Products related to Difference:
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Use Your Difference to Make a Difference : How to Connect and Communicate in a Cross-Cultural World
Become more culturally competent in an increasingly diverse world Recent years have seen dramatic changes to several institutions worldwide.Our increasingly interconnected, digitized, and globalized world presents immense opportunities and unique challenges.Modern businesses and schools interact with individuals and organizations from a diverse range of cultural and national backgrounds—increasing the likelihood for miscommunication, errors in strategy, and unintended consequences in the process.This has also spilled into our daily lives and the way we consume information today.Understanding how to navigate these and other pitfalls requires adaptability, nuanced cross-cultural communication, and effective conflict resolution.Use Your Difference to Make a Difference provides readers with a skills-based, actionable plan that transforms differences into agents of inclusiveness, connection, and mutual understanding. This innovative and timely guide illustrates how to leverage differences to move beyond unconscious biases, manage a culturally-diverse workplace, create an environment for more tolerant schooling environments, more trusted media, communicate across borders, find and retain diverse talent, and bridge the gap between working locally and expanding globally.Expert guidance on a comprehensive range of topics—teamwork, leadership styles, information sharing, delegation, supervision, giving and receiving feedback, coaching and motivation, recruiting, managing suppliers and customers, and more—helps you manage the essential aspects of international relationships and cultural awareness.This valuable resource contains the indispensable knowledge required to: Develop self-awareness needed to be a cross-cultural communicatorDevelop content, messaging techniques, marketing plans, and business strategies that translate across cultural bordersHelp your employees to better understand and collaborate with clients and colleagues from different backgroundsHelp teachers build safe environments for students to be themselvesStrengthen cross-cultural competencies in yourself, your team, and your entire organizationUnderstand the cultural, economic, and political factors surrounding our world Use Your Difference to Make a Difference is a must-have resource for any educator, parent, leader, manager, or team member of an organization that interacts with co-workers and customers from diverse cultural backgrounds.
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Difference
Difference is one of the most influential critical concepts of recent decades.Mark Currie offers a comprehensive account of the history of the term and its place in some of the most influential schools of theory of the past four decades, including post-structuralism, deconstruction, new historicism, psychoanalysis, French feminism and postcolonialism.Employing literary case studies throughout, Difference provides an accessible introduction to a term at the heart of today's critical idiom.
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Use Your Difference to Make the Difference
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Mophead : How Your Difference Makes a Difference
At school, Selina is teased for her big, frizzy hair.Kids call her `mophead'. She ties her hair up this way and that way and tries to fit in.Until one day - Sam Hunt plays a role - Selina gives up the game.She decides to let her hair out, to embrace her difference, to be WILD!Selina takes us through special moments in her extraordinary life.She becomes one of the first Pasifika women to hold a PhD.She reads for the Queen of England and Samoan royalty.She meets Barack Obama. And then she is named the New Zealand Poet Laureate.She picks up her special tokotoko, and notices something.It has wild hair coming out the end. It looks like a mop. A kid on the Waiheke ferry teases her about it. So she tells him a story . . . This is an inspirational graphic memoir, full of wry humour, that will appeal to young readers and adults alike.Illustrated with wit and verve by the author - NZ's bestselling Poet Laureate - Mophead tells the true story of a New Zealand woman realising how her difference can make a difference.
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What is a cultural heritage?
Cultural heritage refers to the traditions, customs, beliefs, and artifacts that are passed down from generation to generation within a society. It encompasses the tangible and intangible aspects of a culture, including historical sites, monuments, art, music, language, and rituals. Cultural heritage plays a crucial role in shaping a community's identity and preserving its unique heritage for future generations. It is an important part of a society's history and contributes to its sense of belonging and continuity.
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What is the difference between handmade and handcrafted?
The terms "handmade" and "handcrafted" are often used interchangeably, but there is a subtle difference between the two. "Handmade" refers to products that are made by hand, without the use of machinery, while "handcrafted" refers to products that are made by skilled artisans using their hands and specialized tools. Handcrafted items may involve a higher level of skill and craftsmanship, while handmade items simply indicate that they were made by hand. Both terms emphasize the human touch and individual attention to detail in the creation of a product.
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Is the Drachenschanze a German cultural heritage site?
Yes, the Drachenschanze is considered a German cultural heritage site. It is a historic site in the Harz Mountains that has been preserved and protected due to its cultural significance. The Drachenschanze is a medieval fortification that played a role in the region's history, making it an important part of Germany's cultural heritage. Its historical and architectural significance has led to its recognition as a cultural heritage site in Germany.
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Is Drachenlord and the Drachengame considered German cultural heritage?
Drachenlord and the Drachengame are not officially recognized as German cultural heritage. While they may have gained a following and become a notable part of internet culture in Germany, they do not hold the same status as traditional cultural elements such as literature, music, or art that are typically associated with being part of a country's cultural heritage. Additionally, the controversial nature of Drachenlord and the Drachengame may make it less likely to be officially recognized as cultural heritage.
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Virtual Walls? : Political Unification and Cultural Difference in Contemporary Germany
A reassessment of the journey Germans in East and West have taken during the past two and a half decades: even today, an open-ended, unfinished journey. On October 3, 1990, just a year after the Berlin Wall fell, the German Democratic Republic was absorbed into the Federal Republic of Germany, officially ceasing to exist.What was the GDR and how do we remember it? According to the dominant Western narrative, it was a country that brought neither unity nor justice nor freedom to its citizens.But if so, why does a virtual wall still seem to exist in Germany today between the erstwhile citizens of the GDR and FRG?The GDR very much remains in the public debate, and while political integration is well on its way, the cultural integration of the two former states has proven much more challenging. This volume analyzes the culturaltransformation - or lack thereof - that has followed political unification.The contributions are interdisciplinary: essays on history and politics provide a framework and others on art, film, literature, museums, music, and education provide specific examples.These case studies allow us to examine the state of unification beyond statistics, opinion polls, and glib generalizations.The volume, then, is a reassessment of the journey Germans in East and West have taken during the past two and a half decades.Even today, it is an open-ended, unfinished journey.But such journeys tend to be the most interesting. Contributors: Kerstin Barndt, Stephen Brockmann, Michael Dreyer, Andreas Eis, April A.Eisman, Peter Hayes, Franziska Lys, Charles S. Maier, Andreas Niederberger, Mary-Elizabeth O'Brien, Daniel Ortuno-Stühring. Franziska Lys is Professor of German at Northwestern University.Michael Dreyer is Professor in the Institute for Political Science at the University of Jena.
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Exotic Cinema : Encounters with Cultural Difference in Contemporary Transnational Film
A critical reassessment of the aesthetic strategies and cultural value of exoticism in contemporary transnational cinemasOffers an original, critical reappraisal of decentred exoticism in contemporary transnational and world cinemaIncludes eighteen case studies that are embedded in rich contextual detail and discussions of thematically similar filmsBrings exoticism into dialogue with cognate frameworks that conceptualise cross-cultural encounters, including primitivism, Orientalism, cultural translation, cultural appropriation, cosmopolitanism and autoethnography, thereby shifting the terms of the debate into a direction that opens new lines of inquiryAnalyses examples of global art, Indigenous and popular mainstream cinema from East Asia, India, South America, Canada, Australia, Europe and the USComes with a companion website: www.exotic-cinema.orgExotic Cinema is the first systematic analysis of decentred exoticism in contemporary transnational and world cinema.By critically examining regimes of visuality such as the imperial, the ethnographic and the exotic gaze, which have colonised our minds and ways of looking, Daniela Berghahn makes an important contribution to the urgent agenda of decolonising film studies. Berghahn demonstrates that decentred exoticism's aesthetic versatility and alluring alterity are uniquely relevant for understanding the transnational appeal of world cinema.She addresses prevalent controversies surrounding exoticism and illustrates that, in contemporary world cinema, it is utilised to draw attention to new ethical and socio-political goals.Global in scope and transnational in perspective, Exotic Cinema invites students and researchers to reassess this prominent mode of cultural representation.
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Same Difference
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Same Difference
Poet Ben Wilkinson made his name with incisive reviews for the Guardian.Same Difference is his second book, to follow his football-themed debut, Way More Than Luck (2018), winner of a Northern Writers’ Award and praised for its “formally experimental poems that celebrate even life’s sadness in fresh language†(Ian Duhig). This ambitious new collection from poet and critic Ben Wilkinson finds its author experimenting with poetic voice and the dramatic monologue.Carefully crafted yet charged with contemporary language, the book brims with everyone from cage fighters to boy-racers, cancer patients to whales in captivity. Several poems unpick the preconceptions and prejudices that can inform so many of our encounters – with the world, art, and one another – while others take a sideways glance at everything from male depression to the history of meat-eating; from the philosophy behind athletic competition to surreal yet familiar emotions. Notable here are poems that wrestle with the mystery of failed and successful relationships, both providing moments of transcendence and despair.There are well-observed pieces about sport, particularly the rewards of running, from a noted devotee. Wilkinson has also been deeply inspired by the French symbolist poet Paul Verlaine (1844-96) , ‘stepping into the shoes’ and finding affinity with that poet’s astringent tone and ruthless clarity, borrowing his ‘punchy and musical’ phrasing.These add to the volume’s tonal and imaginative range. While empathetic and often moving, Same Difference is a collection that seeks to undermine the confessional mode, keeping the reader on their toes and asking just who is doing the talking.It is also formally elegant, often using traditional rhyme and metre to weave its arguments. A tough grittiness here is offset by an essential tenderness as in a musing about a mural of flowers by Diego Rivera: ‘But their weight on my back/is the weight of love itself, bright/yet strangely heavy; the faith we all carry/in our tired old hearts…†(310)
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Is the Drachenlord and the Drachengame German cultural heritage?
The Drachenlord and the Drachengame are not considered German cultural heritage in the traditional sense. They are more of a modern internet phenomenon that has gained popularity in certain online communities. While they may have a following and be part of contemporary German internet culture, they do not hold the same historical or cultural significance as traditional German heritage sites or practices.
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What is the difference between authentic and replica?
Authentic refers to something that is genuine, original, or real, often associated with high quality and value. On the other hand, a replica is a copy or reproduction of something that closely resembles the original but is not the original itself. Replicas are often made to look like the authentic item but may be of lower quality or value. Overall, the main difference between authentic and replica is the originality and quality of the item.
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What is the difference between authentic and original?
The main difference between authentic and original is that authentic refers to something that is genuine, real, or true to its origins, while original refers to something that is the first of its kind or has not been copied or imitated. For example, an authentic painting is one that is genuinely created by the artist, while an original painting is the first of its kind. In essence, authenticity refers to the genuineness or truthfulness of something, while originality refers to being the first or unique in its kind.
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What is a cultural regional difference within Germany?
One cultural regional difference within Germany is the dialects and language variations. Different regions in Germany have their own distinct dialects and accents, which can sometimes be difficult for speakers from other regions to understand. For example, the Bavarian dialect spoken in the south of Germany is quite different from the Low German dialect spoken in the north. These dialects are an important part of the cultural identity of each region and contribute to the diversity of the German language.
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