Here’s some books that cover how to be an effective public speaker and how to do successful business presentations. Learn speaking styles, visual aids, eye contact, and many more ideas!
FabJob books are well-written, easy-to-read guides to how to get a job or start a business in your chosen field. There are books on becoming a coffee shop owner, a fashion designer, a secondhand close retailer and more. Covers everything from the credentials you might need, to capital requirements and the nuts and bolts of running that business.
As an associate professor and area coordinator of the art history program in the School of Art and Design, my teaching and research depend on being able to easily access physical books and journals. One of my favorite activities at Alkek Library is to browse the stacks because you never know what resources you will discover while looking for something else. I teach my students the importance of using the online search catalogue as a jumping off point towards exploration within the stacks. I encourage students to pull many books and journals off the shelves and to spend as much or as little time with them as they need. I also urge them to think about these resources not just for their textual contents but also their material specificity. This assignment comes from my own experiences browsing books in Alkek Library and finding something unexpectedly which would go on to make a major impact on my thinking about a subject. Books are at the building blocks of art historical research. We are exceedingly fortunate to have Alkek Library as a resource for our teaching and research. — Dr. Erina Duganne, Associate Professor & Program Coordinator, Art History, School of Art & Design
If you’ve ever read Hunter Thompson (Fear and Loathing in Las Vegas, Hell’s Angels) you’re probably aware of the cover art that captures Thompson’s fevered prose perfectly. I’ll let Ralph Steadman himself in the following article explain the synthesis:
“When I arrived at something I wanted to draw. I’d stop reading and draw it right then. It’s like arriving at a cafe or a truck stop: You don’t go any further. No pencils, otherwise you lose the virgin moment. I was using a pen, although sometimes I’d whack the art with a brush, when I wanted a big flash of ink, because it explodes on the paper. The drawings were what we call A-1 size over here — that’s American letter-size paper, times eight.
The idea of the cover was a motorbike flying over the journalists in a bar. There was also a landscape, a bit of sky. But the rider was completely attached to his motorbike, almost swallowed up by his gearbox. The second cover, for Part Two of “Fear and Loathing,” the magazine chose the picture of the 250-pound Texan necking with his wife in the back row. After those two issues, Rolling Stone had a blueprint of where to go next: It wasn’t only rock & roll, but something different, something social and political.
It was wonderful to do printing that was so primitive — and to finally have a job where the remit was to be weird.”
Sci-fi master Gene Wolfe passed away in April of this year.
Between 1970 or so and the turn of the century, through a seemingly unending flow of novels and stories, the American science fiction writer Gene Wolfe, who has died aged 87, enjoyed a creative prime more intense and rewarding than any of his contempories.
Wolfe became famous for the polish and skill of his more conventional seeming sci-fi, though even early readers detected complexities under the surface. There were hints of the more hidden master, a dark artificer whose haunted, potent myths about human destiny have increasingly attracted the kind of intense study more usually given to authors outside the sci-fi field such as William Gaddis or Thomas Pynchon.
In Wolfe’s work, some very deep issues of identity and destiny secretly shape that dream. Seemingly innocent children who know us too well were frequently found in his early work, though he almost never wrote for younger readers. The tales assembled in The Island of Doctor Death and Other Stories and Other Stories (1980) and The Wolfe Archipelago (1983) are exemplary.
His full-length fiction plumbs the same depths, but expresses the soundings very differently. The finest of his novels, some of them published in several volumes, are invariably told in the first person by highly unreliable narrators, no longer children, ancient beyond their years. Usually their stories are presented as manuscripts passed down to us over time through unknown channels.
Google Scholar searches the contents of many (but not all) academic journals. However, it does not provide access to the fulltext material. If you are off-campus, you will be prompted to log in or buy the article.
If you follow the Alkek Library link to Google Scholar here, you will have to sign in ONCE with your NET ID and then it’s all clear sailing.
In any case, please don’t buy the article – you can get it through us. If you hit a dead end, use interlibrary loan.
Google Scholar does not search ALL the scholarly literature because some publishers restrict access.
If you’ve putting off organizing all those citations and articles you’ve gathered throughout the year, join us for some Summer Cleaning! Learn how to use RefWorks to organize, manage, preserve, and share your research and citations.
Signup for the Wednesday June 26th Webinar here: https://signup.txstate.edu/sessions/5130-refworks
Normally, you’d be doing a search in the catalog and you’ll see this.
The call number is in the middle of the record. It also tells you what floor to go to.
Once you get to the floor, each aisle tells you what numbers are on that aisle. Just like a grocery store.
Murakami grew up, mostly, in the suburbs surrounding Kobe, an international port defined by the din of many languages. As a teenager, he immersed himself in American culture, especially hard-boiled detective novels and jazz. He internalized their attitude of cool rebellion, and in his early 20s, instead of joining the ranks of a large corporation, Murakami grew out his hair and his beard, married against his parents’ wishes, took out a loan and opened a jazz club in Tokyo called Peter Cat. He spent nearly 10 years absorbed in the day-to-day operations of the club: sweeping up, listening to music, making sandwiches and mixing drinks deep into the night.
His career as a writer began in classic Murakami style: out of nowhere, in the most ordinary possible setting, a mystical truth suddenly descended upon him and changed his life forever. Murakami, age 29, was sitting in the outfield at his local baseball stadium, drinking a beer, when a batter — an American transplant named Dave Hilton — hit a double. It was a normal-/enough play, but as the ball flew through the air, an epiphany struck Murakami. He realized, suddenly, that he could write a novel. He had never felt a serious desire to do so before, but now it was overwhelming. And so he did: after the game, he went to a bookstore, bought a pen and some paper and over the next couple of months produced ”Hear the Wind Sing,” a slim, elliptical tale of a nameless 21-year-old narrator, his friend called the Rat and a four-fingered woman. Nothing much happens, but the Murakami voice is there from the start: a strange broth of ennui and exoticism.
Bending spoons with your mind. ESP, ouija boards, telekinesis, psychic surgery, and alien artifacts. These are some of the magical beliefs that some people claim have been ” proved.”
Ahem. I started thinking about this the other day when I saw this article in Slate featuring the Amazing Randi – the original Mythbuster. Randi was a professional stage magician who delighted in exposing frauds such as psychic spoon-bending Uri Geller.
Following in the footsteps of the Amazing Randi were several pro-science, anti-magical thinking public figures.
Here are some further resources for you: