David Shepherd – författare

An authoritative and practical road map for those implementing and managing BIM workflows. With the 2016 deadline for BIM level 2 fast approaching and the growing realisation of the huge benefits BIM brings these skills are becoming industry essentials. Concentrating on the how rather than the why this will help you to adapt by clearly, and without jargon, explaining standard BIM processes, Government standards and the effective coordination of design, construction and asset information. Spanning both organisational strategy and day-to-day practical tasks it explores bottom line business reasoning as well as potential risks and challenges.

This is the go-to guide for BIM Coordinators and Managers, architectural principals, design team leaders and architectural technicians ensuring you are ‘BIM ready’ in 2016. It will also be invaluable for Part 3 students getting to grips with BIM strategy and implementation.

An authoritative and practical road map for those implementing and managing BIM workflows. With the 2016 deadline for BIM level 2 fast approaching and the growing realisation of the huge benefits BIM brings these skills are becoming industry essentials. Concentrating on the how rather than the why this will help you to adapt by clearly, and without jargon, explaining standard BIM processes, Government standards and the effective coordination of design, construction and asset information. Spanning both organisational strategy and day-to-day practical tasks it explores bottom line business reasoning as well as potential risks and challenges.

This is the go-to guide for BIM Coordinators and Managers, architectural principals, design team leaders and architectural technicians ensuring you are ‘BIM ready’ in 2016. It will also be invaluable for Part 3 students getting to grips with BIM strategy and implementation.

It has seemed at times that there is no neutral territory between those who see Bakhtin as the practitioner of a kind of neo-Marxist, or at least materialist, deconstruction and those who look at the same texts and see a defender of traditional, liberal humanist values and classical conceptions of order, a conservative in the true sense of the term. Arising from a conference under the same title held at Texas Tech University, Carnivalizing Difference seeks to explore the actual and possible relationships between Bakhtinian theory and cultural practice. The introduction explores the changing configurations of our understanding of Bakhtin''s work in the context of recent theory and outlines how that understanding can inform, and be informed by, culture both ancient and modern. Eleven articles, spanning a wide range of periods and cultural forms, then address these issues in detail, revealing the ways in which Bakhtinian thought illuminates, sometimes obfuscates, but always challenges.

It has seemed at times that there is no neutral territory between those who see Bakhtin as the practitioner of a kind of neo-Marxist, or at least materialist, deconstruction and those who look at the same texts and see a defender of traditional, liberal humanist values and classical conceptions of order, a conservative in the true sense of the term. Arising from a conference under the same title held at Texas Tech University, Carnivalizing Difference seeks to explore the actual and possible relationships between Bakhtinian theory and cultural practice. The introduction explores the changing configurations of our understanding of Bakhtin''s work in the context of recent theory and outlines how that understanding can inform, and be informed by, culture both ancient and modern. Eleven articles, spanning a wide range of periods and cultural forms, then address these issues in detail, revealing the ways in which Bakhtinian thought illuminates, sometimes obfuscates, but always challenges.

This study analyses the causes of British manufacturing investment overseas, focusing primarily on the period from the mid 1960s to the mid 1980s. During these years there were significant changes in UK direct investment and this book represented the first major analysis of these changes based on detailed case studies of British international firms.

The early chapters assess the available statistical evidence and the theories of overseas investment that had hitherto been put forward. The authors emphasize the need for recognizing the dynamic and varied nature of firms and the relevance of their historical development in order to understand business decision-making.

Through a detailed consideration of the activities of a large sample of companies, the book explains why they manufacture abroad and assesses the overall consequences for the British economy of its overseas investment.

This study analyses the causes of British manufacturing investment overseas, focusing primarily on the period from the mid 1960s to the mid 1980s. During these years there were significant changes in UK direct investment and this book represented the first major analysis of these changes based on detailed case studies of British international firms.

The early chapters assess the available statistical evidence and the theories of overseas investment that had hitherto been put forward. The authors emphasize the need for recognizing the dynamic and varied nature of firms and the relevance of their historical development in order to understand business decision-making.

Through a detailed consideration of the activities of a large sample of companies, the book explains why they manufacture abroad and assesses the overall consequences for the British economy of its overseas investment.

While Jesus has attracted the sporadic interest of film-makers since the epics of the Sixties, it is often forgotten that between the advent of motion pictures in the 1890s and the close of the "silent" era at the end of the 1920s, some of the longest, most expensive and most watched films on both sides of the Atlantic were focused on the Life and Passion of the Christ. Drawing upon rarely seen archival footage and the work of both the era’s most important directors (e.g. Alice Guy, Ferdinand Zecca, Sidney Olcott, D.W. Griffith, Carl Dreyer, and C.B. DeMille) and others who have been all but forgotten, this collection of essays offers a representative survey of the Silents of Jesus, illustrating the ways in which the earliest films and those which followed were influenced by a multiplicity of factors. Written by leading scholars in biblical and early film studies this collection explores the ways in which the Silents of Jesus were shaped not only by the performing and visual arts of the nineteenth century and the technological challenges and opportunities of a new medium and industry, but also by the artistic, theological and ideological predilections of studios and directors, and the expectations of audiences as the genre evolved. Taken together, the essays collected here offer a seminal treatment of the genesis and early evolution of the cinematic Jesus.

While Jesus has attracted the sporadic interest of film-makers since the epics of the Sixties, it is often forgotten that between the advent of motion pictures in the 1890s and the close of the "silent" era at the end of the 1920s, some of the longest, most expensive and most watched films on both sides of the Atlantic were focused on the Life and Passion of the Christ. Drawing upon rarely seen archival footage and the work of both the era’s most important directors (e.g. Alice Guy, Ferdinand Zecca, Sidney Olcott, D.W. Griffith, Carl Dreyer, and C.B. DeMille) and others who have been all but forgotten, this collection of essays offers a representative survey of the Silents of Jesus, illustrating the ways in which the earliest films and those which followed were influenced by a multiplicity of factors. Written by leading scholars in biblical and early film studies this collection explores the ways in which the Silents of Jesus were shaped not only by the performing and visual arts of the nineteenth century and the technological challenges and opportunities of a new medium and industry, but also by the artistic, theological and ideological predilections of studios and directors, and the expectations of audiences as the genre evolved. Taken together, the essays collected here offer a seminal treatment of the genesis and early evolution of the cinematic Jesus.