C Mo Hacer Que Te Pasen Cosas Buenas Td Nueva Edici N

"Las cosas buenas precisan un plan" Uniendo el punto de vista científico, psicológico y humano, la autora nos ofrece una reflexión profunda, salpicada de útiles consejos y con vocación eminentemente didáctica, acerca de la aplicación de nuestras propias capacidades al empeño de procurarnos una existencia plena y feliz: conocer y optimizar determinadas zonas del cerebro, fijar metas y objetivos en la vida, ejercitar la voluntad, poner en marcha la inteligencia emocional, desarrollar la asertividad, evitar el exceso de autocrítica y autoexigencia, reivindicar el papel del optimismo...

Uniendo el punto de vista científico, psicológico y humano, la autora nos ofrece una reflexión profunda, salpicada de útiles consejos y con vocación eminentemente didáctica, acerca de la aplicación de nuestras propias capacidades al empeño de procurarnos una existencia plena y feliz: conocer y optimizar determinadas zonas del cerebro, fijar metas y objetivos en la vida, ejercitar la voluntad, poner en marcha la inteligencia emocional, desarrollar la asertividad, evitar el exceso de autocrítica y autoexigencia, reivindicar el papel del optimismo...

Disfruta el presente, supera el pasado y mira con ilusión el futuro ¿Eres consciente de que tu manera de gestionar los conflictos te puede predisponer a sufrir ansiedad o depresión, las enfermedades más frecuentes del siglo XXI? Para la doctora Marian Rojas Estapé la felicidad consiste en vivir instalado de forma sana en el presente, habiendo superado las heridas del pasado y mirando con ilusión al futuro. Muchos de los trastornos que padecemos provienen de la incapacidad para gestionar nuestro presente. La felicidad no es lo que nos pasa, sino cómo interpretamos lo que nos pasa. En Cómo hacer que te pasen cosas buenas entenderás la importancia de aprender a enfocar tu atención y descubrirás pautas para combatir los miedos, las angustias y cómo canalizar las emociones negativas que te llegan a bloquear física y mentalmente.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

Includes 45 case studies and essays under the topics: Earth watch; Health watch; A closer look at ...; Scientific inquiry; Links to everyday life.

A higher purpose is not simply about profit. Symbolising the motivations of our actions and efforts, it reflects something much more aspirational and contributes to our global society. This open access book offers novel solutions to ensure employees support a wider organizational meaning whilst guaranteeing that the company benefits from the employee’s individual sense of purpose. Advocating a shift from previous models and theories, this book contributes to debate and offers insight for both scholars and practitioners. The chapters bring together academic rigour and practical models to help readers distinguish between the fads and influential strategies. Exploring the development of purpose at each level of business, from strategy and leadership to communication, this book avoids theoretical jargon and provides new approaches to building sustainable purpose-driven organizations. This is an Open Access book sponsored by DPMC Spain, UIC Barcelona and Corporate Excellence - Centre for Reputation Leadership

Although postmodernism has had clear impact on literary criticism, the social and political implications of this philosophy have not been systematically investigated. Murphy's study is the first to bring a broad interdisciplinary perspective to the subject and to present postmodernism as a coherent social theory. Responding with compelling arguments to critics of postmodernism, Murphy develops a model that offers a viable alternative to traditional approaches to conceptualizing and studying social life. In an introductory chapter, Murphy looks at the differences between modernism and postmodernism and discusses the metanarratives that characterize the former. He goes on to clarify key assumptions and concepts, especially the postmodern opposition to the traditional Western separation of subject and object. In subsequent chapters, he describes the research methodology used by postmodernists, their views of social ontology and the relationship between order and structure, and the creation of socially responsible institutions. The postmodernists' reconceptualization of key aspects of cultural reality, including time, space, reason, and social relations, is examined in detail. Murphy concludes by exploring the political ramifications of the postmodernist model and its potential as a vehicle for building a genuinely democractic society. This study will be of particular interest to philosophers, economists, and sociologists concerned with contemporary developments in European social philosophy. It is relevant to courses or study in social theory and philosophy, communication theory, cultural criticism, and related fields.