Cross-Cultural Management: Essential Concepts introduces readers to the fundamentals of cross-cultural management by exploring the influence of culture on interpersonal interactions in organizational settings and examining the ever-increasing number of cross-cultural challenges that global managers face in today's workplace. The Fourth Edition reflects the most current thinking on the topic and includes a series of new features including: Enhanced coverage of language issues, offering strategies for improving communication in multinational companies (Ch.6) New discussions about the relationship between immigration and international management (Ch. 11) Increased emphasis on understanding the mechanisms of cross-cultural interactions Best practices for transferring knowledge across cultures (Ch.9) Expanded coverage of cross-generational considerations (Ch.11) New and updated examples, statistics, discussion questions and references. The book is complemented by a companion website featuring a range of tools and resources for lecturers, including chapter-specific PowerPoint slides, and a Microsoft Word test bank containing multiple-choice, true/false, and open-ended questions for each chapter. Suitable reading for undergraduate and postgraduate students taking Change Management courses.

Between 1958 and 1961, William Crozier painted a series of daring and original landscapes. He lived in north Essex at the time and found inspiration in that bleak environment, even as he looked inwards to give his paintings existential angst. William Crozier: Nature into Abstraction brings these works together for the first time since the 1960s. William Crozier: Nature into Abstraction is a fully illustrated catalogue including a poignant introduction by the art critic and writer Thomas Marks. The book shows Crozier to be one of the leading artists in post-war Britain and is published to accompany an exhibition of the same title at The Lightbox, Woking. A prolific artist who produced a dizzying range of styles over short periods of time, William Crozier has yet to receive the recognition his work deserves. This publication offers a detailed look at just three years of the artist's career, addressing a gap in the existing literature about Crozier.

This important book presents the work of the fascinating and singular artist Luigi Pericle (1916–2001). Pericle was a painter, illustrator and scholar, as well as a leading figure in the story of art in the second half of the twentieth century. The artist initially found fame as an illustrator, gaining widespread renown in the 1950s as the inventor of the character Max the Marmot. But his intense, enigmatic and multi-layered paintings increasingly drew the attention of the art world, with works that reflect his personal, metaphysical take on post-war abstraction exhibited at numerous venues in Britain during the 1960s. Pericle then abruptly retreated from the art system, and for the rest of his life continued to paint, write and to study esoteric philosophy in the secluded house he shared with his wife Orsolina on Monte Verit  in the Ticino region of Switzerland. The artist’s work was dramatically rediscovered in 2016 when the contents of his former residence were revealed. The process of restoring, cataloguing and researching his vast oeuvre is ongoing, and is overseen by Ascona’s Archivio Luigi Pericle, with which the exhibition has been organised. This beautifully illustrated publication, which accompanies an exhibition at the Estorick Collection, London, includes a full catalogue of the works, as well as essays by noted scholars.

In the World Library of Psychologists series, international experts present career-long collections of what they judge to be their finest pieces - extracts from books, key articles, salient research findings, and their major practical theoretical contributions. This influential volume of papers, chosen by Professor Annette Karmiloff-Smith before she passed away, recognises her major contribution to the field of developmental psychology. Published over a 40-year period, the papers included here address the major themes that permeate through Annette's work: from typical to atypical development, genetics and computation modelling approaches, and neuroimaging of the developing brain. A newly written introduction by Michael S. C. Thomas and Mark H. Johnson gives an overview of her research journey and contextualises her selection of papers in relation to changes in the field over time. Thinking Developmentally from Constructivism to Neuroconstructivism: Selected Works of Annette Karmiloff-Smith is of great interest to researchers and postgraduates in child development specialising in atypical development, developmental disorders, and developmental neuroscience. It also has appeal to clinical neuropsychologists and rehabilitation professionals.

In the World Library of Psychologists series, international experts present career-long collections of what they judge to be their finest pieces - extracts from books, key articles, salient research findings, and their major practical theoretical contributions. This influential volume of papers, chosen by Professor Annette Karmiloff-Smith before she passed away, recognises her major contribution to the field of developmental psychology. Published over a 40-year period, the papers included here address the major themes that permeate through Annette's work: from typical to atypical development, genetics and computation modelling approaches, and neuroimaging of the developing brain. A newly written introduction by Michael S. C. Thomas and Mark H. Johnson gives an overview of her research journey and contextualises her selection of papers in relation to changes in the field over time. Thinking Developmentally from Constructivism to Neuroconstructivism: Selected Works of Annette Karmiloff-Smith is of great interest to researchers and postgraduates in child development specialising in atypical development, developmental disorders, and developmental neuroscience. It also has appeal to clinical neuropsychologists and rehabilitation professionals.

Anna Freeman Bentley’s paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings. This, Freeman Bentley’s third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 2021–22). Freeman Bentley’s work here is focused on sets from 'The Colour Room' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (1899–1972). The foreword to the book is written by Rollo Campbell and Matt Incledon of Frestonian Gallery. An essay by writer and critic Thomas Marks draws out the importance to her work of historic and contemporary cinema and temporary architecture. Marks notes a change in palette in these new paintings, with Freeman Bentley embracing pastels and tracing parallels between the artist herself and Cliff. An interview with Georgie Paget, co-founder of Caspian Films, production company for 'The Colour Room', meanwhile, provides insight into the artist’s particular interest in the artifice of film props and of the film set as a layered space ‘steeped in meaning, purpose and potential.’ The two discuss the reciprocity of painting and cinema in detail, recounting Freeman Bentley’s experiences on the film’s sets and discussing her working processes, beginning with taking photographs on set, through to oil sketches and the later development of large-scale canvases. The publication is edited by Matt Incledon and Matt Price. It is designed by Joe Gilmore, printed and bound by Gomer, Wales, and co-published by Frestonian Gallery, London, and Anomie Publishing, London. The publication coincides with the second solo show by Anna Freeman Bentley at Frestonian Gallery, by whom the artist is represented. The exhibition, also titled ‘make believe’ is divided between two sites: the 2022 Armory Show, New York, and Frestonian Gallery, London. Anna Freeman Bentley studied Painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art. Awards and residencies include Palazzo Monti Residency, Brescia, Italy, 2019; The Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist in Restaurant residency at Michelin-starred restaurant Pied à Terre, London, 2012. Selected exhibitions (* denotes solo) include DENK Gallery, Los Angeles, 2019*, Ahmanson Gallery, Irvine, 2018*; Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC Birmingham, 2011; Prague Biennale, 2011, and the Bloomberg New Contemporaries, 2009. Her work is part of the Hotel Crillon collection, Paris; Saatchi Collection, London; Hogan Lovells Collection, London; the Ahmanson Collection, California, and numerous private collections worldwide.

Hughie O’Donoghue (b. 1953) explores themes of universal human experience, ideas of truth and the relationship between memory and identity. Often standing apart from his contemporaries in the scale and ambition of his paintings, O’Donoghue’s work addresses the need to learn the lessons and complexities of recent history through the lens of the often overlooked and anonymous individual. Beautifully illustrated, encompassing four decades of work, this major publication is the broadest survey of the artist to date. Including new writing from the artist alongside four commissioned essays by leading art historians and critics, with a preface by the poet Tom Paulin, this comprehensive book documents O’Donoghue’s ambitious vision.

For more than a decade, "Clear and Simple as the Truth" has guided readers to consider style not as an elegant accessory of effective prose but as its very heart. Francis-Noel Thomas and Mark Turner present writing as an intellectual activity, not a passive application of verbal skills. In classic style, the motive is truth, the purpose is presentation, the reader and writer are intellectual equals, and the occasion is informal. This general style of presentation is at home everywhere, from business memos to personal letters and from magazine articles to student essays. Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart.

At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards.

The book is divided into four parts. The first, "Principles of Classic Style," defines the style and contrasts it with a number of others. "The Museum" is a guided tour through examples of writing, both exquisite and execrable. "The Studio," new to this edition, presents a series of structured exercises. Finally, "Further Readings in Classic Prose" offers a list of additional examples drawn from a range of times, places, and subjects. A companion website, classicprose.com, offers supplementary examples, exhibits, and commentary, and features a selection of pieces written by students in courses that used "Clear and Simple as the Truth" as a textbook."

Techniques on how to gain greater fluidity of movement while playing to improve the quality of the experience are offered in this manual for serious piano players. This book encourages musicians to develop a broader understanding of the involvement of the entire body in playing -- and the strains playing places on the body -- by focusing on body mapping to increase awareness of the body's function, size, and structure. Ways in which piano, organ, harpsichord, clavichord, and digital keyboard players can eliminate or prevent carpal tunnel syndrome and other debilitating conditions without traditional medical treatments are also explored.

Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart. At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards. In the first half of Clear and Simple, the authors introduce a range of styles--reflexive, practical, plain, contemplative, romantic, prophetic, and others--contrasting them to classic style. Its principles are simple: The writer adopts the pose that the motive is truth, the purpose is presentation, the reader is an intellectual equal, and the occasion is informal. Classic style is at home in everything from business memos to personal letters, from magazine articles to university writing. The second half of the book is a tour of examples--the exquisite and the execrable--showing what has worked and what hasn't. Classic prose is found everywhere: from Thomas Jefferson to Junichir? Tanizaki, from Mark Twain to the observations of an undergraduate. Here are many fine performances in classic style, each clear and simple as the truth. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart. At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards. In the first half of Clear and Simple, the authors introduce a range of styles--reflexive, practical, plain, contemplative, romantic, prophetic, and others--contrasting them to classic style. Its principles are simple: The writer adopts the pose that the motive is truth, the purpose is presentation, the reader is an intellectual equal, and the occasion is informal. Classic style is at home in everything from business memos to personal letters, from magazine articles to university writing. The second half of the book is a tour of examples--the exquisite and the execrable--showing what has worked and what hasn't. Classic prose is found everywhere: from Thomas Jefferson to Junichir? Tanizaki, from Mark Twain to the observations of an undergraduate. Here are many fine performances in classic style, each clear and simple as the truth. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.