangered species with how policymakers and natural resource managers can or do respond to these challenges in practical terms. Extinction isn't new. However, the pace of extinction is accelerating globally. The International Union for Conservation of Nature classifies more than 26,000 species as threatened. The causes are many, including climate change, overdevelopment, human exploitation, disease, overhunting, habitat destruction, and predators. The willingness and the ability of ordinary people, governments, scientists, nongovernmental organizations, and businesses to slow this deeply disturbing acceleration are uncertain. Meanwhile, researchers around the world are laboring to better understand and communicate the possibility and implications of extinctions and to discover effective tools and public policies to combat the threats to species survival. This book presents a history of news coverage of endangered species around the world, examining how and why journalists and other communicators wrote what they did, how attitudes have changed, and why they have changed. It draws on the latest research by chapter authors who are a mix of social scientists, communication experts, and natural scientists. Each chapter includes a mass media and/or cultural aspect. This book will be essential reading for students, natural resource managers, government officials, environmental activists, and academics interested in conservation and biodiversity, environmental communication and journalism, and public policy.

This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between formalist-analytical and cultural-historical approaches. Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially, historically and aesthetically oriented approaches with analytical methods in imaginative ways.

Mauricio Kagel was undoubtedly one of the major figures in the new music of the last fifty years. Growing up in the rich cultural atmosphere of Buenos Aires in the 1940s and '50s, where the writer Jorge Luis Borges was one of his teachers, he became a member of avant-garde circles as well as receiving a rigorous musical education. By 1957 Kagel had acted on the advice of Pierre Boulez to move to Europe to pursue a career as a composer. He quickly established himself at Cologne, the rallying point for young composers at the time, and became one of the leading, if controversial, figures at the famous Darmstadt summer courses. He embraced multiple serialism, aleatory technique and electronics, but he is best known for his pioneering explorations in music theatre, radio play, film and mixed media. BjArn Heile charts Kagel's compositional development, considering the aesthetic and ideological issues the composer raises in his work. Focusing on Kagel's use of music as a means of intellectual inquiry, Heile shows Kagel to constantly question the nature of music and its role in society. Kagel's broadening of the concept of music to include theatre, film and other media, his disdain for purism as well as his subversive humour and sense of the absurd have challenged reified notions of music and art. Heile considers Kagel's background as Argentine immigrant to Europe (born to Russian-Jewish immigrants to Argentina) to situate the composer's aesthetic. What emerges is the breadth of Kagel's imagination and the multiplicity of contexts he drew from, which were both distinctive and, in the age of pluralist multiculturalism and globalization, exemplary. As Heile demonstrates, it was Kagel's enlarged notion of music as inherently multimedial that may be his most important contribution to new music, and on which his reputation ultimately rests.

In The History and Function of the Target Cities Management Information Systems, you?ll travel to six major cities in the "Target Cities" demonstration project sponsored by the Substance Abuse and Mental Health Services Administration's Center for Substance Abuse Treatment (CSAT). You?ll see how treatment centers are developing automated management information systems that have been proven to more effectively and efficiently meet the needs of patients requiring addiction recovery and treatment in large metropolitan areas. Your understanding of what it takes to develop, run, and maintain automated management information systems will increase as you read these firsthand accounts of specialists who have taken their own systems through the stages of initial development, to ongoing maintenance, and to eventual evolution.The History and Function of the Target Cities Management Information Systems provides an excellent forum of discovery in which you have everything you need to fully compare and contrast how various local conditions have impacted the growth of these cities'information systems and how individual problems can be solved. Several real-world views of these and many other specific topics in these metropolitan areas of the country are at your fingertips: how central intake sites provide rapid assessment, referral, and care management in Cleveland, Ohiofacilitating automated client assessment, referral, and service tracking in Portland, Oregonhow central intake units (CIUs) and a computerized management information system (MIS) reduce barriers to treatment entry, increase treatment retention, and support continued posttreatment recovery in Dallas, Texasthe St. Louis, Missouri, information system that was conceptualized and implemented statewidethe patient tracking system (PTS) in New Orleans, Louisianalessons learned in Detroit, Michigan, by staff using a management information system with a terminal-host model and character-based user interfaceThis is the only known published description of automated systems being developed for the same purpose by different teams. Everyone, especially hospital administrators, educators, and behavioral health and computer professionals interested in the development of automated medical records systems, will definitely want to access the valuable information garnered from six important cities in The History and Function of the Target Cities Management Information Systems. By comparing and contrasting the true-to-life accounts of these different cases, you?ll gain a richer, deeper understanding of this type of software and system development process. You?ll also acquire the insight necessary to spearhead the construction and modification of an effective, efficient assessment and case management system in your own city.

This volume aims to capture evidence of marginalized voices in various contexts globally and show how speakers seek to reclaim their voices and challenge power relations. The chapters reveal how speakers actively confront inequities in society such as the unequal distribution of resources. Through bottom-up initiatives and conscious involvement in language use, documentation and the development of language domains, speakers can address issues of language-based marginalization, (re)establish linguistic human rights and reclaim their linguistic and cultural identity. Chapters in the volume explore commitments to democratic participation, to voice, to the heterogeneity of linguistic resources and to the political value of sociolinguistic understanding. Drawing upon the framework of linguistic citizenship, they link questions of language to sociopolitical discourses of justice, rights and equity, as well as to issues of power and access within a political and democratic framework.

With handsome young men who never grow old, and the strangest of relatives appearing from dark corridors and long shadows, the frenzied imagination of the American Gothic is a fertile theme for this next anthology in the Gothic fantasy short story series. As with other titles in the series, new short fiction complements the work of classic authors including: Gertrude Atherton, Ambrose Bierce, Charles Brockden Brown, George Washington Cable, Charles W. Chesnutt, Kate Chopin, Ralph Adams Cram, Stephen Crane, Emma Dawson, Mary E. Wilkins Freeman, Charlotte Perkins Gilman, Ellen Glasgow, Nathaniel Hawthorne, Washington Irving, Shirley Jackson, Sarah Orne Jewett, Grace King, H.P. Lovecraft, Herman Melville, W.C. Morrow, Flannery O'Connor, Edgar Allan Poe, Annie Trumbull Slosson, Clark Ashton Smith, Harriet Prescott Spofford, Harriet Beecher Stowe, Edith Wharton, Madeline Yale Wynne.

Modernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the 'new musicology'. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be. At the same time, it resists any dilution of the term that would see its indiscriminate application to practically any and all music of a certain period. In addition to addressing issues already well established in modernist studies such as aesthetics, history, institutions, place, diaspora, cosmopolitanism, production and performance, communication technologies and the interface with postmodernism, this volume also explores topics that are less established; among them: modernism and affect, modernism and comedy, modernism versus the 'contemporary', and the crucial distinction between modernism in popular culture and a 'popular modernism', a modernism of the people. In doing so, this text seeks to define modernism in music by probing its margins as much as by restating its supposed essence.

A broad range of state-of-the-art methods to determine properties of clusters are presented. The experimental setup and underlying physical concepts of these experiments are described.
Furthermore, existing theoretical models to explain the experimental observations are introduced and the possibility to deduce structural information from measurements of dielectric properties is discussed.
Additional case studies are presented in the book to emphasize the possibilities but also drawbacks of the methods.

Increasingly more computer applications are becoming available to assist mental health clinicians and administrators in patient evaluation and treatment and mental health management, education, and research. Topics covered include: automated assessment procedures; MR-E (The Mental Retardation Expert); computerized assessment system for psychotherapy evaluation and research; computer assisted therapy of stress related conditions; computerized patient evaluation in a clinical setting; computerized treatment planning; the VA national mental health database; networks; managed care; DSM-IV diagnosis; quality management; cost control; knowledge coupling; telemedicine; the clinical library assistant; and monitoring independent service providers.

In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today's music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music's social function and universities' role in public life, concluding with the conviction that a university education in music is more than a personal investment in one's future; it contributes to the public good.

In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today's music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music's social function and universities' role in public life, concluding with the co

Scholars of Edmund Spenser have focused much more on his accomplishments in epic and pastoral than his work in satire. Scholars of early modern English satire almost never discuss Spenser. However, these critical gaps stem from later developments in the canon rather than any insignificance in Spenser's accomplishments and influence on satiric poetry. This book argues that the indirect form of satire developed by Spenser served during and after Spenser's lifetime as an important model for other poets who wished to convey satirical messages with some degree of safety. The book connects key Spenserian texts in The Shepheardes Calender and the Complaints volume with poems by a range of authors in the late sixteenth and early seventeenth centuries, including Joseph Hall, Thomas Nashe, Tailboys Dymoke, Thomas Middleton and George Wither, to advance the thesis that Spenser was seen by his contemporaries as highly relevant to satire in Elizabethan England. -- .

This volume aims to capture evidence of marginalized voices in various contexts globally and show how speakers seek to reclaim their voices and challenge power relations. The chapters reveal how speakers actively confront inequities in society such as the unequal distribution of resources. Through bottom-up initiatives and conscious involvement in language use, documentation and the development of language domains, speakers can address issues of language-based marginalization, (re)establish linguistic human rights and reclaim their linguistic and cultural identity. Chapters in the volume explore commitments to democratic participation, to voice, to the heterogeneity of linguistic resources and to the political value of sociolinguistic understanding. Drawing upon the framework of linguistic citizenship, they link questions of language to sociopolitical discourses of justice, rights and equity, as well as to issues of power and access within a political and democratic framework.

California is the country's most populous state. The home of the entertainment industry and Silicon Valley. It's known for its beaches, its redwood forests, and as the 'land of fruit and nuts.' Its people, industries, politicians, climate and allure captivates the world and draws millions of visitors each year. Exploring the state's fascinating history, people, myths, culture and trivia, The Handy California Answer Book takes an in-depth look at this fascinating, quirky and diverse state.

Fully updated with the latest advances in meteorology as well as an additional section on climate change, this comprehensive reference addresses all aspects of weather in an accessible question-and-answer format. All the basic elements of weather are discussed, as are all types of weather phenomena and the science of forecasting. In addition, the relationships between weather and oceanography, geology, and space science are expertly covered. Included are more than 1,000 questions and answers such as, "Has a hurricane ever struck southern California? Could our oceans have originated in space?" and "What is bioclimatology?" This resource is an ideal reference for students, teachers, and amateur meteorologists.