As consumers, our access to―and appetite for―information about what and how we buy continues to grow. Powered by social media, we scrutinize the companies behind familiar products and are disappointed when their actions do not meet our expectations. With citizens acting as 24/7 auditors of corporate behavior, one formerly trusted company after another has had their business disrupted with astonishing velocity. Control of the corporate narrative has shifted to engaged stakeholders in the new social landscape, requiring a radical change to company practices. James Rubin and Barie Carmichael provide a strategic roadmap for businesses to navigate the new era, rebuild trust, and find their voice. Reset traces the global decline of trust in business at the same time that the public’s expectations for business’s role in society are rising. Today, businesses must bridge this widening gap, which requires strategic solutions anchored in a critical outside-in understanding of the stakeholder footprint of the business model. C-suite executives who proactively mitigate the negative social impacts inherent in their business models, strategies, and operations can find win-win solutions that not only benefit both their business and society, but also enable sustainable growth in the challenging new social landscape. Rubin and Carmichael offer case studies of reputations lost and found, suggesting fundamental strategies to mitigate risk and build the corporate brand. Reset is an essential guide to navigating the pitfalls and taking advantage of the opportunities of the reset.

Reset: Business and Society in the New Social Landscape (Columbia Business School Publishing)

Business & Money

Rubin, James

Carmichael, Barie

Biography & History

Columbia Business School Publishing

Psychobiological Aspects of Allergic Disorders

Young, Stuart H.

Medical Books

Praeger

Paperback. Pub Date :2013-11-11 Pages: 408 Language: English Publisher: Thames &amp; Hudson How to Read an Impressionist Painting is a new. original exploration of the hugely popular and revolutionary 19th-century art movement James Rubin organizes his discussion. by subject matter. rather than by artist. looking at urban views and city life. interiors and still life. family and friends. and other common themes. By avoiding an artist-based structure. and without the convention of a chronological approach. he provides readers with the tools to think critically and analytically about Impressionism as a movement. and offers a new understanding of the collective momentum that drove the artists to work with such originality and commitment to modern themes and pictorial originality.

How to Read an Impressionist Painting by Rubin, James Henry (2013) Paperback

Thames&Hudson

A sense of stillness and silence pervades Manet's painting. His flattened, sometimes fragmented forms appear to exist absentmindedly in a world removed from speech. It is this silence that James Rubin explores in a book that shows us Manet as we see him--naturally, in pictures that articulated their own purely visual terms. In such a sense, this book is about the restoration of the visual to its primacy in art through Manet's painting.  While insisting that Manet's pictures must be given the first and final say in any interpretation, Rubin uses contradictory views of the painter's works--from the present and past--as a context for approaching them. Applying J.L. Austin's notion of the performative, which bridges the gap between language and action or between the painted image and its social effect, Rubin goes beyond past theorists to describe the curious ways in which Manet's paintings act upon us. With these ideas as his guide, he takes us through Manet's work, pointing out the element that are distinctive and consistent, particularly the painter's reliance on a pattern of gazes and the "unique state of undecidability" that this strategy produces. Rubin also examines Manet's relatioship to three of the leading critics of his day--Baudelaire, Zola, and Mallarmé--giving special attention to Mallarmé's appreciation, and eventual use in his poetry, of the paradox between immersion and externality in Manet's oeuvre. Finally, the book uses the image of the bouquet to exemplify Manet's creative poetics through an exploration of his still life.  Filled with revealing insights into Manet's achievevment, this sensitive, informed, and clearly written book goes a long way toward explaining why Manet's paintings continue to fascinate and elude us more than one hundred years after the artist's death.

Manet's Silence and the Poetics of Bouquets (Essays in Art and Culture)

Arts & Photography

History & Criticism

Harvard University Press

A sense of stillness and silence pervades Manet's painting. His flattened, sometimes fragmented forms appear to exist absentmindedly in a world removed from speech. It is this silence that James Rubin explores in a book that shows us Manet as we see him--naturally, in pictures that articulated their own purely visual terms. In such a sense, this book is about the restoration of the visual to its primacy in art through Manet's painting. 
 While insisting that Manet's pictures must be given the first and final say in any interpretation, Rubin uses contradictory views of the painter's works--from the present and past--as a context for approaching them. Applying J.L. Austin's notion of the performative, which bridges the gap between language and action or between the painted image and its social effect, Rubin goes beyond past theorists to describe the curious ways in which Manet's paintings act upon us. With these ideas as his guide, he takes us through Manet's work, pointing out the element that are distinctive and consistent, particularly the painter's reliance on a pattern of gazes and the "unique state of undecidability" that this strategy produces. Rubin also examines Manet's relatioship to three of the leading critics of his day--Baudelaire, Zola, and Mallarmé--giving special attention to Mallarmé's appreciation, and eventual use in his poetry, of the paradox between immersion and externality in Manet's oeuvre. Finally, the book uses the image of the bouquet to exemplify Manet's creative poetics through an exploration of his still life. 
 Filled with revealing insights into Manet's achievevment, this sensitive, informed, and clearly written book goes a long way toward explaining why Manet's paintings continue to fascinate and elude us more than one hundred years after the artist's death.

Manet's Silence and the Poetics of Bouquets

Courbet (0000)

PHAIDON FRANCE

How to Read Impressionism is a new, original exploration of the 19th-century movement that changed art forever, and made household names of painters such as Monet, Renoir, Degas, Seurat, Cassatt, and others. James Rubin organizes this new look at the movement by subject matter, rather than by artist or chronologically, looking at urban views and city life, interiors and still life, family and friends, and other common themes. Discussing Impressionism in this way, he provides readers with the tools to think critically and analytically about the movement, and offers a new understanding of the collective momentum that drove the artists to work with such originality and commitment to modern themes. Through close readings and comparisons of specific paintings, and a wealth of illustrations, Rubin establishes links between the broad visual culture of the period and the various Impressionist artists, and within the artists’ own careers. The entire history of Impressionism is covered, in an entirely new way.

How to Read Impressionism: Ways of Looking

Harry N. Abrams

Written for cycling enthusiasts who expect to run into vehicular traffic or urban traffic patterns anywhere in the world, this book is not limited to only cyclists in major cities. Observations from years of cycling the city streets of Chicago and Los Angeles inspired these solutions, and every tip, hint, trick, and tactic can be applied to cycling anywhere—rural or urban.

The Urban Cyclist's Survival Guide

Sports & Outdoors

Rowan, Scott

Individual Sports

Triumph Books

Readers who enjoy a good World War II action novel will be drawn into this one from the start. It is 1939. The war is going badly. The Nazi blitzkrieg has overwhelming Europe and threatens to sweep into England. Mr. Churchill raises a defiant fist and declares that England will fight on the land, on the sea, and in the air. This war, he declares, must not be lost. Western civilization is at stake. So, behind the scenes, conceived for a desperate purpose, unacknowledged and invisible, ROORD is born.\nBypassing America’s official noninvolvement in the European war, Prime Minister Church-ill and President Roosevelt create a covert American-manned and supplied air squadron. ROORD--Reconnoitering, Observation, Opposition Resources, Destruction--is a self-contained air unit operating covertly. Funded off-book, supplied surreptitiously, ROORD operates directly under Mr. Churchill’s personal direction.\nShortly after arrival, the Americans redefine the official ROORD acronym. Now the letters no longer define a job description, they herald “An Ancient and Honorable Society,” the Royal Order of Rubber Ducks. Thus is born Rubber Ducky, a B-25 with nose-art depicting a rubber duck silhouette transiting a full moon, accompanied by Duck Soup, Duck and Cover, Just Ducky, Pluck-a-Duck, Lucky Duck, and Duck Butt.\nThe novel’s story follows the broad outline of the first half of the war: the desperate battles in the air, the North Atlantic submarine war, the Battle of Britain, the Blitz. ROORD crews en-gage in history-in-the-making, their North American B-25 Mitchell gunships proving their worth as Mr. Churchill sends them into harm’s way high and low.\nWithin the action and adventure of the novel, the reader will find that history makes room for humanity and humor as the story progresses. Readers will meet interesting people from all sides of the conflict and follow their individual stories. There are laughs, too, as the absurdities of life in combat are encountered.\nThose interested in WWII, in aviation, and in action and adventure will find a good read here. As one early reader said, “It doesn’t read like a standard military novel--and I mean that as a compliment.” It brings together history, action, good stories, and compelling writing to make a book that will satisfy and stick in memory.

ROORD: To War in a Rubber Duck: Book I - The Air War

Literature & Fiction

WARD, DAVID

Pettichord, Rodger

Genre Fiction

Duck Flight Press

ROORD: To War in a Rubber Duck: Book II - The Land War

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Books by Rubin, James