Presents an intriguing selection of one hundred cartoons, many never-before-published, that were censored or suppressed for being too controversial, featuring the work of Gary Trudeau, Doug Marlette, Paul Conrad, Mike Luckovich, Matt Davies, Ted Rall, Norman Rockwell, Anita Kunz, Edward Sorel, and other notable artists. Original.
Now in its eighth edition, this is the textbook for current and future global leaders wanting to lead competently and sustainably in their business practices. Fully updated, the authors build on their forty years of teaching, researching and working with managers worldwide to bring students the latest developments in global business practice. Now including end-of-chapter reflection questions to guide topic comprehension, and directed further resources to assist individual research, this edition also sees the return of Ivey Business School and IMD cases in the book. This edition also includes a new conception of mindful global leadership as the integrating framework for execution of global strategy, highlighting the importance of a holistic approach to working across cultures and distance. Combining a wealth of theoretical knowledge with real-world examples from diverse cultures, countries and industry sectors, the practical guidance and well-chosen examples throughout the book bring key concepts to life.
The Organization of Islamic Cooperation and Human Rights
Established in 1969, the Organization of Islamic Cooperation (OIC) is an intergovernmental organization the purpose of which is the strengthening of solidarity among Muslims. Headquartered in Jeddah, the OIC today consists of fifty seven states from the Middle East, Asia, Africa, and Latin America. The OIC's longevity and geographic reach, combined with its self-proclaimed role as the United Nations of the Muslim world, raise certain expectations as to its role in global human rights politics. However, to date, these hopes have been unfulfilled. The Organization of Islamic Cooperation and Human Rights sets out to demonstrate the potential and shortcomings of the OIC and the obstacles on the paths it has navigated. Historically, the OIC has had a complicated relationship with the international human rights regime. Palestinian self-determination was an important catalyst for the founding of the OIC, but the OIC did not develop a comprehensive human rights approach in its first decades. In fact, human rights issues were rarely, if at all, mentioned at the organization's summits or annual conferences of foreign ministers. Instead, the OIC tended to focus on protecting Islamic holy sites and strengthening economic cooperation among member states. As other international and regional organizations expanded the international human rights system in the 1990s, the OIC began to pay greater attention to human rights, although not always in a manner that aligned with Western conceptions. This volume provides essential empirical and theoretical insights into OIC practices, contemporary challenges to human rights, intergovernmental organizations, and global Islam. Essays by some of the world's leading scholars examine the OIC's human rights activities at different levels—in the UN, the organization's own institutions, and at the member-state level—and assess different aspects of the OIC's approach, identifying priority areas of involvement and underlying conceptions of human rights. Contributors: Hirah Azhar, Mashood A. Baderin, Anthony Tirado Chase, Ioana Cismas, Moataz El Fegiery, Turan Kayaoglu, Martin Lestra, Ann Elizabeth Mayer, Mahmood Monshipouri, Marie Juul Petersen, Zeynep Şahin-Mencütek, Heiní Skorini, M. Evren Tok.
In an increasingly polarized world, with shifting and extreme politics, Social Forms illustrates artists at the forefront of political and social resistance. Highlighting different moments of crisis and how these are reflected and preserved through crucial artworks, it also asks how to make art in the age of Brexit, Trump, and the refugee and climate crises. In Social Forms: A Short History of Political Art, renowned critic, curator, and writer Christian Viveros-Fauné has picked fifty representative artworks—from Francisco de Goya’s The Disasters of War (1810–1820) to David Hammons’s In the Hood (1993)—that give voice to some of modern art’s strongest calls to political action. In accessible and witty entries on each piece, Viveros-Fauné paints a picture of the context in which each work was created, the artist’s background, and the historical impact of each contribution. At times artists create projects that subvert existing power structures; at other moments they make artwork so powerful it challenges the very fabric of society. Whether it is Picasso’s Guernica and its place at the 1937 Worlds Fair, or Jenny Holzer’s Truisms (1977–1979), which still stop us in our tracks, this book tells the story behind some of the most important and unexpected encounters between artworks and the real worlds they engage with. Never professing to be a definitive history of political art, Social Forms delivers a unique and compelling portrait of how artists during the last 150 years have dealt with changing political systems, the violence of modern warfare, the rise of consumer culture worldwide, the prevalence of inequality and racism, and the challenges of technology.
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.