A fresh, realistic guide to help companies navigate the new ethical challenges and risks in a volatile global landscape. Today's headlines are full of employee unrest over racial injustice, communities infuriated by corporate environmental impacts, staff anxiety over surveillance, and discoveries of child labor in supply chains. We’ve traveled far and fast from the old world of business ethics, where black-and-white concerns about bribery and fraud could be addressed with rules and processes. Simply maximizing shareholder value while not breaking the law is no longer an option, but we've never been so confused about what it means to do the right thing. In this eye-opening, indispensable book, NYU ethics professor Alison Taylor argues that amid stakeholder demands and transparency pressures, we can no longer treat ethics as a legal and reputational defense mechanism. Leaders at Davos and the Business Roundtable have called for a new corporate responsibility paradigm, but how to implement their ideas remains an open question as organizations struggle in an atmosphere of heightened expectations and intense suspicion. Offering vivid stories and examples, Taylor brings this complex, risky environment alive to provide a blueprint for how leaders should rethink and reshape their practices. How can CEOs cut through the noise to set robust environmental and social priorities? When should they speak out on contentious social and political issues—and how? What does it really take to build a healthy organizational culture? How are we to approach corporate values when society is so divided? Higher Ground will show leaders how business can navigate this messy paradigm shift, build trust, and achieve long-term strategic advantage in a turbulent world.

Premiering at the 1981 Cannes Film Festival, Andrzej Zulawski's Possession remains a distinct phenomenon. Though in competition for the illustrious Palme d'Or, its art cinema context did not rescue it from being banned as part of the United Kingdom's 'video nasties' campaign, alongside unashamedly lowbrow titles such as Faces of Death and Zombie Flesh Eaters. Skirting the boundary between art and exploitation, body horror and cerebral reverie, relationship drama and political statement, Possession is a truly astonishing film. Part visceral horror, part surreal experiment, part gothic romance dressed in the iconography of a spy thriller: there is no doubt that the polarity evinced by Possession's initial release was in part a product of its resistance to clear categorisation. With a production history almost as bizarre as the film itself, a cult following gained with its VHS release, and being re-appreciated in the decades since as a valuable work of auteur cinema, the story of how this film came to be is as fascinating as it is unfathomable. Alison Taylor's Devil's Advocate considers Possession's history, stylistic achievement, and legacy as an enduring and unique work of horror cinema. Beginning with a marital breakdown and ending with an apocalypse, the film's strangeness has not dissipated over time; its transgressive imagery, histrionic performances, and spiral staircase logic remain affective and confounding to critics and fans alike. Respecting the film's wilfully enigmatic nature, this book helps to unpack its key threads, including the collision between the banal and the horrific, the socio-historical context of its divided Berlin setting, and the significance of its legacy, particularly with regard to the contemporary trend for extreme art horror on the festival circuit.

This book provides essential support and advice on using literature in the A level modern languages classroom, addressing key concerns such as ways to approach this task and how to maximise the benefit to students. There are strategies for understanding works of different genres as well as ways to analyse plot, characterisation, themes and style, all presented in a logical way that allows existing teaching methods to be built upon. Including a step-by-step approach to all aspects of planning, resourcing and teaching literature in modern languages at advanced levels, this book covers essential topics such as: Why teaching and studying literature is important How to choose the text Preparing and introducing the literary text Understanding the characters, themes, style and structure Writing examination essays Ways to spark creative language use before and beyond the set text Based on the latest A level modern languages syllabus, this practical book will help both new and experienced teachers approach teaching literature with more confidence, which will enrich their students' language learning and inspire their creativity beyond examination requirements.

The Really Useful Primary Languages Book is an easily accessible guide, full of handy resources and activities which are perfect to dip into for enjoyable, engaging and ultimately effective language lessons. Providing principles, approaches and ideas to help bring the teaching of languages to life in your classroom, this highly practical book will be essential reading for the development of children's language skills across Key Stage 2. With examples of practice included throughout, the book covers key topics such as: principles of good planning mixed age classes developing skills such as literacy and oracy phonics grammar storytelling, poems and songs using language games and activities activities for developing reading skills supporting children's writing integrating learning a language with daily routines cross-curricular language learning peer and self-assessment involving parents in language work at school. The experienced author team draws upon their own personal teaching experience, coupled with knowledge of primary best practice and government guidance, to ensure that The Really Useful Primary Languages Book is a stimulating resource to help busy teachers, trainee teachers and teaching assistants to develop their own effective teaching style.

Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat's Fat Girl (2001), Gaspar Noe's Irreversible (2002) and Markus Schleinzer's Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case-studies, and considering notorious films in their historical and philosophical context, Troubled Everyday offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force, and such a prolonged grip on our imagination.

This book provides essential support and advice on using literature in the A level modern languages classroom, addressing key concerns such as ways to approach this task and how to maximise the benefit to students. There are strategies for understanding works of different genres as well as ways to analyse plot, characterisation, themes and style, all presented in a logical way that allows existing teaching methods to be built upon. Including a step-by-step approach to all aspects of planning, resourcing and teaching literature in modern languages at advanced levels, this book covers essential topics such as: Why teaching and studying literature is important How to choose the text Preparing and introducing the literary text Understanding the characters, themes, style and structure Writing examination essays Ways to spark creative language use before and beyond the set text Based on the latest A level modern languages syllabus, this practical book will help both new and experienced teachers approach teaching literature with more confidence, which will enrich their students' language learning and inspire their creativity beyond examination requirements.

The Really Useful Primary Languages Book is an easily accessible guide, full of handy resources and activities which are perfect to dip into for enjoyable, engaging and ultimately effective language lessons. Providing principles, approaches and ideas to help bring the teaching of languages to life in your classroom, this highly practical book will be essential reading for the development of children's language skills across Key Stage 2. With examples of practice included throughout, the book covers key topics such as: principles of good planning mixed age classes developing skills such as literacy and oracy phonics grammar storytelling, poems and songs using language games and activities activities for developing reading skills supporting children's writing integrating learning a language with daily routines cross-curricular language learning peer and self-assessment involving parents in language work at school. The experienced author team draws upon their own personal teaching experience, coupled with knowledge of primary best practice and government guidance, to ensure that The Really Useful Primary Languages Book is a stimulating resource to help busy teachers, trainee teachers and teaching assistants to develop their own effective teaching style.

By combining the results of archaeological excavation carried out over the last thirty years with important discoveries in previous centuries, Alison Taylor is able to piece together the history of Cambridge through prehistoric, Roman, Anglo-Saxon and medieval times, and then the expansion of the university in later centuries. Her book is full of surprises - especially for those whose knowledge of Cambridge is confined to the colleges. For it is in college courtyards and lawns that recent excavations tell the story of the medieval town. Although the question of why the university existed at all is tackled and the creation of the individual colleges is explained, it is the changing fortunes of the town itself which are the real subject of this refreshingly original book.

Premiering at the 1981 Cannes Film Festival, Andrzej Zulawski's Possession remains a distinct phenomenon. Though in competition for the illustrious Palme d'Or, its art cinema context did not rescue it from being banned as part of the United Kingdom's 'video nasties' campaign, alongside unashamedly lowbrow titles such as Faces of Death and Zombie Flesh Eaters. Skirting the boundary between art and exploitation, body horror and cerebral reverie, relationship drama and political statement, Possession is a truly astonishing film. Part visceral horror, part surreal experiment, part gothic romance dressed in the iconography of a spy thriller: there is no doubt that the polarity evinced by Possession's initial release was in part a product of its resistance to clear categorisation. With a production history almost as bizarre as the film itself, a cult following gained with its VHS release, and being re-appreciated in the decades since as a valuable work of auteur cinema, the story of how this film came to be is as fascinating as it is unfathomable. Alison Taylor's Devil's Advocate considers Possession's history, stylistic achievement, and legacy as an enduring and unique work of horror cinema. Beginning with a marital breakdown and ending with an apocalypse, the film's strangeness has not dissipated over time; its transgressive imagery, histrionic performances, and spiral staircase logic remain affective and confounding to critics and fans alike. Respecting the film's wilfully enigmatic nature, this book helps to unpack its key threads, including the collision between the banal and the horrific, the socio-historical context of its divided Berlin setting, and the significance of its legacy, particularly with regard to the contemporary trend for extreme art horror on the festival circuit.

Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat's Fat Girl (2001), Gaspar Noe's Irreversible (2002) and Markus Schleinzer's Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case-studies, and considering notorious films in their historical and philosophical context, Troubled Everyday offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force, and such a prolonged grip on our imagination.

Taylor's family had patiently waited a whole year for this. Being on vacation in Ocean City was the stuff kid's dreams were made of; cotton candy, sun, sand, waves, pizza, crabs, the boardwalk, and the carnival. For two whole weeks every year they packed their belongings and headed down to Ocean City, Maryland. Once there, their parents let most of the rules about healthy eating fall away during vacation. Taylor and her brother Alan are having the time of their lives doing fun activities like swimming, playing in the sun and surf, staying up as late as they want, to buying an awesome new kite. Everyone is getting along and having fun. Everything is picture perfect until they spend the afternoon at the carnival. The House of Mirrors, where you can be skinny and tall, thin or wide. But this House of Mirrors has something else besides mirrors in it, something Taylor and Alan have never experienced before. Something that will scare and amaze them-The House of Mirrors, where all is not as it seems. Taylor and Alan must find their way back from the Land of Spark, while helping the people that live there get out from under the control of the bad wizard. Can two children outsmart the powerful wizard, save the people that are from the Land of Spark, and possibly find their way back home?