Quotes Of A Revert Muslim Vol 1 By Adrian Yaseen Eisom

Quotes Of A Revert Muslim Vol.1 by Adrian Yaseen Eisom is a book of authentic quotes written throughout his duration of being a Muslim. Although this book is an insightful reminder to Muslims; Non-Muslims may benefit from reading this precious piece of Work. (All copyrights are reserved in the United States Library of Congress by Adrian Eisom / Adrian Yaseen Publishing). A portion of your purchase will go to assisting people in need.

This 1992 book explains how people acquire political information from elites and the mass media and convert it into political preferences.

In ""Rumor Psychology: Social and Organizational Approaches"", expert rumor researchers Nicholas DiFonzo and Prashant Bordia investigate how rumors start and spread, the accuracy of different types of rumor, and how rumors can be controlled, particularly given their propagation across media outlets and within organizations. Rumors are an enduring feature of our social and organizational landscapes. They attract attention, evoke emotion, incite involvement, affect attitudes and actions - and they are ubiquitous. Rumor transmission is motivated by three broad psychological motivations - fact-finding, relationship-enhancement, and self-enhancement - all of which help individuals and groups make sense in the face of uncertainty. Rumor is closely entwined with a host of social and organizational phenomena, including social cognition, attitude formation and maintenance, prejudice and stereotyping, group dynamics, interpersonal and intergroup relations, social influence, and organizational trust and communication. Organizational rumors, in contrast with natural disaster rumors, tend to be highly accurate, with accuracy being affected by cognitive, motivational, situational, group, and network factors. DiFonzo and Bordia describe how managers can most effectively manage and refute rumors and infer that employee trust in management inhibits rumor activity.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

This book provides a comparative perspective of the impact of early European colonization on the native peoples of the Americas. It covers the character of the indigenous cultures before contact, and then addresses the impact ofand creative ways in which they adapted tothe establishment of colonies by the Spanish, Portuguese, French, Dutch, and English. Key topics: Paying attention to environmental change, the book considers such issues as the nature of military conflicts, the cultural and material contributions of each side to the other, the importance of economic exchanges, and the demographic transformation. Market: For individuals interested in the history of colonial America, colonial Latin America, and the American Indian.

An irreverent and charming collection of deeply personal essays about the joys of low pop culture and bad taste, exploring coming of age in the 2000s in the age of Hot Topic, Creed, and frosted lip gloss—from the James Beard Award-nominated writer of the Catapult column "Store-Bought Is Fine” Tacky is about the power of pop culture—like any art—to imprint itself on our lives and shape our experiences, no matter one's commitment to "good" taste. These fourteen essays are a nostalgia-soaked antidote to the millennial generation's obsession with irony, putting the aesthetics we hate to love—snakeskin pants, Sex and the City, Cheesecake Factory's gargantuan menu—into kinder and sharper perspective. Each essay revolves around a different maligned (and yet, Rax would argue, vital) cultural artifact, providing thoughtful, even romantic meditations on desire, love, and the power of nostalgia. An essay about the gym-tan-laundry exuberance of Jersey Shore morphs into an excavation of grief over the death of her father; in "You Wanna Be On Top," Rax writes about friendship and early aughts girlhood; in another, Guy Fieri helps her heal from an abusive relationship. The result is a collection that captures the personal and generational experience of finding joy in caring just a little too much with clarity, heartfelt honesty, and Rax King's trademark humor. A VINTAGE ORIGINAL