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Special Agent Robin Perez, Federal Bureau of Narcotics, has a new assignment brings him back to the island where he spent his teenage years as an army brat. The island, Puerto Rico, has become springboard in the traffic of narcotics toward the United States. Times have changed. The criminal unrest is threatening. The island is not as peaceful as it was when he was a student. More people are getting caught in the crossfire. There are factions trying to pull the island toward independence. Law enforcement results are slow. Robin is at odds with the heads of the Bureau. His previous assignments caused some hiccups but they know he gets the job done. He does not believe that keeping the drugs on the island (containment) is the solution. His plan to purchase of 500 kilos of cocaine is the opportunity to bring down the source of the drug distribution. He must go undercover and abandon his identity assuming a new one as a successful drug dealer. His life will be in constant danger.
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Family business groups (FBGs) are ubiquitous, influential, and play a major role in national economies. While much of the current research around this topic has so far focused on emerging economies, more knowledge is needed on family business groups in developed economies; specifically, how they innovate, strategize, govern, and grow. Offering a comprehensive and global perspective on family business groups, this Handbook comprises international contributions from leading experts. Split into five sections, it covers strategy and business transformation; innovation strategies; management and governance; and new avenues for research on FBGs including the issues of sustainability and cultural alignment. An important resource for students and researchers of family business, strategy and management, this Handbook signals the emergence of the family business group phenomenon and solidifies research in this evolving area of study.
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Surveying the Avant-Garde examines the art and literature of the Americas in the early twentieth century through the lens of the questionnaire, a genre as central as the manifesto to the history of the avant-garde. Questions such as “How do you imagine Latin America?” and “What should American art be?” issued by avant-garde magazines like Imán, a Latin American periodical based in Paris, and Cuba’s Revista de Avance demonstrate how editors, writers, and readers all grappled with the concept of “America,” particularly in relationship to Europe, and how the questionnaire became a structuring device for reflecting on their national and aesthetic identities in print. Through an an...