Regarded as a titanic artistic and aesthetic achievement, the influential literary magazine The Dial published most of the great modernist writers, artists, and critics of its day. As publisher and editor of The Dial from 1920 to 1926, Scofield Thayer was gatekeeper and guide for the movement. His editorial curation introduced the ideas of literary modernism to America and gave American artists a new audience in Europe. In The Tortured Life of Scofield Thayer James Dempsey looks beyond the public figure best known for publishing the work of William Butler Yeats, T. S. Eliot, William Carlos Williams, E.E. Cummings, and Marianne Moore to reveal a paradoxical man fraught with indecisions and insatiable appetites, and deeply conflicted about the artistic movement to which he was benefactor and patron. Thayer suffered from schizophrenia and faded from public life upon his resignation from The Dial. His struggle with mental illness and his controversial personal life led his guardians to prohibit anything of a personal nature from appearing in previous biographies. The story of Thayer's unmoored and peripatetic life, which in many ways mirrored the cosmopolitan rootlessness of modernism, has never been fully told until now.

The global financial crisis (GFC) that began in 2007 concentrated attention on the morality of banking and financial activities. Just as mainstream businesses became increasingly defined by their financial performance, banks, it seemed, got themselves - and everyone else - into trouble through an over-emphasis on themselves as commercial enterprises that need pay little attention to traditional banking virtues or ethics. While the GFC had many causes, criticism was legitimately levelled at banks over the ethics of mortgage creation, excessive securitisation, executive remuneration, and high-pressure customer sales tactics, amongst other things. These criticisms mirror those that have been levelled at the business more generally, particular in the last decade, although the backdrop provided by the GFC is more dramatic, and the outcomes of supposed wrongdoing more severe. This book focuses on business ethics after the GFC; not on the crisis itself, but how we should respond to it. The GFC has focused minds on the proper role of ethics in the understanding and conduct of business activity, but it is essential to look beyond the crisis to address the deeper challenges that it highlights. The aim of this volume is to present examples of the latest philosophically-informed thinking across a range of ethical issues that relate to business activity, using the banks and the GFC - the consequences of which continue to reverberate - as a point of departure. The book will be of great value to researchers, academics, practitioners, and students interested in business, ethics in general, and business ethics in particular.

The global financial crisis (GFC) that began in 2007 concentrated attention on the morality of banking and financial activities. Just as mainstream businesses became increasingly defined by their financial performance, banks, it seemed, got themselves - and everyone else - into trouble through an over-emphasis on themselves as commercial enterprises that need pay little attention to traditional banking virtues or ethics. While the GFC had many causes, criticism was legitimately levelled at banks over the ethics of mortgage creation, excessive securitisation, executive remuneration, and high-pressure customer sales tactics, amongst other things. These criticisms mirror those that have been levelled at the business more generally, particular in the last decade, although the backdrop provided by the GFC is more dramatic, and the outcomes of supposed wrongdoing more severe. This book focuses on business ethics after the GFC; not on the crisis itself, but how we should respond to it. The GFC has focused minds on the proper role of ethics in the understanding and conduct of business activity, but it is essential to look beyond the crisis to address the deeper challenges that it highlights. The aim of this volume is to present examples of the latest philosophically-informed thinking across a range of ethical issues that relate to business activity, using the banks and the GFC - the consequences of which continue to reverberate - as a point of departure. The book will be of great value to researchers, academics, practitioners, and students interested in business, ethics in general, and business ethics in particular.

Regarded as a titanic artistic and aesthetic achievement, the influential literary magazine The Dial published most of the great modernist writers, artists, and critics of its day. As publisher and editor of The Dial from 1920 to 1926, Scofield Thayer was gatekeeper and guide for the movement. His editorial curation introduced the ideas of literary modernism to America and gave American artists a new audience in Europe. In The Tortured Life of Scofield Thayer, James Dempsey looks beyond the public figure best known for publishing the work of William Butler Yeats, T. S. Eliot, William Carlos Williams, E.E. Cummings, and Marianne Moore to reveal a paradoxical man fraught with indecisions and insatiable appetites, and deeply conflicted about the artistic movement to which he was benefactor and patron. Thayer suffered from schizophrenia and faded from public life upon his resignation from The Dial. His struggle with mental illness and his controversial personal life led his guardians to prohibit anything of a personal nature from appearing in previous biographies. The story of Thayer's unmoored and peripatetic life, which in many ways mirrored the cosmopolitan rootlessness of modernism, has never been fully told until now.

When the Blackfoot Indians were confined to reservations in the late nineteenth century, their pictographic representations of warfare kept alive the rituals associated with war, which were essential facets of Blackfoot culture. Their war ethic served as a unifying force among the four tribes of the Blackfoot nation - Siksika, Blood, and North and South Piegan. In this visually stunning survey, L. James Dempsey, a member of the Blood tribe, plumbs the breadth and depth of warrior representational art. He has mined archival resources and museum collections and interviewed many tribal members to provide a uniquely Native perspective on the importance of warrior art in Blackfoot history and culture. Filled with 160 images of startling beauty and power, Blackfoot War Art tells how pictographs served as a record of both tribal and personal accomplishment. This singular historical record of all available information on Blackfoot warrior pictography depicts painted robes; war tepee covers, liners, and doors; and painted panels. Dempsey provides descriptions and a great deal of other information about the pieces included here. His survey focuses especially on recent paintings that scholars have overlooked. In revealing changing trends in the representation of war, Dempsey skillfully weaves together pictures, people, and histories to convey a fascinating view of this warrior art from a Blood perspective.

This is a new release of the original 1956 edition.

This is a new release of the original 1956 edition.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

With the centenary of the First World War, communities across Canada arranged commemorations of the war experience to honour local servicemen who, through their triumphs and sacrifices, werepresented as laying the foundation for a free and independent country. Often overlooked are the triumphs and sacrifices of those who supported those soldiers, and the war effort in general, back at home. The Frontier of Patriotism provides an in--depth look at all aspects of Alberta's involvement in the war, reflecting Albertans' experiences both on the battlefield and on the home front. Contributors of the 40 essays all draw heavily on national and local archival resources. The war is seen through the letters, diaries and memoirs of the individuals who lived through it, as well as through accounts in local newspapers. Readers will come away from this collection with a deeper appreciation of the different ways that the First World War, and its aftermath, shaped the lives of Albertans. For many, these four tumultuous years represented a time of individual valour and of communities pulling together and sacrificing for a noble cause. Yet, for others, the war left disillusionment and anger. Exploring these regional and local stories, as well as the national story, helps us understand the commonalities and distinctiveness of what it means to be Canadian. The Frontier of Patriotism is the most comprehensive treatment of Alberta during these critical, transformational years.