Now available in paperback, with an all new Reader's guide, The New York Times and Business Week bestseller Co-opetition revolutionized the game of business. With over 40,000 copies sold and now in its 9th printing, Co-opetition is a business strategy that goes beyond the old rules of competition and cooperation to combine the advantages of both. Co-opetition is a pioneering, high profit means of leveraging business relationships. Intel, Nintendo, American Express, NutraSweet, American Airlines, and dozens of other companies have been using the strategies of co-opetition to change the game of business to their benefit. Formulating strategies based on game theory, authors Brandenburger and Nalebuff created a book that's insightful and instructive for managers eager to move their companies into a new mind set.
Published to coincide with an exhibition held at the Photographers' Gallery and Foundling Museum in London and touring to Chicago's Museum of Contemporary Photography, this beautiful and striking book examines contemporary interpretations of one of the most enduring subjects in the history of picture-making: the image of the mother. Focusing on the work of twelve international photographic artists, the publication challenges the stereotypical or sentimental views of motherhood handed down by traditional depictions, and explores how photography can be used to address changing conditions of power, gender, domesticity, the maternal body, and female identity. The work featured here is highly personal, often documentary in approach and with the individual subject at its centre, reflecting photography itself in the twenty-first century. The featured artists offer very different views of contemporary motherhood, from the devoted to the dysfunctional, representing the myriad ways that becoming - or even trying to become - a mother can radically alter a woman's sense of self and how others perceive her. The book's essays, illustrated with dozens of comparative images from antiquity to the present day, present the historical and contemporary context of the mother figure. Curator of the exhibitions and volume editor Susan Bright traces the history of photographs of motherhood from the nineteenth century to our 'postfeminist' age. Simon Watney weaves a fascinating narrative of the Madonna figure through the centuries. Nick Johnstone looks at the presentation of the mother from the perspective of the father, and considers how images of fatherhood compare, while Stephanie Chapman lays out the moving history of London's Foundling Museum through photographs and repositions the mother in a story of loss where she is strangely absent. Presenting contemporary thinking on motherhood through an exploration of its changing representation in photography, Home Truths provides a fresh and unique insight into one of the most universal and well documented of experiences.
This edited volume aims to critically discuss in how far the national orientation of schools and teacher education is appropriate in light of increasing migration and transnationality. The contributions offer ideas from teacher education research and school pedagogical practice in different nation-state contexts such as Austria, Canada, Chile, Greece, Israel, Japan, Switzerland, Turkey, the UK, and the USA. They ask which empirical and theoretical approaches are suitable for describing the phenomena of pedagogical-professional dealings with migration-related and transnational demands on schools. In raising this question, they do not reduce the analytical focus on migrants, their migration paths, actions or attitudes. Instead, the authors analyse the global interconnectedness and entanglements – each embedded in their specific national and global societal power structures and hierarchical relationships – and the country-specific and transnational structures and contextual conditions of schools and teacher education.
A selection of photographs taken by Tierney Gearon at her mother's home in upstate New York. The images record her mother's mental illness, and raise many questions about the relationship between mother and daughter.
Explores the body of nude photography being made by a large group of young artists from all over the world. The collection examines the new moods and outlooks in photography engendered by the heady era that witnessed the explosion of the snapshot aesthetic, the birth of digital photos and the proliferation of online outlets for sharing and exhibiting art. As these changes shaped the means of photography, the relaxing of social mores changed the ends. The young artists of today are more open in their portrayal of sexuality in these intimate and beautiful nudes.
Evil. Women. The Feminine. The relationships that bring together these three ideas form the basis for the papers gathered together in this volume. By asking how, why, when, and to what purpose these three terms are often linked serves as the starting point of interrogation for each of the authors here considered.
Contact High harkens back to the halcyon days of photographer and filmmaker Richard Kern's youth. It couldn't have a simpler premise, as the subtitle puts it, it's all about 'naked girls smoking weed.' This cheeky and playful collection of portraits recalls a time in Kern's life when, he says, 'Back then, when I was around a naked girl, weed was either about to be smoked or had been smoked.' Readers will undoubtedly get a real buzz from the beauty and sensuality of the images, perhaps tinged with a bittersweet hint of nostalgia for the sexy abandon of their youth.
