Geneen drove the growth of ITT during its heyday in the 1960s and '70s, he had a blunt management philosophy: "In business, words are words, explanations are explanations, promises are promises, but only performance is reality." In 2001, when Jim Kilts arrived at Gillette as the first outsider to run the Boston-based company in over 70 years, he found a business with great brands that were losing market share. The company's acquisitions of Duracell and Braun were not delivering, sales and earnings
and M.R. James' Oh, Whistle, and I'll Come to You, My Lad In Susan Hill's introduction to 'The Woman In Black' she mentions M.R. James' short stories as some of the greatest ghost stories ever written. Her appreciation of James' writing is one of the reasons for the many similarities and differences between the two texts. Hill was greatly inspired by the setting of 'Oh, Whistle, and I'll Come to You, My Lad' and this results in her novel being a similar reading experience to James' story
The Female Entrepreneurial Role in James M Cain's Mildred Pierce A woman's place in the post-depression era is usually one where a woman would commonly be known to have a role in the economy; only to be waiting in her kitchen to cook for the "money-making husband." It was often rare to encounter one woman who had the ability to take her inner interests and turn them into an entrepreneurial role in society. Yet, through this novel by James M. Cain, one will encounter Mildred Pierce, in which
Indemnity, is a prime example of film noir in that it accomplishes the goal of film noir to unsettle its audience through its style, setting, characters, and themes. Directed by Billy Wilder and released in 1944, Double Indemnity, was adapted from James M. Cain’s novella of the same name, a piece of American hard-boiled fiction. Fred MacMurry plays Walter Neff, an insurance salesman, and Barbara Stanwyck is Phyllis Dietrichson, the scheming wife. Edward G. Robinson is Barton Keyes, Neff’s boss, whose
the perfect word to describe the genre that was booming in American film and literature during post World War II. Noir authors developed popular formulas to address genuine social and aesthetic problems that appealed to American modernist society. James M. Cain’s short nouvelle, Double Indemnity, contains the basics formula for noir. As a written confession, the story unfolds the plunging doom of hapless sap, Walter Huff, who uses his job and knowledge of insurance to be immersed in a murderous scheme
prominent medical historian, James McPherson, argues that Civil War doctors “knew of few ways except amputation to stop gangrene” in his book Battle Cry of Freedom: The Civil War Era. McPherson continues to derail Civil War doctors by dividing them into two separate groups: the radicals, who believed that amputation saved more lives than threatened them, and the conservatives, who tried to save the limb no matter the degree of the wound
The Sign of the Loincloth: Jeremiah (13:1-11) The first eleven verses of chapter thirteen of Jeremiah are a very distinctive portion of an already unique book. Jeremiah’s vision of the sign of the loincloth is an affluent passage whose depth cannot be fully understood without a proper exegetical exploration. I intend on doing an exegesis on this passage of Jeremiah. The language and symbols used held significance easily understood by the original audience, yet are difficult to comprehend by modern