"The Real-Time Contact Center" is a practical guide to building a service infrastructure that will simultaneously exceed customers' expectations and build revenues.
The how-tos of management, developmentally appropriate practices, room arrangements, assessment, record keeping and parent conference ideas. Also, centers on manipulatives, woodworking, books, blocks, language arts, dramatic arts and more!
Links changes in the sites at which medical services are offered to changes in medical practice, in medical economics, and in patterns of American commerce and urbanism. [back cover].
Beth's leeriness of her business partner Sara's husband causes strain in their friendship, and, meanwhile, a terrorist act is carried out on their small village, and someone Beth knows is linked to the attack.
Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called “homogeneous, empty time” founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded. In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception. Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.
In this creative, ethnographic, and historical critique of labor practices on an Indian plantation, Piya Chatterjee provides a sophisticated examination of the production, consumption, and circulation of tea. A Time for Tea reveals how the female tea-pluckers seen in advertisements—picturesque women in mist-shrouded fields—came to symbolize the heart of colonialism in India. Chatterjee exposes how this image has distracted from terrible working conditions, low wages, and coercive labor practices enforced by the patronage system. Allowing personal, scholarly, and artistic voices to speak in turn and in tandem, Chatterjee discusses the fetishization of women who labor under colonial, postcolonial, and now neofeudal conditions. In telling the overarching story of commodity and empire, A Time for Tea demonstrates that at the heart of these narratives of travel, conquest, and settlement are compelling stories of women workers. While exploring the global and political dimensions of local practices of gendered labor, Chatterjee also reflects on the privileges and paradoxes of her own “decolonization” as a Third World feminist anthropologist. The book concludes with an extended reflection on the cultures of hierarchy, power, and difference in the plantation’s villages. It explores the overlapping processes by which gender, caste, and ethnicity constitute the interlocked patronage system of villages and their fields of labor. The tropes of coercion, consent, and resistance are threaded through the discussion. A Time for Tea will appeal to anthropologists and historians, South Asianists, and those interested in colonialism, postcolonialism, labor studies, and comparative or international feminism. Designated a John Hope Franklin Center book by the John Hope Franklin Seminar Group on Race, Religion, and Globalization.
The story of sexual abuse at a suburban New Jersey day-care center. Based on undocumented interviews and trial testimony, and lacking context as well as theory, this entire project looks as sleazy as the title. No index, bibliography, notes, or documentation of any kind. (RC) Annotation copyrighted by Book News, Inc., Portland, OR
As in all his books, Heckler draws from personal experience: training his horse, cultivating presence in aikido dojos, consulting with business executives, raising children. A masterful and encompassing book, Holding the Center develops from the fulcrum of the self in the natural world. Many of Heckler’s lessons arise from his life as a householder and father. Community is a larger family—we make alliances to “take care of what matters to us.” But, as Heckler teaches, that takes listening to others with an open heart, and learning what the needs of others are.The world can be a sanctuary, if we find a balance between instinct and choice. Richard Strozzi Heckler sounds an important call about the interplay between power and generosity in these subtle and luminous essays.
"A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art. As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century."