In Certain Success, Narval A. Hawkins has tried to gives an outline of the whole subject of salesmanship. But the scope of this set does not afford room to give here a minutely detailed exposition of the special processes of making sales in particular businesses. I have compiled for you, rather, the general principles of effective selling that may be universally applied. Certain success is a handbook of fundamental ideas, which each reader, by his individual thinking, should amplify and fit to his/her own work or ambition.

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The Dao De Jing represents one of the most important works of Chinese philosophy, in which the author, Lao Zi (c. 580-500 BC), lays the foundations of Taoism. Composed of 81 short sections, the text itself is written in a poetic style that is ambiguous and challenging for the modern reader. Yet while its meaning may be obscure, the text displays the originality of Lao Zi's wisdom and remains a hugely influential work to this day. In Reading the Dao: A Thematic Inquiry, Wang Keping offers a clear and accessible guide to this hugely important text. Wang's thematic approach opens up key elements of the Dao De Jing in a way that highlights and clarifies the central arguments for the modern reader. Presenting comprehensive textual analysis of key passages and a useful survey of recent Taoist scholarship, the book provides the reader with an insight into the origins of Taoist philosophy. This is the ideal companion to the study of this classic Taoist text.

New English Grammar Series

Over the past decade or so, philosophical speculation about human rights has tended to fall into two streams. On the one hand, there are "Orthodox" theorists, who think of human rights as natural rights: moral rights that we have simply in virtue of being human. On the other hand, there are "Political" theorists, who think of human rights as rights that play a distinctive role, or set of roles, in modern international politics: setting universal standards of political legitimacy, serving as norms of international concern, and/or imposing limits on the exercise of national sovereignty. This edited volume explores this disagreement, its underlying sources, and related issues in the philosophy of human rights. Using the Orthodox-Political debate as a springboard for broader reflection, the volume covers a diverse range of questions about: the relevance of the history of human rights to their philosophical comprehension; how to properly understand the relationship between human rights morality and law; how to balance the normative character of human rights - their description of an ideal world - with the requirement that they be feasible in the here and now; the role of human rights in a world shaped by politics and power; and how to reconcile the individualistic and communitarian aspects of human rights. All chapters are accompanied by useful and probing commentaries, which help to create dialogues throughout the entire volume.

The work now laid before the public originated in indignation at the shallow and false criticism of the periodicals of the day on the works of the great living artist to whom it principally refers. It was intended to be a short pamphlet, reprobating the matter and style of those critiques, and pointing out their perilous tendency, as guides of public feeling. But, as point after point presented itself for demonstration, I found myself compelled to amplify what was at first a letter to the Editor of a Review, into something very like a treatise on art, to which I was obliged to give the more consistency and completeness, because it advocated opinions which, to the ordinary connoisseur, will sound heretical. I now scarcely know whether I should announce it is an Essay on Landscape Painting, and apologize for its frequent reference to the works of a particular master; or, announcing it as a critique on particular works, apologize for its lengthy discussion of general principles. But of whatever character the work may be considered, the motives which led me to undertake it must not be mistaken. No zeal for the reputation of any individual, no personal feeling of any kind, has the slightest weight or influence with me. The reputation of the great artist to whose works I have chiefly referred, is established on too legitimate grounds among all whose admiration is honorable, to be in any way affected by the ignorant sarcasms of pretension and affectation.

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