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Philanthropist, investor, and technology pioneer Jean Case brings to life the five Be Fearless principles common to the people and organizations that change the world. This book is a call to action for those seeking to live extraordinary lives and bring about transformational change. When National Geographic Chairman Jean Case set out to investigate the core qualities of great change makers, past and present, from inventors to revolutionaries, she found five surprising traits all had in common. They weren’t wealth, privilege, or even genius. It was that all of these exceptional men and women chose to make a “big bet,” take bold risks, learn from their failures, reach beyond their bubbles, and let urgency conquer fear. Throughout Be Fearless, Jean vividly illustrates these principles through storytelling—from her own transformational life experiences, to Jane Goodall’s remarkable breakthroughs in understanding and protecting chimpanzees, to celebrity chef José Andrés’ decision to be a “first responder” and take his kitchen to the sites of devastating hurricanes to feed the hungry, to Bryan Stevenson’s ambitious efforts to end incarceration inequities, and more. She shares new insights to stories you might think you know—like AirBnB’s tale of starting from scratch to transform the hospitality industry, to John F. Kennedy’s history-making moonshot—and gems from changemakers you’ve never heard of. Weaving together storytelling, practical tips and inspiration, Be Fearless will teach you how to put the five fearless principles to work so that they too can spark the sorts of remarkable breakthroughs that change the world.
Summary of BE FEARLESS: 5 Principles for a Life of Breakthroughs and Purpose by Jean Case Be Fearless offers an inspirational look at what it takes to change the world. Author Jean Case looks to her own experience with game-changing technology as well as those she admires in areas such as business, exploration and philanthropy. Whether it's anthropologist Jane Goodall or investor Warren Buffett, Case shows that all of the most influential people are characterized by one significant quality: fearlessness. PLEASE NOTE: This is a summary and analysis of the book and NOT the original book.Our summaries aim to teach you important lessons in a time-efficient and cost-effective manner. They are coherent, concise, and comprehensive, highlighting the main ideas and concepts found in the original books. Unessential information is removed to save the reader hours of reading time. Save time and money while completing your reading list.
A critical, global counterpoint to more western-centric that will appeal to critical leadership scholars, those teaching leadership from a critical perspective and those teaching leadership with an international focus. Split into two parts; its first part presents the local and regional variations in leadership from across the globe, with each of the twenty individual authors presenting the histories, cultures, tensions and social changes that shape the practice of everyday leadership in their respective region. Regions and countries included are: the Arab Middle East, Argentina, ASEAN, Australia, Brazil, China, Democratic Republic of Congo, Ethiopia, France, Germany, India, Japan, Mexico, Poland, Russia, Scandinavia, South Africa, Turkey, UK, USA. In the second part, the editors then critically analyses these chapters and identify the key themes and specific issues, enabling the reader to challenge their own leadership perceptions and move beyond the normative, uncritical approach to leadership. Suitable reading for leadership students, researchers and practitioners looking to enhance their knowledge of global leadership.
In this unprecedented, fascinating book which covers women in theatre from the 1910s to the 2010s, author Lynne Greeley notes that, for the purposes of this study, "feminism" is defined as the political impulse toward economic and social empowerment for females or the female-identified, a position perceived by many feminists as oppositional to ideas of femininity that they see as personally and politically constraining and that "femininity" comprises social behaviors and practices that mean as "many different things as there are women," some of which are empowering and others of which are not. This book illuminates how throughout the twentieth century and into the twenty-first, playwrights and artists in American theatre both embodied and disrupted the feminine of their times. Through approaches as wide ranging as performing their own recipes, energizing silences, raging against war and rape, and inviting the public to inscribe their naked bodies, theatre artists have used performance as a site to insert themselves between the physicality of their female presence and the liminality of their disrupting the role of the feminine. Capturing that place of liminality, a neither-here-nor-there place that is often unsafe, where the established order is overturned by acts as banal as raising a plant, women have written and performed and disrupted their way through one hundred years of theatre history, even within the constraints of a variably rigid and usually unsympathetic social order. Creating a feminist femininity, they have reinscribed their place in the culture and provided models for their audiences to do the same. This comprehensive tome, part of the Cambria Contemporary Global Performing Arts headed by John Clum (Duke University) is an essential addition for theater studies and women's studies.
Note: this is an abridged version of the book with references removed. The complete edition is also available. In this unprecedented, fascinating book which covers women in theatre from the 1910s to the 2010s, author Lynne Greeley notes that, for the purposes of this study, "feminism" is defined as the political impulse toward economic and social empowerment for females or the female-identified, a position perceived by many feminists as oppositional to ideas of femininity that they see as personally and politically constraining and that "femininity" comprises social behaviors and practices that mean as "many different things as there are women," some of which are empowering and others of which are not. This book illuminates how throughout the twentieth century and into the twenty-first, playwrights and artists in American theatre both embodied and disrupted the feminine of their times. Through approaches as wide ranging as performing their own recipes, energizing silences, raging against war and rape, and inviting the public to inscribe their naked bodies, theatre artists have used performance as a site to insert themselves between the physicality of their female presence and the liminality of their disrupting the role of the feminine. Capturing that place of liminality, a neither-here-nor-there place that is often unsafe, where the established order is overturned by acts as banal as raising a plant, women have written and performed and disrupted their way through one hundred years of theatre history, even within the constraints of a variably rigid and usually unsympathetic social order. Creating a feminist femininity, they have reinscribed their place in the culture and provided models for their audiences to do the same. This comprehensive tome, part of the Cambria Contemporary Global Performing Arts headed by John Clum (Duke University) is an essential addition for theater studies and women's studies.

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