Sabtu, 29 November 2014

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  • Sales Rank: #13218026 in Books
  • Published on: 1962-09
  • Binding: Paperback

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Jumat, 28 November 2014

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  • Published on: 1989-12-31
  • Format: Import
  • Original language: English
  • Binding: Paperback
  • 48 pages

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In this work, Eagleton investigates the condition of those who apparently destroy for no reason. In the process, he poses a set of intriguing questions. Is evil really a kind of nothingness? Why should it appear so glamorous and seductive? Why does goodness seem so boring?

  • Sales Rank: #1005808 in Books
  • Published on: 2011-04-26
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.24" h x .55" w x 5.48" l, .53 pounds
  • Binding: Paperback
  • 192 pages

From Publishers Weekly
An engaging if ultimately unsatisfactory argument in favor of the reality of evil by one of Britain's most distinguished Marxist literary critics. Analyzing some of Western literature's major pronouncements on evil from Thomas Aquinas to William Golding, Eagleton (Reason, Faith and Revolution) pieces together what he sees as the defining features of evil in a rather unsystematic way, before grounding his own vision of evil in Freud's notion of the death drive, describing evildoers as suffering from an unbearable sense of non-being which must be taken out on the other. Despite its undeniably enjoyable verve and wit, the book's claims are undermined by a rather arbitrary use of source material as well as a belated and inadequate articulation of its major theoretical claim. Muddy talk about different levels of evil and an undeveloped but evidently important distinction between wickedness and evil suggest that the author's notions on the topic would be better served by a larger, more sustained work. Nonetheless, as an attempt to take seriously the reality of extreme wrongdoing without recourse to either religiously grounded certitudes or a total sociological determinism, it offers a promising alternative. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
In the altogether excellent Reason, Faith, and Revolution (2009), Eagleton wondered how it was that the “most unlikely people, including myself,” were talking about God. Here he talks about God again, pretty much willy-nilly, given a topic—evil—so antonymically correlative to the deity. To his credit, he begins by considering personal, psychological evil and throughout draws far more on secular literature and philosophy than on scripture and theology. From Golding’s Pincher Martin (1956) and Greene’s Brighton Rock (1938), he draws a conception of evil as nullity, as radical lack of emotion and sympathy. Constant negation, characteristic of the narrator of Flann O’Brien’s The Third Policeman (1967), and the radical freedom added to negation by Adrian Leverkühn in Mann’s Doktor Faustus (1947) broaden the idea, and the witches of Macbeth and Othello’s Iago add “obscene enjoyment” to it. Kierkegaard and Dostoyevsky are adduced before Eagleton somewhat surprisingly pronounces that evil is rather rare; more common and troubling is “plain wickedness, like destroying whole communities for financial gain.” An absorbing, stimulating, awfully entertaining discussion. --Ray Olson

Review
"'Terry Eagleton's Reason, Faith, and Revolution attacks the new atheism as a kind of secular counter-fundamentalism... Better than any previous book of its kind.' (James Wood, The New Yorker) 'Jaunty and surprisingly entertaining, Eagleton's argument is subtle, intricate, provocative and limpidly expressed... A valuable contribution to a debate as old as Adam and Eve and as contemporary as 9/11 and Abu Ghraib.' (John Banville, Irish Times)"

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32 of 38 people found the following review helpful.
Eminently Readable
By Clarissa's Blog
In his book On Evil, Terry Eagleton offers his readers an eminently readable treatise that combines literary criticism and philosophy in a way that does justice to his complex and charged subject. In my view, Eagleton does what every scholar of literature should attempt to do: make his analysis accessible to a wide reading audience without sacrificing the intellectual rigor of his work. As usual, the book is written beautifully, and Eagleton's sense of humor is highly enjoyable. This is the kind of literary criticism that is accessible to any reasonably educated person, not just to academics.

Eagleton begins On Evil by discussing how the concept of evil has been appropriated by a certain type of political discourse. The implication behind referring to terrorists as "evildoers" and their actions as "pure evil" is that if we accept that there is a rational explanation for acts of terror, we somehow condone them. This, of course, is completely wrong since "rational" and "commendable" are not the same thing. The tendency to refer to terrorists as evil only serves the purpose of shutting down any kind of discussion of their actions. As a result, we are left with no understanding of what they do and what. Consequently, we cannot possibly hope to combat terror since we have precluded any opportunity to analyze terrorism in any meaningful way.

Even though Eagleton ridicules the way certain politicians have appropriated the word "evil," he believes that evil actions and evil individuals do exist. In this, he disagrees not only with a certain brand of liberals but with many Marxists as well. (We have to remember that Eagleton himself is an unapologetic Marxist, which does not preclude him from pointing out the many subjects where he disagrees with his fellow Marxists. It is precisely this kind of intellectual honesty that makes me respect him so much). In Eagleton's view, the nature of evil is metaphysical, in the sense that it aims to destroy being as such, not just certain parts of it. It is the metaphysical nature of evil that Eagleton tries to analyze (and in my view, succeeds in doing so) in On Evil. The most intolerable thing for evil is that anything should exist. Its most important goal is the annihilation of being as such.

In his Living in the End Times, Slavoj Zizek says that the question we need to ask ourselves is not "Is there life after death?" What we should ask instead is, rather, "Is there life before death?" Eagleton echoes this statement in On Evil. He mentions "the worthless purity of those who have never lived", which can lead people to desire to bring destruction to those who have the capacity to enjoy the richness of human existence. It is among those who have never actually allowed themselves to live, to enjoy, to love life that evil has its perfect breeding ground.

Eagleton draws our attention to the paradoxical side of evil that was observed by Hannah Arendt in Eichmann in Jerusalem: A Report on the Banality of Evil (Penguin Classics). Truly evil acts are often perpetrated by "mild-mannered individuals who believe that business is business." Instead of being terrified by this phenomenon, we should see that it offers us hope. Most evil, says Eagleton, is institutional. If we change the entire structure of our society, the kind of evil that plagues our existence today will disappear.

5 of 6 people found the following review helpful.
Interesting Lightweight Fluff
By Labute
I gave up half way through. At a certain point I realized I was just spending time in the mind of a really interesting and intelligent man who likes to read. He makes some compelling points but it takes too much work getting to them. Too many assumptions, far reaching pseudo connections and not enough hardcore substantiation. Too many examples from literature rather than real life. I guess I was expecting something heavier, harder hitting. If I'm going to read for pleasure I'll pick up some fiction.

2 of 2 people found the following review helpful.
Eagleton at his best
By J. Laurence
This is an excellent work by the world's favorite heterodox Marxist. Eagleton combines theology, philosophy, and psychology to make incisive comments on the nature of evil. Not only does Eagleton synthesize ideas from the likes of Augustine and Freud, but he also draws on a wide range of literary and historical examples, from Shakespeare to the Holocaust. Eagleton's fundamental claim is that evil is banal, not sexy, that it is less, not more interesting than virtue. Many of these insights were presented in an embryonic form in Eagleton's earlier work After Theory, but they are far better developed here.

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Selasa, 25 November 2014

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As I begin to write this Preface, I feel a rush of excitement. I have now finished the book; my gestalt is coming into completion. Throughout the months that I have been writing this, I have, indeed, been intrinsically motivated. Now that it is finished I feel quite competent and self-determining (see Chapter 2). Whether or not those who read the book will perceive me that way is also a concern of mine (an extrinsic one), but it is a wholly separate issue from the intrinsic rewards I have been experiencing. This book presents a theoretical perspective. It reviews an enormous amount of research which establishes unequivocally that intrinsic motivation exists. Also considered herein are various approaches to the conceptualizing of intrinsic motivation. The book concentrates on the approach which has developed out of the work of Robert White (1959), namely, that intrinsically motivated behaviors are ones which a person engages in so that he may feel competent and self-determining in relation to his environment. The book then considers the development of intrinsic motiva­ tion, how behaviors are motivated intrinsically, how they relate to and how intrinsic motivation is extrinsically motivated behaviors, affected by extrinsic rewards and controls. It also considers how changes in intrinsic motivation relate to changes in attitudes, how people attribute motivation to each other, how the attribution process is motivated, and how the process of perceiving motivation (and other internal states) in oneself relates to perceiving them in others.

  • Sales Rank: #2642779 in Books
  • Published on: 1975-08-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .0" h x .0" w x .0" l, .0 pounds
  • Binding: Hardcover
  • 324 pages

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1 of 1 people found the following review helpful.
Exceptional volume focused the the world of intrinsic motivation. ...
By Bernard M. Cantin
Exceptional volume focused the the world of intrinsic motivation. Met all my expectations as the in depth research done to assemble this book was very well written and understandable. As a Correctional Case Manager this book is a must have when developing offender Case plans that are directly correlated to an offenders intrinsic motivations to succeed on re-entry into the community and become successful on parole.

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Rabu, 19 November 2014

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Underlying the design of the Handbook of Psychopharmacology is a prejudice that the study of drug influences on the mind has advanced to a stage where basic research and clinical application truly mesh. These later volumes of the Handbook are structured according to this conception. In certain volumes, groups of drugs are treated as classes with chapters ranging from basic chemistry to clinical application. Other volumes are assembled around topic areas such as anxiety or affective disorders. Thus, besides chapters on individual drug classes, we have included essays addressing broad areas such as "The Limbic-Hypothalamic-Pituitary-Adrenal System and Human Be­ havior" and "Peptides and the Central Nervous System. " Surveying these diverse contributions, one comes away with a sentiment that, far from being an "applied" science borrowing from fundamental brain chemistry and physiology, psychopharmacology has instead provided basic researchers with the tools and conceptual approaches which now are advancing neurobiology to a central role in modern biology. Especially gratifying is the sense that, while contributing to an understanding of how the brain functions, psychopharmacology is a discipline whose fruits offer genuine help to the mentally ill with promises of escalating benefits in the future. L. L. 1. S. D. I. S. H. S. VII CONTENTS CHAPTER 1 Drug Self-Administration: An Analysis of the Reinforcing Effects of Drugs Roy PICKENS, RICHARD A. MEISCH, and TRAVIS THOMPSON 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I 2. Methods of Self-Administration . . . . . . . . . . . . . . . . . . . . . . . 3 3. Establishing Drugs as Reinforcers. . . . . . . . . . . . . . . . . . . . . . 4 4. Characteristics of Self-Administration . . . . . . . . . . . . . . . . . . 7 4. 1. Ethanol. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

  • Sales Rank: #10743401 in Books
  • Published on: 1978-03-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .0" h x .0" w x .0" l, .0 pounds
  • Binding: Hardcover
  • 420 pages

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@ Free PDF A Plague of Informers: Conspiracy and Political Trust in William III's England (The Lewis Walpole Series in Eighteenth-Century Culture and

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A Plague of Informers: Conspiracy and Political Trust in William III's England (The Lewis Walpole Series in Eighteenth-Century Culture and



A Plague of Informers: Conspiracy and Political Trust in William III's England (The Lewis Walpole Series in Eighteenth-Century Culture and

Free PDF A Plague of Informers: Conspiracy and Political Trust in William III's England (The Lewis Walpole Series in Eighteenth-Century Culture and

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A Plague of Informers: Conspiracy and Political Trust in William III's England (The Lewis Walpole Series in Eighteenth-Century Culture and

Stories of plots, sham plots, and the citizen-informers who discovered them are at the center of Rachel Weil's compelling study of the turbulent decade following the Revolution of 1688. Most studies of the Glorious Revolution focus on its causes or long-term effects, but Weil instead zeroes in on the early years when the survival of the new regime was in doubt. By encouraging informers, imposing loyalty oaths, suspending habeas corpus, and delaying the long-promised reform of treason trial procedure, the Williamite regime protected itself from enemies and cemented its bonds with supporters, but also put its own credibility at risk.

  • Sales Rank: #1902291 in Books
  • Published on: 2014-01-07
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 1.00" w x 6.13" l, 1.40 pounds
  • Binding: Hardcover
  • 360 pages

Review
"A Plague of Informers is an exciting and important contribution to our understanding of the politics of transitions. Weil preserves the chaos and uncertainty of her story, noting the limits of the evidence and inviting the reader to share in the challenges of interpretation. This is a rare and lovely accomplishment."—Alan Houston, University of California, San Diego (Alan Houston)

"Written in a thoroughly accessible and engaging style, with rattling good stories about plots and alleged plots, informers and government surveillance, con men and rogues, and political pamphleteering and propaganda, A Plague of Informers offers and extremely important new interpretation of the revolutionary regime established in 1688-89 by studying in detail its fragile and highly contested first years from 1689 to 1697. It should appeal to general readers as well as to students and specialists in English, history, and political science."—John Marshall, Johns Hopkins University (John Marshall)

"Rachel Weil is one of the very few most creative historians of early modern Britain. In A Plague of Informers she asks how and why a government is able to gain political trust in the wake of revolution or regime change. In a carefully argued and engaging narrative,  Weil demonstrates what new regimes, no matter their commitment to 'liberty' however defined, have to generate trust from their subjects by dealing with those who do not share in their definitions of liberty and security. Liberal regimes, even paradigmatic ones such as that established in Britain after 1688, have to establish themselves with illiberal actions."—Steve Pincus, Yale University (Steve Pincus)

About the Author
Rachel Weil is professor of history at Cornell University. She lives in Seneca Falls, NY.

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~ Download Sarah: The Life of Sarah Bernhardt (Jewish Lives), by Robert Gottlieb

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Sarah: The Life of Sarah Bernhardt (Jewish Lives), by Robert Gottlieb

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Sarah: The Life of Sarah Bernhardt (Jewish Lives), by Robert Gottlieb

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Sarah: The Life of Sarah Bernhardt (Jewish Lives), by Robert Gottlieb

Everything about Sarah Bernhardt is fascinating, from her obscure birth to her glorious career—redefining the very nature of her art—to her amazing (and highly public) romantic life to her indomitable spirit. Well into her seventies, after the amputation of her leg, she was performing under bombardment for soldiers during World War I, as well as crisscrossing America on her ninth American tour.

Her family was also a source of curiosity: the mother she adored and who scorned her; her two half-sisters, who died young after lives of dissipation; and most of all, her son, Maurice, whom she worshiped and raised as an aristocrat, in the style appropriate to his presumed father, the Belgian Prince de Ligne. Only once did they quarrel—over the Dreyfus Affair. Maurice was a right-wing snob; Sarah, always proud of her Jewish heritage, was a passionate Dreyfusard and Zolaist.

Though the Bernhardt literature is vast, Gottlieb’s Sarah is the first English-language biography to appear in decades. Brilliantly, it tracks the trajectory through which an illegitimate—and scandalous—daughter of a courtesan transformed herself into the most famous actress who ever lived, and into a national icon, a symbol of France.

  • Sales Rank: #1117952 in Books
  • Published on: 2013-04-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.20" h x .70" w x 5.50" l, .66 pounds
  • Binding: Paperback
  • 256 pages

From Booklist
Gottlieb, author of George Balanchine: The Ballet Maker (2004), launches Yale’s Jewish Lives series with a digestible account of the life and times of the “Divine Sarah.” Although much has been already been written about Sarah, most of it has been embellished—the imaginative actress herself was not above creatively reworking or entirely fabricating episodes from her own life. What Gottlieb attempts, and mostly succeeds in doing, is separating the legend from the reality. When he is unable to do so definitively, he grounds each scenario in whatever historical evidence or plausible data does exist, allowing readers to draw their own educated conclusions. Where this biography truly shines, however, is in the mini-portraits of the people who played significant roles in Sarah’s saga; family, friends, colleagues, rivals, admirers, detractors, and lovers are vividly brought to life. The result: one of the greatest actresses of all time stars in the story of her life, surrounded by an extraordinary cast of supporting characters. --Margaret Flanagan

Review
"[This] is that rarest of books, a serious biography that reads not only like a novel, but like a big, romantic, sprawling, over-the-top novel. . . . A wonderful book."—Michael Korda, Daily Beast
(Michael Korda The Daily Beast)

"Mr. Gottlieb's fluid style and lightly worn authority offer a lucid and essential modern guide to the making of celebrity, in an era before the noun existed."--Norman Lebrecht, Wall Street Journal
(Norman Lebrecht Wall Street Journal)

"A fascinating look at Bernhardt's mythology and the stagecraft behind it. . . . What Sarah understood--as Gottlieb, a storied editor and publisher, makes clear--was how the heightened drama of performance might be extended to her own life."--Vogue
(Vogue)

"Robert Gottlieb is true to the mystery of his subject's self-invented life. He also does what few biographers of famous women seem able or willing to do: He focuses on her work. . . . Vintage Gottleib, full of humor and refreshingly free of hagiography."--Susan Salter Reynolds, Los Angeles Times
(Susan Salter Reynolds Los Angeles Times)

"Immensely entertaining."--Jeremy McCarter, Newsweek

(Jeremy McCarter Newsweek)

"A delectable, witty short biography of legendary French actress Sarah Bernhardt, and a decidedly unstuffy debut for Yale's Jewish Lives series."--Shelf Awareness
(Shelf Awareness)

"Gottlieb's Sarah is a fine introduction to a fascinating woman, giving the reader a lively sense of why, so many decades after her death, the name of Sarah Bernhardt, above all others, still stands for actress."--Julius Novick, The Forward
(Julius Novick The Forward)

"Avoiding pedantry on the one hand and prurience on the other, [Gottlieb] writes about Bernhardt with convincing respect and sympathy, tempered with quiet amusement at her oddities and excesses. . . . His conversational, urbane prose is accompanied by numerous illustrations, including a splendid gallery of full-page photos showing Bernhardt in 16 of her famous roles. Gottlieb's Sarah is a fine introduction to a fascinating woman, giving the reader a lively sense of why, so many decades after her death, the name of Sarah Bernhardt, above all others, still stands for actress."--Julius Novick, The Forward (Julius Novick The Forward)

"There's an amazing amount of information here, about an amazing woman. . . . This is the first English-language biography of Sarah Bernhardt, and it is wonderfully informative as well as entertaining. I'm glad I've been given the opportunity to experience it, and will never again think of her as just that woman who was famous for playing Hamlet."--Shakespeare Geek
(Shakespeare Geek)

"An elegant and engaging portrait worthy of Bernhardt. . . a terrific book."--Glenn C. Altschuler, NPR Books We Like
(Glenn C. Altschuler NPR Books We Like)

"Comprehensive and illuminating about many things besides Bernhardt--French anti-Semitism, sexual mores amongst the intellectual aristocracy, etc.--without being exhausting. I can't imagine Bernhardt's story being told better."--Scott Eyman, Palm Beach Post
(Scott Eyman Palm Beach Post)

"Appropriately lively. . . Gottlieb's affable, anecdotal style suits the subject well."--Graham Robb, New York Review of Books
(Graham Robb New York Review of Books)

"Sarah Bernhardt is a gift to the raconteur. Mr. Gottlieb takes full advantage. Where he can, he stages her life as a performance, with knowing asides and a certain kind of old-fashioned fun." — Economist
(Economist)

"[A] sharp, efficient biography."--Emma Brockes, New York Times Book Review
(Emma Brockes New York Times Book Review)

"A fascinating look at Bernhardt's mythology and the stagecraft behind it. . . . What Sarah understood--as Gottlieb, a storied editor and publisher makes clear--was how the heightened drama of performance might be extended to her own life."--Vogue
(Vogue)

"Robert Gottlieb's book is appropriately small, beautiful and packed with drama. . . . Mr. Gottlieb is a meticulous reader, researcher and distiller of information. . . . Although he claims we can know little about her actual performances, he manages to make them come alive. I see her and hear her, declamatory to our modern sensibilities, alarmingly natural and passionate to audiences of the late 19th century."--Kathleen George, Pittsburgh Post-Gazette
(Kathleen George Pittsburgh Post-Gazette)

"One ends this breathlessly readable and deeply intelligent book in as much awe of Sarah as people and audiences were in her own lifetime; it is that rarest of books, a serious biography that reads not only like a novel, but like a big, romantic, sprawling, over-the-top novel. Gottlieb has made of her story a wonderful book--one, which, to pay it its highest due, any editor, including himself (and me), would give his or her eye-teeth to have published!"--Michael Korda, Daily Beast
(Michael Korda Daily Beast)

'A book that is wise, funny, affectionate and enjoyable as well as blessedly compact.' — John Carey, Sunday Times (John Carey Sunday Times 2010-10-03)

"In his timely new biography, Sarah: The Life of Sarah Bernhardt, Robert Gottlieb traces the meteoric, improbable, epic life of the illegitimate daughter of a high-flying Paris courtesan who became the most famous actress in theater history."--Joseph A. Harris, American Spectator (Joseph A. Harris American Spectator)

"In 'Sarah: The Life of Sarah Berndhardt', Robert Gottlieb presents (his subject) appreciatively, in full color, in all her exuberance, extravagance, beauty, passion and talent. This is the first English-language biography in decades of the first internationally known stage star."--Sandee Brawarsky, New York Jewish Week (Sandee Brawarsky New York Jewish Week)

"At only 220 pages, Sarah is necessarily a breathless account of a life that would happily occupy a book three times longer; yet it makes for an absorbing, at times fantastical read, and is leavened throughout by a dry wit and affectionate scepticism."—Michael Simkins, Mail on Sunday (Michael Simkins Mail on Sunday 2011-06-01)

"A fabulous story and Gottlieb has produced a brilliant short biography, telling you everything you want to know in 200 pages. He’s especially good at analysing what Sarah’s magic was but there was so much of it you’ll have to read the book to find out."—Duncan Fallowell, Daily Express (Duncan Fallowell Daily Express 2010-10-22)

"Robert Gottlieb is a firmly even-handed biographer and his engagingly zippy account focuses particularly on exposing the cracks in the contradictory stories that Bernhardt and her hagiographers assembled about her life…This is a sterling biography, equal to its subject."—Olivia Laing, The Observer (Olivia Laing The Observer 2010-10-25)

"Although Bernhardt's fame is universal and the literature about her immense, the major postwar English language biographies have long been out of print...Gottlieb's succinct survey is timely"—Rupert Christiansen, Literary Review (Rupert Christiansen Literary Review 2010-10-07)

"Suave, intelligent, always slyly entertaining."—Terry Castle, London Review Of Books (Terry Castle London Review Of Books 2010-11-04)

"A riveting account of a life lived in the spotlight"—Richard Edmonds, Birmingham Post (Richard Edmonds Birmingham Post 2011-10-14)

Honorable Mention in the Biography/Autobiography category of the 2010 Los Angeles Book Festival (Biography/Autobiography Honorable Mention Los Angeles Book Festival 2011-02-28)

"Short, witty and tender…This book is one that your friends and family will actually want to read: a better stocking-topper for the literary-minded is hard to imagine."—Miranda Seymour, The Lady (Miranda Seymour The Lady 2010-11-02)

"Gottlieb does an excellent job describing Bernhardt, making her come alive for the reader or, perhaps more accurately, making her larger-than-life personality seem real. With its general overview of her life, the book serves as a perfect introduction to her personal life and her career."—Rabbi Rachel Esserman, Voice of the Dutchess Jewish Community (Rabbi Rachel Esserman Voice of the Dutchess Jewish Community)

"Gottlieb shows in this fine, sympathetic biography [that Sarah Bernhardt] put the world on a leash and added it to her own private menagerie."—Betty Smartt Carter, Books & Culture (Betty Smartt Carter Books & Culture)

"Very readable. . . . Gottlieb holds the reader's interest throughout. . . . [An] excellent biography. . . . Recommended very highly for casual reader as well as for specialists."—Richard Weigel, Pages (Richard Weigel Pages)

"Robert Gottlieb's biography of Bernhardt is very readable and covers the actress' fascinating life qutie well."—Richard Weigel, Bowling Green Daily News (Richard Weigel Bowling Green Daily News)

"Gottlieb writes about Bernhardt with convincing respect and sympathy, tempered with quiet amusement at her oddities and excesses. His lucid, conversational, urbane prose is accompanied by numerous illustrations. . . . Gottlieb's Sarah is a fine introduction to a fascinating woman."—Julius Novick, Forward (Julius Novick Forward)

Received Honorable Mention in the Biography/Autobiography category of the 2010 New England Book Festival (Biography Honorable Mention New England Book Festival)

"it's an ambitious book, a real doorstopper. . . . You'll learn all manner of facts."—David Wood, Book Report (David Wood Book Report)

"[Robert Gottlieb] does what few biographers of famous women do: He focuses on her work."—Susan Salter Reynolds, Newsday (Susan Salter Reynolds Newsday)

"Robert Gottlieb presents her appreciatively, in full color, in all her exuberance, extravagance, beauty, passion and talent."—Sandee Brawarsky, (Sandee Brawarsky The Jewish Week)

"Gottlieb's Life casts a  reassuringly sceptical eye over a plethora of less-than-reliable writings about Berhardt, some of them the actress's own memoirs."—John Nathan, Jewish Chronicle (John Nathan Jewish Chronicle 2010-10-05)

“With panache worthy of his subject, Gottlieb lays out the players as if Bernhardt’s life were a stage drama. His charismatic prose captures the spell of the consummate mythmaker.”—Carol Ockman, coauthor of Sarah Bernhardt: The Art of High Drama (Carol Ockman)

“Robert Gottlieb sifts through the fiction in this hugely entertaining biography of the theatrical legend, and often casts doubt on the competing accounts of her life with little more than a raised eyebrow.”—Victoria Segal, The Guardian (Victoria Segal The Guardian 2014-01-18)

About the Author

Robert Gottlieb is the author of Lives and Letters, George Balanchine, and Great Expectations: The Sons and Daughters of Charles Dickens. His career in publishing—as editor-in-chief of Simon and Schuster, Alfred A. Knopf, and The New Yorker—is legendary.

Most helpful customer reviews

19 of 19 people found the following review helpful.
BRILLIANTLY DONE
By Wooley in PSL
Robert Gottlieb is a excellent writer and has a way with his style to give the reader a great insight to his subject. Just look at READING JAZZ, READING DANCE, READING LYRIC, or his great book on George Ballanchine to admire and praise his work. Now he takes on Sarah Bernhardt, in SARAH: THE LIFE OF SARAH BERNHARDT. Brilliantly done. Probably the most noted actress of the era, she died in 1923, Gottlieb uses historic records to investigate conflicting stories about her life. Bernherdt was brilliant and even made trips to the USA from France. She was lover to many including royalty, mother, and outspoken in intellectual circles. Read this biography of a lady yoou probably know little about. Enjoy, Recommended

10 of 10 people found the following review helpful.
The First Superstar
By Rob Hardy
We say that performers are "legendary," but the word cannot be applied any more fittingly than to Sarah Bernhardt, whose name is synonymous with drama, or with excessive drama. Her performances were sensations all around the world, even among people who didn't understand a word of French; she was a world-wide celebrity long before we had the current media to make such celebrities commonplace, and no current performer is as famous or scandalous as she was in her day. She has had plenty of biographers, but the current _Sarah: The Life of Sarah Bernhardt_ (Yale University Press) by Robert Gottlieb is a brisk and sharp attempt to acknowledge the myths about the actress while attempting to understand her core. She made this difficult, because in her own stories about her life she was a relentless fabulist. Alexandre Dumas _fils_ who wrote plays with her in mind thought her deceitfulness was an essential part of her genius: "You know," he said of the actress who was famously and unfashionably thin, "she's such a liar, she may even be fat!" The stories about her are genuinely entertaining, though, and although she distorted her past, she was always in full charge of her present.

She never lied about her origins as far as her illegitimacy was concerned. Her father, whoever he was, never played a role in her life; her mother was hugely influential, but was often a force to be overcome. One of the mother's lovers arranged for Bernhardt to go to the Paris Conservatoire to learn the art of acting. Initially, however, there was not enough theater work. She lived by her wits, attending public balls and parties, and taking on the role as courtesan assigned to her by her mother. She displayed a remarkable talent for cultivating male friendship, and "managed to establish a kind of court, made up of a group of distinguished men who were seemingly content to pay joint homage (and a fairly allocated tariff) to her while sharing her favors openly and with equanimity." Lovers came and went, but seldom left in anger; she kept ex-lovers as friends for life. Henry James thought she was a genius at advertising herself by stunts. She made sure the public knew and discussed her eccentricities. At a time when women wore hats with stuffed birds on them to give them color, Bernhardt had a hat with a stuffed bat on it. She slept in her own coffin, and traveled with it so she could do so. She kept a menagerie of wild animals in her home, a cheetah, a wolf, a boa constrictor, and even an alligator. She sculpted with some skill. Always people could talk about her affairs, and she genuinely had some sort of grand talent on the stage. She had made herself simply the most famous woman in the world. She was to travel all around that world with success. She was no linguist, and always played her roles in French; uncomprehending audiences understood enough to be ecstatic. They had, of course, not come to be moved by the play or the words but to be overcome by Sarah Bernhardt. Her supposed wickedness only increased the curiosity of people to come to see her in America. Commodore Vanderbilt went to every one of her New York performances, and wept every time. In deeply Catholic and anti-Semitic Montreal, she might have gotten threats from the riffraff, but fans ignored the commands from their priests to avoid her performances. Wherever she arrived, there were interviews with the press. She was adept at commercializing her name, for soap, headache remedies, and bicycles. With fame came parody; in Philadelphia, she collapsed in laughter when she saw a famous female impersonator performing as "Sarah Heartburn."

To one lover, she once wrote, "You must realize that I am not made for happiness. It is not my fault that I am constantly in search of new sensations, new emotions." It is hard to imagine that with all the sensations she was not somehow happy. She was disciplined and ambitious, and accomplished what she set out for. She was certainly generous, and genuinely heroic; during the Franco-Prussian War she turned her theater into a hospital and took an active part in nursing wounded soldiers, not just in boosting morale. Decades later during World War One, she went on a grueling tour of the trench front, only shortly after having a leg amputated. Her funeral procession in 1923 was attended by perhaps half a million mourners who sincerely felt France's loss; she had been given the Légion d'Honneur. It is a wonderful story, and Gottlieb wisely includes many of Sarah's own anecdotes, now and then giving such warnings as, "This is certainly a good story, so why ask whether it is a true one?" It is just the right attitude for an entertaining biography of a legend.

4 of 4 people found the following review helpful.
Remarkable View of a Remarkable Person
By Frederick B. Glaser
Having been born in 1935, I am not a Bernhardt contemporary, though I certainly remember my mother (and especially my Grandmother) talking about her. But I was unprepared for the remarkable individual portrayed in this eminently readable biography. She was truly an extraordinary person, as well as perhaps the greatest actress ever, and the biography does her justice. Many biographies are difficult to negotiate; this is an exception, being written with grace and generous humor, as well as by someone who is a menschenkenner -- someone who knows people. Sarah Bernhardt rose from humble and unpromising beginnings to overcome all obstacles; her life was a triumph of talent and fortitude over multiple obstacles. Who would not benefit from learning more about her story?

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Our Hero: Superman on Earth (Icons of America), by Tom De Haven

Since his first appearance in Action Comics Number One, published in late spring of 1938, Superman has represented the essence of American heroism. “Faster than a speeding bullet, more powerful than a locomotive, and able to leap tall buildings in a single bound,” the Man of Steel has thrilled audiences across the globe, yet as life-long “Superman Guy” Tom De Haven argues in this highly entertaining book, his story is uniquely American.

Created by Jerry Siegel and Joe Shuster in the midst of the Great Depression, Superman is both a transcendent figure and, when posing as his alter-ego, reporter Clark Kent, a humble working-class citizen. An orphan and an immigrant, he shares a personal history with the many Americans who came to this country in search of a better life, and his amazing feats represent the wildest realization of the American dream. As De Haven reveals through behind-the-scenes vignettes, personal anecdotes, and lively interpretations of more than 70 years of comic books, radio programs, TV shows, and Hollywood films, Superman’s legacy seems, like the Man of Steel himself, to be utterly invincible.

  • Sales Rank: #2090936 in Books
  • Published on: 2010-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.46" h x .82" w x 5.82" l, .85 pounds
  • Binding: Hardcover
  • 240 pages

From Booklist
From his 1938 debut on, Superman has been among popular culture’s most recognizable and enduring icons. De Haven, whose novel It’s Superman (2005) reimagined the character’s early years, analyzes the Man of Steel’s appeal and longevity in this extended essay, providing a history of the seminal superhero as not just a publishing phenomenon but also a superstar on radio and in theatrical cartoons, then TV and movies; arguably, the latter, media versions of the character did more to popularize him than his comic book. De Haven interjects pointed and insightful observations (e.g., in today’s culture of celebrity worship, the very idea of keeping a secret identity seems inauthentic). Although Superman has evolved over the decades and undergone periodic rejiggerings to maintain his relevance, De Haven notes that today’s Superman is fundamentally the same figure that two Cleveland teenagers created in the 1930s. If Superman’s cultural resonance today is less than that of Batman (let alone, say, the Simpsons), De Haven makes a convincing case that the Man of Steel still speaks to us. --Gordon Flagg

Review
“Super-geeks rejoice! This witty collection of meditations on the Man of Steel is as cleverly encapsulated as the Bottled City of Kandor.”—Chip Kidd, author of The Cheese Monkeys

(Chip Kidd)

"Our Hero: Superman on Earth is cultural criticism of the first order that strikes home like a speeding bullet. With the stylistic skill of the novelist, the authority of the scholar, and the passion of a lover of the comic arts, Tom De Haven explores and explicates with keen insight one of the world’s favorite icons."—M. Thomas Inge, author of Comics as Culture

(M. Thomas Inge)

“A smartly written analysis of what Superman means to us as individuals and as a culture.”— Matthew J. Smith, co-author of The Power of Comics: History, Form & Culture  

(Matthew J. Smith)

"A terrific piece of work. I suspect that Our Hero will itself become something of an icon over time."—Michael Rockland, author of Stones

(Michael Rockland)

“Lively . . . De Haven traces the qualities of change and endurance that have shaped the man of steel through comics, radio, movies, and television shows.”--Nina Ayoub, The Chronicle Review

(Nina Ayoub The Chronicle Review)

“Pointed and insightful observations . . . De Haven makes a convincing case that the Man of Steel still speaks to us.”--Gordon Flagg, Booklist

(Gordon Flagg Booklist)

“A smart, satisfying, book-length essay on the pop-culture impact of Krypton’s most famous orphan. . . . Like a long lunchtime conversation with a fellow comic-book geek . . . one who really, really knows his stuff.”--Rod Lott, Bookgasm   (Rod Lott Bookgasm)

“De Haven’s personal, conversational and good-humored voice makes this book an entertaining and interesting read. There’s also enough detail and gossipy surmise for the inner geek appetite.”--William Kowinski, North Coast Journal

 

(William Kowinski North Coast Journal)

“De Haven contends that since his creation in 1938, Superman has seen many reinventions, but he always represents a uniquely American desire: to have ‘the freedom to act in ways that are satisfying to him. It makes him feel good, dammit.’ This book will make you feel the same.”--Ken Tucker, Entertainment Weekly (with an “A” rating)



(Ken Tucker Entertainment Weekly)

"Insightful and authoritative . . . engaging and exciting . . . a valuable addition."--M. Thomas Inge, The Key Reporter
(M. Thomas Inge The Key Reporter)

“[The author’s] conversational, frequently humorous prose makes this book appealing to a broad audience.”
—Choice 

(Choice)

About the Author
Tom De Haven, author of the novel It's Superman!, is professor in the department of English at Virginia Commonwealth University. He lives in Midlothian, VA.

Most helpful customer reviews

5 of 6 people found the following review helpful.
Neverending
By Roochak
The writers, artists, editors, and actors who populate Tom De Haven's new book orbit the idea of Superman, reflecting how the tides of fashion affect the character and illuminating how the Man of Steel weathers the years as a resilient but ultimately unchanging pop culture icon.

De Haven, author of an excellent Superman novel published in 2005, takes us on a fascinating tour not so much of Superman's history as of the men who shaped it. Jerry Siegel (always his own worst enemy) and Joe Shuster, the character's co-creators, may have envisioned him as a Depression-era social crusader against crooked politicians and businessmen, but kids and servicemen loved it. After the war, television came along with George Reeves' hardboiled, no-nonsense Clark Kent, while comic book editor Mort Weisinger was responsible for expanding the science fiction universe of the Superman titles, giving us, among other things, Krypton as Paradise Lost (though De Haven reads the Krypton story as a variation on both Moses and Chicken Little).

Superman and Clark Kent are a Rorschach blot for writers and actors: which is the real guy, and which is the assumed identity? (Christopher Reeve played it one way, Tom Welling another.) Would Superman be Superman without Lex Luthor? (Well, yeah -- but not without Lois Lane.) Is Superman "relevant" to us in the twenty-first century? (This one's tough to answer: as the self-invented Superman of 1938, De Haven inclines to a "yes," but as the Kansas farm boy instilled with heartland virtues by his foster parents, not so much.)

The subtitle of this book is "Superman on Earth," and it's really about how Superman looks to us, the natives of his adopted homeworld. What we admire about him, overlooking the silly but iconic red-and-blue suit. How, if at all, he inspires us to do more than we thought we could.

4 of 5 people found the following review helpful.
The Lure Super Heroes? Let's Start with the Original: Superman
By David Crumm
It's a bird! It's a plane! No, it's the red-yellow-and-blue rocket fuel that has driven most of the Top-20 grossing movies of all time to global success! Of course, I'm talking here about comic-book superheroes collectively. And, specifically the American archetype is Superman.

The visitor from Krypton is the focus of the latest volume in Yale University Press' "Icons of America" series. If you haven't discovered this rich collection of books, then you're in for hours of cool reading! Previous volumes invite readers to think in fresh ways about: Fred Astaire, the American hamburger, the Empire State Building, "Gone with the Wind" and one-room schoolhouses, among the dozen earlier titles. To get your toes wet in this series, I can particularly recommend: Frankly, My Dear: "Gone with the Wind" Revisited (Icons of America) and Nearest Thing to Heaven: The Empire State Building and American Dreams (Icons of America)

Tom DeHaven, whose alter ego is as an English professor by day, wrote this book-length meditation on Superman. DeHaven is a perfect choice after writing an earlier novel about the early Superman, It's Superman!: A Novel, as well as other comic-related books. As he points out in this new book, DeHaven was all over the news media a few years ago when "Superman Returns" was released in movie theaters--as a go-to guy to answer journalists' questions about Superman.

If you're reading this review, you may very well be a true fan of comics and graphic novels--and, trust me if you're in that camp of readers, this guy's the real deal. Yes, DeHaven has logged his time, over the years, standing outside of comic stories in the early morning waiting for the doors to open and certain key issues to be released.

This book, like others in this Yale series, invites us to read along and "think through" this caped superhero's enduring role in our culture. A cool experience, indeed!

2 of 2 people found the following review helpful.
I Thought I Knew Superman
By Cliff
For those of us raised on Superman comics, TV shows, and movies who thought we really knew the character. I've adjusted my perception of who Superman is: he's an immigrant. He's an orphan. He's the loneliest person in the universe due to the destruction of his world. He's baby Moses, sent to a family in basket in the form of a spaceship. He's the source of pride and success and later heartbreak for his creators.

Tom DeHaven takes the reader on his own journey of discovery into the Superman history, the art and writing, the marketing, the making of an icon. The transformation of the character over the decades is particularly fascinating, not just the look, but the creation of his origin, supporting characters, home world, and villains.

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Large Bronzes in the Renaissance (Studies in the History of Art Series)From NGW-Stud Hist Art

Large bronzes are rarely considered as a category in their own right. This volume explores key issues associated with large-scale bronze production in Europe from the 15th to the early 17th centuries. Featuring research by an international group of 16 prominent curators, art historians and conservators, the book presents a variety of perspectives on the production of large bronzes, including great works by major artists and the role of the foundry in their manufacture. Nearly 300 duotone images illustrate the beauty and diversity of these Renaissance sculptures. that can be applied for analysing bronzes in depth and for understanding their setting within a broader cultural context. These include technical examination and analysis involving collaboration between curator and scientist, as well as archival and literary research.

  • Sales Rank: #4206291 in Books
  • Published on: 2003-12-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.26" h x 1.28" w x 9.22" l, 4.71 pounds
  • Binding: Hardcover
  • 352 pages

From the Publisher
Studies in the History of Art, National Gallery of Art, Washington D.C., Center for Advanced Study in the Visual Arts

About the Author
Peta Motture is Senior Curator of Sculpture and Medieval & Renaissance Galleries at the Victoria and Albert Museum, London.

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