7.The Renminbi's Devaluation
由美国演员Jared Leto领衔的“火星三十秒”拿到了最佳另类音乐奖，同时还有Lana Del Rey，Lorde，The XX和Imanine Dragons等人提名。
Jobs for photographers grew by about 22 percent in Q3. The report’s authors attribute the increase to employers “finally understanding the importance of high-quality pictures on their landing pages.” The desire to expand and improve websites through employing trained, creative professionals was something of a recurring theme throughout this list.
18. Most Interesting Apology (tie) On Nov. 18, The Hollywood Reporter disgorged a 1,200-plus word apology for not including any nonwhite performer in its Oscar actress round table. Soon after, the director Alex Proyas and Lionsgate apologized for the lack of diversity in the cast in their new movie “Gods of Egypt.”
Russian President Vladimir Putin took a 10% pay cut last year, as his country sank into a deep recession. But that was after his salary more than doubled in April 2014, to roughly 9.7 million rubles.
McKee believes that executives can engage listeners on a whole new level if they toss their PowerPoint slides and learn to tell good stories instead. In his best-selling book Story: Substance, Structure, Style, and the Principles of Screenwriting, published in 1997 by HarperCollins, McKee argues that stories "fulfill a profound human need to grasp the patterns of livingnot merely as an intellectual exercise, but within a very personal, emotional experience." What follows is an edited and abridged transcript of McKee's conversation with HBR.
Why should a CEO or a manager pay attention to a screenwriter?
A big part of a CEO's job is to motivate people to reach certain goals. To do that, he or she must engage their emotions, and the key to their hearts is story. There are two ways to persuade people. The first is by using conventional rhetoric, which is what most executives are trained in. It's an intellectual process, and in the business world it usually consists of a PowerPoint slide presentation in which you say, "Here is our company's biggest challenge, and here is what we need to do to prosper." And you build your case by giving statistics and facts and quotes from authorities. But there are two problems with rhetoric. First, the people you're talking to have their own set of authorities, statistics, and experiences. While you're trying to persuade them, they are arguing with you in their heads. Second, if you do succeed in persuading them, you've done so only on an intellectual basis. That's not good enough, because people are not inspired to act by reason alone.
|Essentially, a story expresses how and why life changes.|
节目37 相声《东西南北大拜年》，赵炎 逗笑 逗乐 大新等
The civil service exam consists of writing tests and interviews. The interviews are expected to be held in February or March, after the writing test results come out in January.
Entrepreneurs are movers and shakers. They can’t afford to analyze every detail or they’d never get anywhere. There is no place for procrastination in a startup. It’s a 24/7, no-vacation-or-sick-days kind of job that demands constant forward momentum. Make a brief assessment at every step and move on it. Trust your instincts.
Of the other teams, Germany have a fantastic team, with some great options all over the pitch. The Italians can never be discounted at tournaments, whilst Portugal, with Ronaldo in the team will be dangerous, and Belgium, with such an array of talent will be amongst everyone's list of dark horses.
China will "fasten the seat belt" and prevent any "acute outburst" of financial risks on the track for maintaining medium-high growth speed.
So, what is a story?
Essentially, a story expresses how and why life changes. It begins with a situation in which life is relatively in balance: You come to work day after day, week after week, and everything's fine. You expect it will go on that way. But then there's an eventin screenwriting, we call it the "inciting incident"that throws life out of balance. You get a new job, or the boss dies of a heart attack, or a big customer threatens to leave. The story goes on to describe how, in an effort to restore balance, the protagonist's subjective expectations crash into an uncooperative objective reality. A good storyteller describes what it's like to deal with these opposing forces, calling on the protagonist to dig deeper, work with scarce resources, make difficult decisions, take action despite risks, and ultimately discover the truth. All great storytellers since the dawn of timefrom the ancient Greeks through Shakespeare and up to the present dayhave dealt with this fundamental conflict between subjective expectation and cruel reality.
How would an executive learn to tell stories?
Stories have been implanted in you thousands of times since your mother took you on her knee. You've read good books, seen movies, attended plays. What's more, human beings naturally want to work through stories. Cognitive psychologists describe how the human mind, in its attempt to understand and remember, assembles the bits and pieces of experience into a story, beginning with a personal desire, a life objective, and then portraying the struggle against the forces that block that desire. Stories are how we remember; we tend to forget lists and bullet points.
|You want to display the struggle between expectation and reality in all its nastiness.|
It is the first time that EMBA-Global, the joint programme delivered by London Business School and Columbia Business School, has dropped out of the top five.
"Producer prices remain in deflation because of falling commodity prices," said Moody's Analytics before the report.
TV Movie: “Sherlock: The Abominable Bride (Masterpiece)” (PBS)
8. Get Inspired
The hair creates a resemblance to the look of Michelle Pfeiffer, but Ms. Chastain gives it more of an edge. Kay Georgiou, who frequently styles the hair of Matt Damon and Gwyneth Paltrow for films, oversaw the look.
What makes a good story?
You emphatically do not want to tell a beginning-to-end tale describing how results meet expectations. This is boring and banal. Instead, you want to display the struggle between expectation and reality in all its nastiness. For example, let's imagine the story of a biotech start-up we'll call Chemcorp, whose CEO has to persuade some Wall Street bankers to invest in the company. He could tell them that Chemcorp has discovered a chemical compound that prevents heart attacks and offer up a lot of slides showing them the size of the market, the business plan, the organizational chart, and so on. The bankers would nod politely and stifle yawns while thinking of all the other companies better positioned in Chemcorp's market. Alternatively, the CEO could turn his pitch into a story, beginning with someone close to himsay, his fatherwho died of a heart attack. So nature itself is the first antagonist that the CEO-as-protagonist must overcome. The story might unfold like this: in his grief, he realizes that if there had been some chemical indication of heart disease, his father's death could have been prevented. His company discovers a protein that's present in the blood just before heart attacks and develops an easy-to-administer, low-cost test.
Mr Baweja’s extensive analysis on the changing nature of globalisation suggests the prime factor behind the weakness of global trade growth (which for a long time expanded at twice the rate of global GDP) has been a slowdown in investment.
Inga Beale出任伦敦劳埃德保险公司CEO，Mary Barra 出任通用汽车高级副总裁，这些都为2013年的女性地位写下了浓墨重彩的一笔。接下来的一年，女性地位还将继续发展，但进展会缓慢而微小，但你一定能随处看到女性的权力和影响力。再怎么说，就连日本都开始鼓励女性工作了呢。
An Australian woman whose cats ate each other after she abandoned them in her home has been convicted of animal cruelty.
How do storytellers discover and unearth the stories that want to be told?
The storyteller discovers a story by asking certain key questions. First, what does my protagonist want in order to restore balance in his or her life? Desire is the blood of a story. Desire is not a shopping list but a core need that, if satisfied, would stop the story in its tracks. Next, what is keeping my protagonist from achieving his or her desire? Forces within? Doubt? Fear? Confusion? Personal conflicts with friends, family, lovers? Social conflicts arising in the various institutions in society? Physical conflicts? The forces of Mother Nature? Lethal diseases in the air? Not enough time to get things done? The damned automobile that won't start? Antagonists come from people, society, time, space, and every object in it, or any combination of these forces at once. Then, how would my protagonist decide to act in order to achieve his or her desire in the face of these antagonistic forces? It's in the answer to that question that storytellers discover the truth of their characters, because the heart of a human being is revealed in the choices he or she makes under pressure. Finally, the storyteller leans back from the design of events he or she has created and asks, "Do I believe this? Is it neither an exaggeration nor a soft-soaping of the struggle? Is this an honest telling, though heaven may fall?"