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Relevant bibliographies by topics / What are you doing with your genius?

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Academic literature on the topic 'What are you doing with your genius?'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "What are you doing with your genius?"

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Milydon, Valery. "The Mystery of Lexical Coincidences in the Works of Yuri Tynianov and Osip Mandelstam." Journal of Flm Arts and Film Studies 11, no. 4 (2019): 68–77. http://dx.doi.org/10.17816/vgik11468-77.

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The essay explores lexical coincidences in the works of Yuri Tynianov and Osip Mandelshtam coincidences which appeared in different time periods, independently of each other.In the second half of the 1920s, Tynianov wrote the novel Death of the Vazir-Mukhtar which, while dealing with events of the 1820s, anticipated the soon-tobe disappearance of free artistic speech.Ten years later, Tynianov's anticipation became a reality reflected in Mandelstam's poem Lamarck. Freedom of creative activity did not disappear completely but became, in many respects, a thing of the past. Even if the hope for the return of free expression still existed, no one imagined when this event would take place. Loyalty to the regime and assentation were the signs of the times. Studies of Soviet artistic life in that period reveal the extreme degree of the unnatural selection aimed at creating unwavering servants of the regime. One of such servants wrote: In today's situation, genius and villainy are two compatible things: the killing of a Mozart may assist history.Such assistance to history became a Soviet norm and, according to independent Russian migr observers, led to a situation in which Soviet literature lost the position within world literature obtained by the Russian classical literature of the 19th century and acquired unmistakably provincial traits. As Shigalev declared in Dostoyevsky's Demons, All are slaves and equal in their slavery.Analogous processes were taking place in cinema, where pro-regime servilism due to cinema's ability to influence the audience more rapidly and more powerfully than literature acquired its most dangerous form. This was fully understood by the Bolshevik regime which held cinema in high regard. Creating art? No, doing what you were told to do, this was how Soviet filmmaker Leonid Trauberg later described those times.

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Fisher, Janet. "Do you know what your users are doing?" Learned Publishing 23, no. 4 (2010): 277–78. http://dx.doi.org/10.1087/20100401.

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Campbell, Raymond W. "Do You Know What Your Competition is Doing?" Journal of Continuing Higher Education 35, no. 4 (1987): 20–22. http://dx.doi.org/10.1080/07377366.1987.10401120.

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Martin, Robert L. "What are you doing to improve your image?" Hearing Journal 59, no. 12 (2006): 54. http://dx.doi.org/10.1097/01.hj.0000286311.88697.40.

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Ruscio, Erica. "Everyday Advocacy: Doing What You Do." Children and Libraries 18, no. 2 (2020): 39. http://dx.doi.org/10.5860/cal.18.2.39.

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Earlier this year, ALSC’s Public Awareness Committee published the Championing Children’s Services toolkit to help libraries expand their advocacy efforts. It features eight program ideas, each centered around a different “Because Statement.” For instance, the first Because Statement is, “Because child readers become grown-up leaders.” The corresponding program suggests, “Invite your stakeholders to attend the Summer Reading/Learning Program kick-off. They can simply attend the event or you can give them a more active role.”

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Raatzsch, Richard. "On Knowing What One Does." Grazer Philosophische Studien 71, no. 1 (2006): 251–83. http://dx.doi.org/10.1163/18756735-071001014.

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You can see me doing this or that. And your seeing me doing this or that is the source, or even the form, of your knowing what I am doing. As well as the source, or the form, of my knowing what you are doing might be my seeing you doing this or that. However, it would be strange to say that one is looking for what one is doing in order to know it. Nevertheless, it would also be strange to say that one does not know what one is doing when one is doing this or that. So, what is the source, or even the form, of one's knowledge of what one is doing, given that one knows what one is doing? Or is there something strange about this being an assumption? When, then, do we say that one knows, and then also: that one does not know, what one is doing?

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Gates, Henry Louis, and Claude M. Steele. "A CONVERSATION WITH CLAUDE M. STEELE." Du Bois Review: Social Science Research on Race 6, no. 2 (2009): 251–71. http://dx.doi.org/10.1017/s1742058x09990233.

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Henry Louis Gates, Jr.: Claude, what exactly is “stereotype threat”? And why does it matter for the intellectual performance of Black youth at school?Claude M. Steele: Stereotype threat is a very simple experience that everybody has, I believe, a couple times a day. It refers to being in a situation or doing something for which a negative stereotype about one of your identities—your age, your race, your gender—is relevant to you. You know then that you could be seen and treated in terms of that stereotype. And if you care about what you're doing, the prospect of being judged and treated this way can be upsetting, distracting, and can interfere with your functioning in the situation.

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Breyfogle, M. Lynn, and Barbara Spotts. "Professional development delivered right to your door." Teaching Children Mathematics 17, no. 7 (2011): 420–26. http://dx.doi.org/10.5951/teacchilmath.17.7.0420.

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Hamilton, Kenneth. "Reminiscences of a scandal – reminiscences of La Scala: Liszt's fantasy on Mercadante's Il giuramento." Cambridge Opera Journal 5, no. 3 (1993): 187–98. http://dx.doi.org/10.1017/s095458670000402x.

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[Liszt] was not only a musical genius, but could probably have achieved the heights in another profession too. When a diplomat at the Berlin court once asked him, ‘What would become of you if you suddenly lost your hands?’ he replied composedly: I could still be the world's greatest diplomat’.

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Batchelor, Anno. "Education and Training Needs Assessment." Journal of the Intensive Care Society 4, no. 3 (2003): 86. http://dx.doi.org/10.1177/175114370300400311.

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Many of you will remember being accosted by me either at the State of the Art meeting or by email asking what your (or your trainees) educational needs are and what the Society should be doing to help you fulfil them.

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Dissertations / Theses on the topic "What are you doing with your genius?"

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Mearns, Geraldine. "What are you doing for the rest of your life? the role of communication in the retirement planning process of professionals in their fifties /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Soulé, David Alan. "It's 3 p.m. Do you know where your child is or what he/she is doing? an exploratory study on the timing of juvenile victimization and delinquency /." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/121.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2003.<br>Thesis research directed by: Criminology and Criminal Justice. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Books on the topic "What are you doing with your genius?"

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Aaron, Raymond. Double Your Income Doing What You Love. John Wiley & Sons, Ltd., 2008.

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McClean, Malcolm. Bear hunt: Earn your living by doing what you love. Capstone, 2005.

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Lillet, Walters, ed. You can make money from your hobby: Building a business doing what you love. Broadman & Holman, 1999.

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Irvin, Alexis. Build your dreams: How to make a living doing what you love. Running Press, 2013.

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Aaron, Raymond. Double your income doing what you love: Raymond Aaron's guide to power mentoring. John Wiley & Sons, Inc., 2008.

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What are you doing with the rest of your life?: Choices in midlife. New World Library, 1992.

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Your portable empire: How to make money anywhere while doing what you love. John Wiley & Sons, Inc., 2007.

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Penn, Joanna. Career change: Stop hating your job, discover what you really want to do with your life, and start doing it! J. Penn, 2013.

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Marks, A. How to get rich doing what you love: The art of starting and running a home-based business : the complete guide on how to earn what you deserve while doing what you love, all from the comfort of your own home!. A. Marks, 1996.

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An inside look at 10 of today's most innovative churches: What they're doing, how they're doing it & how you can apply their ideas in your church. Regal Books, 1990.

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Book chapters on the topic "What are you doing with your genius?"

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Clayton, Mike. "What are You Doing? Crafting Your Message." In The Influence Agenda. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137355850_6.

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Jonker, Jan, and Niels Faber. "Motive and Context." In Organizing for Sustainability. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78157-6_3.

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AbstractIn this chapter, we will address the motive to start developing a business model and the context in which you are doing so. It is important to use this first building block of the Business Model Template (BMT) to carefully look for the social and ecological components and the context of your idea. The idea of looking carefully at the context is essential because this will steer the possibilities and choices that you have at a later stage. In this way, you can also expand your line of reasoning and motivation into one in which sustainability is central. Looking at a context with respect to its complexity is of the essence: trying your best to discover what truly matters, as well as where you see the opportunities to do things. Getting clear about what motivates you to start working on a specific issue is, after all, the basis for all the steps that are still to come.

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Wiener, Harvey S. "The Reading-Writing Connection." In Any Child Can Read Better. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195102185.003.0011.

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In 1940, the then-chairman of the editorial board of the Encyclopaedia Britannica, Mortimer J. Adler, wrote an article called "How to Mark a Book" for the Saturday Review of Literature. Adler asserted for his adult readers what must sound clearly like heresy to parents of young children. Owning a book fully, he said in absolutely timeless advice, "comes only when you have made it part of yourself, and the best way to make yourself a part of it is by writing in it." I can see you cringing. Write in this expensive, lovely book I bought Leslie at birthday time? Nothing doing. Adler pointed out that our worship of books on this level—physical objects to be revered and respected—is misguided. We love the thing, "the craft of the printer," as opposed to what it contains, "the genius of the author." Owning a book and simply placing it on the shelf means only that we have the book in our library. Truly owning a book means that we have it in our souls. Now of course we don't write in books we don't own. Books we borrow from friends or from the library or from the school classroom must stay intact for others to use later on. But your child can learn that lesson at any age—a lesson I'm sure that you try to teach regularly. Yet, you must temper your proscription. "Don't write in this book" you want to reserve for books your child does not own. "Please write in this book!" should be your plea for any volume in your youngster's home library. Why? As Adler wisely pointed out more than fifty years ago, reading a book should be a conversation between the reader and the writer. Good readers question what they find in books; they challenge what they read; and marking up a book is a way of recording the dialogue between the parties. You really do know this, don't, you, from your own days in school when you attacked review books or texts themselves or photocopies of magazine articles with much underlining, marginal comments, or highlighting.

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Gross, Alan G. "Richard Feynman: The Consensual Sublime." In The Scientific Sublime. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190637774.003.0006.

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Richard Feynman was a fox, not a hedgehog: he did not know one big thing; instead, he knew many things. He was an inspired tinkerer, a Thomas Edison of theoretical science. Still, like Leo Tolstoy, he yearned to be a hedgehog. Feynman’s vision was like Tolstoy’s: “scrupulously empirical, rational, tough-minded and realistic. But its emotional cause is a passionate desire for a monistic vision of life on the part of the fox bitterly intent on seeing in the manner of the hedgehog.” This difference extends to method and attitude. While the great physicist Hans Bethe, Feynman’s frequent working companion at Los Alamos, proceeded deliberately in any argument between them, Feynman “was as likely to begin in the middle or at the end, and jump back and forth until he had convinced himself he was right (or wrong).” It was a contest between “the Battleship and the Mosquito Boat,” a small, lightly armed torpedo vessel. From 1948 to 1958, Feynman enjoyed triumph after triumph. To a former student, Koichi Mano, Feynman wrote: “You met me at the peak of my career when I seemed to you to be concerned with problems close to the gods.” Working on these problems, Feynman reflects a general conviction typical of successful scientists. Another scientist says what Richard Feynman might have: “There’s nothing I’d rather do. In fact my boy says I am paid for playing. He’s right. In other words if I had an income I’d do just what I’m doing now. I’m one of the people who has found what he wanted to do. At night when you can’t sleep you think about your problems. You work on holidays and Sundays. It’s fun. Research is fun. By and large it’s a very pleasant existence.” Problems close to the gods are their gift, but the gods are capricious. This is why for many geniuses, being a genius is a career as brief as an athlete’s. For most, as for Feynman, a dreaded day arrives: the great insights stop coming. The marvelous decade having passed, Feynman tells his student Mano that he turned to “innumerable problems you would call humble.”

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Kishikova, Lyudmila. "The training pathways: what you need to be doing and by when." In Making the Most of Your Medical Career. CRC Press, 2021. http://dx.doi.org/10.1201/9780429083990-3.

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Perez-Breva, Luis, and Nick Fuhrer. "Risk, Doing, Learning, and Uncertainty." In Innovating. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035354.003.0009.

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Your innovating requires you to be more alert regarding what you can do about what you think you know and don’t know. So, the notion of risk as hit or miss is limiting. But what really matters is how well you’re prepared to handle uncertainty. That depends largely on whether you have banked your future on a single thing being true or whether your ideas is robust and ready to survive changes. Show a learning path through a space of opportunity that reduces everyone’s tolerance for uncertainty and that explains how you intend to trade off certainty and risk as you scale up so you do not fail because of something you could have predicted and/or been prepared to ready. Remember, there is no risk at the outset; when risk enters the picture is largely a matter of scale. And if you absolutely must fail, make it come as a surprise to you and everyone, so everyone cherishes what is learned.

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"Refining Your Team." In Motivationally Intelligent Leadership. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3746-5.ch007.

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Your plan for success relies on doing the extra discovery and administrative tasks that will reveal the good and bad about your team and its members. You manage your team's interaction by determining how people are connected, and how they connect, and taking advantage of the information you find. Great leaders can help people see themselves personally and professionally so they can answer four important, initial questions. How much control do you think you have over organizational actions? Do you have personal, fundamental conflicts with organizational actions? Do you know what work you should do next and why? Does the team provide room for you to grow? These are tough questions that could deliver uncomfortable answers for the team and its members. But the answers are crucial to having an open and honest dialogue that leads to an effective plan.

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Eardley, William. "Writing your research proposal." In An Introduction to Clinical Research. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199570072.003.0009.

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In many ways it’s a reflection of yourself as a researcher and an insight into your proposed work. A poorly written proposal has the ability to wreck a project and embarrass the researcher before it has even begun. Similarly, a well-constructed proposal bodes well for the success of the project and displays the researcher in a good light amongst their peers and supervisors. The research proposal identifies: • What the topic is, both in terms of background and the individual area of interest. • What you plan to accomplish and why it needs doing. • What in particular you are trying to find out, i.e. the research question. • How you will get the answer to your question, i.e. your methodology. • What others will learn from it and why it is worth learning. • How long it will take. • How much money it will cost. Through your research proposal you are attempting to convince potential supporters that your project is worth doing, you are scientifically competent to run it, and are in possession of the necessary management skills to ensure its completion. The proposal concisely describes the key elements of the study process, although in sufficient depth to permit evaluation. It is a stand-alone document that must contain evidence of an answerable question, demonstrate your grasp of the literature, and also clearly show that your methodology is sound. A research time-table is required to demonstrate a realistic appreciation of how the study will progress through time. The research proposal serves many purposes to many different parties. Amongst these purposes, some of the key ones are: • Acting as a route map and timetable for all involved in your project. • Giving a clear overview of your planned work to ensure favourable decision at ethical review. • Gaining funding to carry out your proposed study. • Securing a place to undertake a higher scientific degree. • Being an opportunity to ‘blow your own trumpet’ on paper. Although there are several bodies who will be obliged to see your proposal, there is a reasonable chance it will end up being wider read than this, so a coherent piece of work will reflect well on you.

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Goldberg, Sanford C. "Your Attention Please!" In Conversational Pressure. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856436.003.0002.

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There are various ways through which we try to capture another person’s attention. One of these ways is to address them. After trying to highlight what it is to address another person, the chapter argues that doing so generates a reason (for you, as addressee) to attend to the act. When the act of address is a speech act, matters are further complicated by the expectations parties bring, and are entitled to bring, to an (anticipated) speech exchange. If this is correct, then the act of address itself generates the most basic form of conversational pressure: in cooperative exchanges speakers who address an audience have a claim on the audience’s attention. To fail to attend to a speaker who addresses you and whose claim on your attention is part of a (would-be) cooperative exchange, the chapter argues, is to disrespect her as a rational subject.

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Fish, Stanley. "A Conclusion and Two Voices from the Other Side." In Save the World on Your Own Time. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780195369021.003.0011.

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In conclusion, let me summarize my argument and the entailments it implies. The grounding proposition is that both the coherence and the value of a task depend on its being distinctive. Beginning with that proposition, I ask: What is the distinctive task college and university professors are trained and paid to perform? What can they legitimately (as opposed to presumptuously) claim to be able to do? My answer is that college and university professors can introduce students to bodies of material new to them and equip those same students with the appropriate (to the discipline) analytical and research skills. From this professional competence follow both obligations and prohibitions. The obligations are the usual pedagogical ones—setting up a course, preparing a syllabus, devising exams, assigning papers or experiments, giving feedback, holding office hours, etc. The prohibitions are that an instructor should do neither less nor more. Doing less would mean not showing up to class or showing up unprepared, not being alert to the newest approaches and models in the field, failing to give back papers or to comment on them in helpful ways, etc. Doing more would be to take on tasks that belong properly to other agents—to preachers, political leaders, therapists, and gurus. The lure of these other (some would say larger or more noble) tasks is that they enhance, or at least seem to enhance, the significance of what a teacher does. But in fact, I argue, agendas imported into the classroom from foreign venues do not enrich the pedagogical task, but overwhelm it and erode its constitutive distinctiveness. Once you start preaching or urging a political agenda or engaging your students in discussions designed to produce action in the world, you are surely doing something, but it is not academic, even if you give it that name.

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Conference papers on the topic "What are you doing with your genius?"

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K. Chua, Phoebe, and Melissa Mazmanian. "What Are You Doing With Your Phone?" In CHI '21: CHI Conference on Human Factors in Computing Systems. ACM, 2021. http://dx.doi.org/10.1145/3411764.3445275.

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Abate, Andrea F., Michele Nappi, Silvio Barra, and Maria De Marsico. "What are you doing while answering your smartphone?" In 2018 24th International Conference on Pattern Recognition (ICPR). IEEE, 2018. http://dx.doi.org/10.1109/icpr.2018.8545797.

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Jarusriboonchai, Pradthana, Aris Malapaschas, Thomas Olsson, and Kaisa Väänänen. "Social Display...We Can See What You Are Doing On Your Mobile Device." In the 19th ACM Conference. ACM Press, 2016. http://dx.doi.org/10.1145/2818052.2874323.

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Fuller, Sebastian Suarez, Agata Pacho, Emma Harding-Esch, and Syed Tariq Sadiq. "P4.118 “it’s not a ‘time spent’ issue, it’s a ‘what have you spent your time doing?’ issue…” patient opinions on potential implementation of point of care tests for multiple stis and antimicrobial resistance detection." In STI and HIV World Congress Abstracts, July 9–12 2017, Rio de Janeiro, Brazil. BMJ Publishing Group Ltd, 2017. http://dx.doi.org/10.1136/sextrans-2017-053264.613.

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