ETHICS IN THE MELTING-POT Jack Mahoney & Elizabeth Vallance Professor Jack Mahoney is Director of the King's College Business Ethics Research Centre, University of London, and Elizabeth Vallance is Visiting Professor in Politics at Queen Mary and Westfield College, University of London. AT lHE START of this century Israel Zangwill wrote of 'the great Melting Pot where all the races of Europe are melting and reforming'. He was, of course, writing about the USA and had the American immigration experience in mind; but today one need not cross the Atlantic to see Europe as a melting-pot and its members in a state of profound flux and mutation. In Western Europe, what began in mid-century as a largely Franco German attempt to prevent a recurrence of European war, by identifying and creating a common industrial policy in coal and steel, evolved by degrees into an industrial alliance of western European nations and the creation of a Single European Market. Originally six, then ten, and currently twelve, the number of member states of the European Economic Community, more recently the European Community, is still on the increase, as new countries apply to join and others consider a future approach.
A MUST HAVE FOR VISIONARIES, ENTREPRENEURS, EXECUTIVES AND CONSULTANTS WITH A GAME CHANGING ATTITUDE
This book examines the Small Business Lending Fund, with a focus on the supply and demand for small business loans. Congressional interest in small businesses reflects, in part, concerns about economic growth and unemployment. Small businesses, defined as having fewer than 500 employees, have played an important role in net employment growth during previous economic recoveries. However, recent data show that net employment growth at small businesses is not increasing at the same rate as in previous economic recoveries. Some have argued that current economic conditions make it imperative that the federal government provide additional resources to assist small businesses in acquiring capital necessary to start, continue, or expand operations and create jobs. Others worry about the long-term adverse economic effects of spending programs that increase the federal deficit.
Numicon builds a deep understanding of maths through a multi-sensory approach, developing children's fluency, reasoning and problem-solving. Apparatus, such as Numicon Shapes, dice or Cuisenaire rods, provide structured images to enrich number understanding. The Numicon One-to-One Starter Apparatus Pack A provides the core apparatus you need for one-to-one teaching of children from ages 5 to 7. The apparatus in the pack can be used for both Number, Pattern and
Edgar Degas's painting entitled A Cotton Office in New Orleans is one of the most significant images of nineteenth-century capitalism, in part because it was the first painting by an Impressionist to be purchased by a museum. Drawing upon archival materials, Marilyn R. Brown explores the accumulated social meanings of the work in light of shifting audiences and changing market conditions and assesses the artist's complicated relationship to the business of art.Despite the financial failure of the actual cotton firm he represented, Degas carefully constructed his picture with a particular buyer a British textile manufacturer in mind. However, world events, including an international stock market crash and declines in the market for cotton and art, destroyed his hopes for this sale. It was under these circumstances that the canvas was exhibited in the second Impressionist show in Paris in 1876. While it received a more positive response than other works exhibited, its success was with the conservative audience. After considerable difficulty, Degas finally succeeded in selling the painting in 1878 to the newly founded museum in the city of Pau. The painting was probably regarded as an appropriate homage to the old textile manufacturing family who funded its purchase. It also appealed to "progressive" provincial and more cosmopolitan audiences in Pau. The picture's scattered form and atomized figures in which some interpreters today read evidence of the artist's own ambivalence about capitalism seemingly contributed to its "innovative" cachet in Pau. But the private and public meanings of the painting had shifted, in discontinuous fashion, between its production and consumption. Under the circumstances, Degas's unfixed and even mixed messages about business became, among other things, his most successful (if unwitting) marketing strategy. The official recognition Degas received in Pau in 1878 heralded the gradual upswing of his own financial status during the 1880s, but his attitudes towards success remained mixed."
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