Sabtu, 31 Januari 2015

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Spelling Book 1: Skills - SpellingFrom Continuum International Publishing

  • Published on: 1990-12-31
  • Format: Import
  • Original language: English
  • Binding: Paperback
  • 48 pages

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Kamis, 29 Januari 2015

* Download In Praise of Forgetting: Historical Memory and Its Ironies, by David Rieff

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In Praise of Forgetting: Historical Memory and Its Ironies, by David Rieff

A leading contrarian thinker explores the ethical paradox at the heart of history's wounds

The conventional wisdom about historical memory is summed up in George Santayana’s celebrated phrase, “Those who cannot remember the past are condemned to repeat it.” Today, the consensus that it is moral to remember, immoral to forget, is nearly absolute. And yet is this right?

David Rieff, an independent writer who has reported on bloody conflicts in Africa, the Balkans, and Central Asia, insists that things are not so simple. He poses hard questions about whether remembrance ever truly has, or indeed ever could, “inoculate” the present against repeating the crimes of the past. He argues that rubbing raw historical wounds—whether self-inflicted or imposed by outside forces—neither remedies injustice nor confers reconciliation. If he is right, then historical memory is not a moral imperative but rather a moral option—sometimes called for, sometimes not. Collective remembrance can be toxic. Sometimes, Rieff concludes, it may be more moral to forget.
 
Ranging widely across some of the defining conflicts of modern times—the Irish Troubles and the Easter Uprising of 1916, the white settlement of Australia, the American Civil War, the Balkan wars, the Holocaust, and 9/11—Rieff presents a pellucid examination of the uses and abuses of historical memory. His contentious, brilliant, and elegant essay is an indispensable work of moral philosophy.

  • Sales Rank: #158451 in Books
  • Published on: 2016-05-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .70" w x 5.80" l, .0 pounds
  • Binding: Hardcover
  • 160 pages

Review
“David Rieff should be read by those in government and others who are bent on harnessing collective memory for the purposes of national commemoration.”—Hew Strachan, Times Literary Supplement (Hew Strachan TLS 2016-07-01)

“…an astringent, eloquent and sometimes moving essay on the virtues of forgetting… The prudence, caution and moderation of Rieff’s argument is likable, as is his insistence on the need for political judgement in balancing the claims of remembering and forgetting.”—Michael Ignatieff, Sunday Times (Michael Ignatieff Sunday Times 2016-04-10)

“Rieff’s scathing critique of commemoration cuts uncomfortably close to home bones.”—Christopher Kissane, Irish Times (Geoffrey Roberts Irish Times 2016-04-23)

“For those who grew up with ‘Never again’ as the call to justice, David Rieff’s sober and erudite essay shocks with its counterintuitive moral questioning: What exactly is gained—and lost—by remembering?   His assessment that paths to peace can be found only if nations and groups find ways to forget the past may be disputed by many, but honest thinkers will agree that we are at the dangerous fulcrum of being both unforgiving and unforgiven.” – SUSAN D. MOELLER, author of Shooting War: Photography and the American Experience of Combat and Compassion Fatigue: How the Media Sell Disease, Famine, War and Death (Susan D. Moeller)

“In this slender volume bristling with erudition, Rieff wrestles with one of the most explosive forces of modern times: mythologized historical ‘memories’ that encourage people to cultivate old grudges and settle historical scores.”—Walter Russell Mead, Foreign Affairs (Walter Russell Mead Foreign Affairs)

"Rieff makes a powerful case for reconciliation and compromise, and exposes how politicized our nationalist histories are. Lucidly deploying historical examples and literary references, he himself seems to have forgotten nothing."—Gary J. Bass, New York Times Book Review (Gary J. Bass New York Times Book Review)

"A journalist who has frequented global hotspots and an analyst of humanitarian policy, . . . Rieff advances his argument in spare prose, with implacable tenacity, and vast knowledge."—Samuel Moyn, The New Republic  (Samuel Moyn The New Republic)

About the Author
David Rieff is the author of many books, including, most recently, The Reproach of Hunger: Food, Justice, and Money in the 21st Century. He lives in New York City.

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10 of 10 people found the following review helpful.
Memory is not always desirable
By MxMz
Slow, ponderous read, but worth the effort. Reiff's arguments are deliberate, thoughtful, and cautious. He often makes a considerable effort to make an argument and just as he has convinced you of his premise, he puts forth an antithesis to that very premise and makes a counter argument. This is one reason I enjoy his works, as difficult as they are, because at the end of the day he likes you to make your own judgment. In this, I imagine Reiff sitting on his mom's lap as a child being taught how to think and argue. Lucky mom, lucky son.

4 of 4 people found the following review helpful.
Memory, History and Their Entanglement
By William Blackburn
David Rieff has written a thoughtful and provocative book which I enjoyed and have recommended to others. A few caveats or, perhaps more fairly, cavils: Rieff's syntax frequently reminds one of Proust's or Henry James's meandering sentences which one has to read several times to locate the subject, operative verb and general sense intended. Further there is a good deal of intellectual preening in this slender volume, with enough snippets of quotes to pass as a mini-Bartlett's Quotations. I also was for a while confused by his using alternative phrases to express what I assume to be the same core theme: "historical memory," "collective memory," and "collective historical memory," although I suspect there are semantic shadings here which I missed.

1 of 1 people found the following review helpful.
A perspective that should be shared.
By SamReade
Very appropriate given the context of today's 24/7 social media world that never forgets.

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Rabu, 28 Januari 2015

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Myth of the Modern Homosexual: Queer History and the Search for Cultural Unity (Sexual politics), by Rictor Norton

Rictor Norton presents the evidence that queers are part of a centuries old history, possessing a unified historical cultural identity.

  • Sales Rank: #1294855 in Books
  • Published on: 1998-01
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: .90" h x 5.34" w x 8.49" l,
  • Binding: Paperback
  • 288 pages

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5 of 5 people found the following review helpful.
very recommendable book
By SEBASTIANVS
This is a very interesting book to read not only for the essentialists but also even for the constructionists. However, it is regrettable for me that the author didn't mention on the Japanese traditional custom of male-love so much, since in Japan there're more documents and classical texts about "paiderastia" than the ancient Greek, and in premodern Japan male/male love was highly recommended and praised. I suggest three books "Male Color" by Gary P. Leupp , "The Love of the Samurai" by T. Watanabe & J. Iwata, and "Partings at Dawn" to read .

14 of 25 people found the following review helpful.
Devastating Critique of Queer Theory
By Erik Holland
I used to believe that it would take advanced biology to refute the absurd claims of social constructionists as they pertain to the origin of homosexuality...and then I came across this gem of a book. Norton demolishes the vast bulk of queer theory via historical references alone. The ridiculous claim of queer theory that "the homosexual" is a 19th century social construction is abundantly refuted by a huge amount of historical evidence concerning the existence of pre-19th century homosexual subcultures and the conceptualization of homosexuality or bisexuality as types of personalities rather than phenomena consisting of unusual sex roles or sex acts only. Norton describes the indigenous taxonomy of various homosexual types, including the active partner, in various cultures.

Norton shows that queer theory is a political theory. The reason that queer theorists date the construction of "the homosexual" to the 19th century is that the 19th century is the era of bourgeois capitalism that can be subjected to Marxist analysis; an earlier date simply wouldn't work. Queer theorists even talk about the production and distribution of sexualities, as if sexualities are economic products! Would bourgeois society want to construct "the homosexual"? In 1741, 17-year-old Dutchman Jan Jansz was convicted of sodomy and spent the remaining 57 years of his life in solitary confinement. Dutch authorities then sometimes destroyed any records of the persecution of homosexuals, and did not use them as negative examples to enforce or define normality. Would these same authorities want to construct "the homosexual"?

Much to the chagrin of social constructionists who associate the rise of capitalism with the control of sexuality, i.e., insist that the ruling class would want to discourage the pursuit of "fruitless pleasures" among the working class, Norton provides examples of capitalism fostering male bonds and homosexual relations.

Queer theory makes much of the variability of homosexual behaviors in the historical record and across cultures, but this results from inadequate recording, the variability of suppression of various types of homosexual behaviors, and the variability of criminal prosecution. For instance, the sudden appearance of homosexual subcultures in several parts of Europe in the 1700s was a result of discovery, thanks to a better organized police force, not social construction resulting from the rise of capitalism.

Norton argues that it is not a coincidence that the portrayal of male homosexual behavior by queer theorists in terms of a clear line of development from ancient pederastic relationships through early/modern patron/protégé relationships to modern egalitarian relationships resembles the Marxist dialectic leading from feudalism through capitalism to a classless society. The fact is that pederasty has far from disappeared in modern times and that egalitarian homosexual relationships have been recorded as far back as in ancient Egypt. On a similar note, butch/femme lesbian couples were quite prominent in the 1950s U.S.A., but appeared to have disappeared in the 1970s, and in the 1990s, bisexual women started becoming more prominent. Is there some social construction going on here? "In the 1970s, butch/femme roles were rejected by lesbian feminists as being a retrogressive legacy of patriarchy and an aping of heterosexist roles." The butch/femme couples encountered so much hostility that they simply stopped going to gay bars; they did not disappear, and butch/femme couples finally started reasserting themselves in the late-1980s. Similarly, it is not that bisexual women did not exist in the 1970s, but the prominent man-hating feminists of the 1970s would have considered feminist women sleeping with men as an abomination, and there could not have been any opportunity for the bisexual feminists to occupy the limelight with the man-hating exclusively homosexual feminists.

Norton has argued that any apparent relationship between a political ideology and the persecution of homosexuals is accidental. For instance, consider the persecution of homosexuals by leftists in the early- and mid-20th century; the leftists then viewed homosexuality as a form of bourgeois decadence or fascist perversion.

Norton shows that the conceptualization of sexual orientation as a homosexual-heterosexual binary, which is alleged by the social constructionists to be held by the "essentialists," has been socially constructed by the queer theorists. Most "essentialists" do not dispute the existence of bisexuals. In summary, Norton persuasively argues for a transhistorical and transcultural essence to homosexuality.

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Selasa, 27 Januari 2015

** Free PDF blu (Yale Drama Series), by Virginia Grise, David Hare

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Memory, history, and culture collide with the starlit rooftop dreams of a myth-inspired character as Soledad and her partner, Hailstorm, redefine family on their own terms after the death of their eldest son in Iraq. blu, steeped in poetic realism and contemporary politics, challenges us to try to imagine a time before war.

Selected as the winner of the 2010 Yale Drama competition from more than 950 submissions, Virginia Grise's play blu takes place in the present but looks back on the not too distant past through a series of prayers, rituals, and dreams. Contest judge David Hare commented, "Virginia Grise is a blazingly talented writer, and her play blu stays with you a long time after you've read it." Noting that 2010 was a banner year for women playwrights, he added, "Women's writing for the theatre is stronger and more eloquent than it has ever been."

  • Sales Rank: #969286 in Books
  • Published on: 2011-09-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.94" h x .26" w x 5.57" l, .27 pounds
  • Binding: Paperback
  • 80 pages

Review
"A timely and thought-provoking play, blu deserves the stage productions it will probably get. No one who comes to the show will have nothing to say about it."—Rigoberto Gonzalez, El Paso Times (Rigoberto Gonzalez El Paso Times)

“A knowing, provocative, and lyrical work that is as gorgeous as it is powerful.”—Jennie Webb, Backstage (Jennie Webb Backstage)

“Absorbing . . . the play’s lean, poetically metered language and its ensemble-storytelling style [are] arresting.”—Irma Mayorga, Theatre Journal (Irma Mayorga Theatre Journal)

About the Author
Virginia Grise received her MFA degree from the California Institute of the Arts and is a recipient of the 2010 Princess Grace Award in Theater Directing. In addition to the Yale Drama Award, her play blu was a finalist for the Kennedy Center for the Performing Arts Latino/a Playwriting Award and the Alliance Theatre's Kendeda Award.

Most helpful customer reviews

0 of 0 people found the following review helpful.
this book is awesome! As far as straight up storytelling
By Paris
As far as plays go, this book is awesome! As far as straight up storytelling, novel, fiction, it's a bit complicated to grasp. I like the themes it brings up, definitely unique.

0 of 2 people found the following review helpful.
great purchase
By Marisol
the item arrived very quickly, overall it was a great purchase. They truly met my expectations and will be buying from them again.

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Per Kirkeby: Paintings and Sculpture (Phillips Collection), by Klaus Ottmann, Dorothy Kosinski

Per Kirkeby (b. 1938) is Scandinavia's most highly acclaimed artist since August Strindberg and Asger Jorn. His early training as a geologist is evident in his richly layered canvases, which are structured like geological strata, constantly in flux, expressing movement and change over time. His striking bronze sculptures of fragmented body parts, reminiscent of Rodin, are similarly based in a deep dialogue with nature.

Per Kirkeby: Paintings and Sculpture is an essential introduction to the work of this important contemporary artist, who also is a filmmaker, writer, and poet. Klaus Ottmann provides an overview of Kirkeby's career, from his early association with Minimalism and the Fluxus movement in the 1960s to his recent work, which marries the poetic and metaphysical to the scientific investigation of object matter. This handsome book also features an interview by Dorothy Kosinski with the artist that highlights his unique approach.

  • Sales Rank: #1406497 in Books
  • Brand: Brand: Yale University Press
  • Published on: 2012-11-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.20" h x .80" w x 9.30" l, 1.95 pounds
  • Binding: Hardcover
  • 144 pages
Features
  • Used Book in Good Condition

Review
“This well-wrought introduction to the Danish painter and sculptor affords sound passage into Kirkeby’s stirring but often oblique world.”—Publishers Weekly (Publishers Weekly)

“Wild energy is unshackled in Per Kirkeby’s paintings: earthquakes, infernos, uprooted trees. . . . his paintings suggest a geological layering of time, of ancient unseen forces at work. . . . and his sculptures look yanked from the earth’s core.”—Dana Jennings, New York Times
(Dana Jennings The New York TImes)

About the Author
Dorothy Kosinski is director of The Phillips Collection. Klaus Ottmann is director of the Center for the Study of Modern Art and curator at large at The Phillips Collection.

Most helpful customer reviews

11 of 11 people found the following review helpful.
Per Kirkeby at The Phillips Collection
By Kenneth Hughes
This is the volume that accompanies the current exhibition at The Phillips Collection in Washington, D.C. (October 2012 to January 2013), which will subsequently travel to the Bowdoin College Museum of Art (March to June, 2013). Although for a couple of decades the Danish artist Per Kirkeby (b. 1938) has been a familiar presence at European exhibitions of contemporary art, he has been far less known and far less shown in this country. One can only hope that this exhibition, which is the largest and most comprehensive to date in the U.S., will change that, because Kirkeby is an artist to reckon with, a kind of polymathic creative dynamo active and productive in many fields at once. Not only is he one of the most widely acclaimed Scandinavian painters since Edvard Munch and a prolific sculptor in brick and bronze, he has, in addition, written more than seventy books (poems, novels, essays, and over a dozen studies of individual artists from Bellini to Kurt Schwitters), made more than twenty films (among them a short on "Brigitte Bardot" [1968] and the feature film "The Normans" [1976], based on Saxo Grammaticus's 12th-century history of the Danes), designed costumes and sets for the New York City Ballet, and created title art for some of the films of his countryman Lars von Trier. In his spare time he is also an architect specializing in the design of brick houses and a university-educated geologist. "I am extremely restless," as he puts it in an interview in the volume (27).

That interview, conducted with Dorothy Kosinski, Director of The Phillips, touches on topics such as Kirkeby's perceived need to free himself from art history (except when he wants to "steal" from it); the necessity that a painting have a strong structure and that it mean something ("even if you do not know exactly what it's about" [37]); his experiences as a teacher; Cezanne as the beginning of modern art; the slow gestation of his own paintings; etc., and provides some insight into his thinking about painting and his working methods. The other prefatory piece is a short essay by Klaus Ottmann, a Phillips curator, on the connection between Kirkeby's art and his training as a geologist, his development as an artist and association with contemporary artists' groups (CoBrA, Fluxus, etc.), and some of the historical and philosophical underpinnings of his work, from Constable to Wittgenstein. In his interpretation, the major aim of Kirkeby's artistic project is the "designification" of painting, in a manner similar to Alain Robbe-Grillet's attempt to "designify" literature in his "New Novel." These two pieces together provide a serviceable introduction to the works presented here. They are reproduced in full-page plates, twenty-six of paintings from 1967 to 2009 and eleven of sculptures from 1981 to 2010. The paintings--with the exception of the cover illustration--are all abstract. Two favored kinds are chalk and blackboard paint or oil and mixed media on 4'x4' Masonite. There are also much larger paintings in oil or tempera on canvas, and although Kirkeby insists that they are not landscapes (37), many of them certainly remind us of landscapes--and some even conjure forms of figure painting. One outstanding characteristic of this work is the diversity of his palette and the boldness of his color combinations. The sculptures, all bronzes, are either about one to two feet in height and named ("Gate," "Large Head," etc.) or non-figurative flatter pieces, simply numbered, but equally suggestive of recognizable forms as are the abstract paintings. The volume concludes with a short chronology of Kirkeby's career, a selected list of exhibitions, and a selected bibliography. This is a very well edited and attractively produced catalogue (Yale University Press), and as such, although quite brief (133 pp.), it is a fine introduction to an artist who is far too compelling to be so little known on this side of the ocean.

0 of 0 people found the following review helpful.
Five Stars
By Sophia
Fascinating

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Roberto Burle Marx: Brazilian Modernist, by Jens Hoffmann, Claudia J. Nahson

An unprecedented look at the wide-ranging artistic work of one of the 20th century’s most significant landscape architects

The modernist parks and gardens of Brazilian landscape architect and garden designer Roberto Burle Marx (1909–1994) earned him awards, widespread acclaim, and international fame. Over a 60-year career, he designed more than 2,000 gardens worldwide, the most famous of which are those he created in collaboration with the architect Oscar Niemeyer for Brasília. Although he is best known for his landscape work, Burle Marx was a prolific artist in a variety of media, and his larger body of work—which includes paintings, drawings, tile mosaics, sculpture, textile design, jewelry, theater costumes, and more—is critical to understanding his importance as a modernist. An avid horticulturalist, he was among the first to denounce deforestation in the Amazon region; he also discovered over thirty species of Brazilian flora, which bear his name.  
 
This beautifully illustrated and groundbreaking publication covers the full range of Burle Marx’s artistic output, as well as his remarkable home, an abandoned estate that he transformed into his office, workshop, gallery, and living space. The enduring influence of Burle Marx’s work is also explored through interviews with seven contemporary artists: Juan Araujo, Paloma Bosquê, Dominique González-Foerster, Luisa Lambri, Arto Lindsay, Nick Mauss, and Beatriz Milhazes. These artists exemplify the extent to which his work continues to be a source of inspiration.

  • Sales Rank: #147131 in Books
  • Published on: 2016-05-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.50" h x .90" w x 9.60" l, .0 pounds
  • Binding: Hardcover
  • 224 pages

About the Author
Jens Hoffmann is deputy director of exhibitions and public programs and Claudia J. Nahson is the Morris and Eva Feld Curator, both at the Jewish Museum, New York.

Most helpful customer reviews

4 of 4 people found the following review helpful.
A little disappointing
By Christoph Drayer
I was hoping for more pictures of his landscapes- instead it's heavy on his drawings and paintings, which of course are excellent too.

2 of 2 people found the following review helpful.
An absolute masterpiece of a complete artist
By Paulo Santelli
This is definetily one of the best Burle Marx`s books of all time. It covers all his history with plenty of photos, text and descriptions that will make you travel through time and space. I`m a Brazilian Passionate lover of this complete artist. I have many books about his works, but If you are looking for one book that will cover it all, with sense and essence, this is the one.

0 of 0 people found the following review helpful.
A beautiful book, great edition
By Tomas
A beautiful book, great edition, contemplating the life and work of Burle Marx not only in landscaping design, but also in art, architecture and many other art manifestations. It's a book to have for all interested in the life of this great brazilian personality.

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Senin, 26 Januari 2015

^^ Download Ebook Rembrandt and the Face of Jesus (Philadelphia Museum of Art), by Mark S. Tucker

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Rembrandt and the Face of Jesus (Philadelphia Museum of Art), by Mark S. Tucker

With the creation of the dramatic Supper at Emmaus (Louvre) and a series of intimate oil sketches of Christ on oak panels, Rembrandt van Rijn (1606-1669) overturned the entire history of Christian art. Traditionally, when depicting Christ, artists had relied on rigidly copied prototypes and icons. Among Rembrandt's innovations was his use of a Jewish model to portray a Christ imbued with empathy, gentleness, grace, and faithfulness to nature.

Lavishly illustrated, this captivating and important book presents the seven known panels, along with more than 60 paintings, drawings, and prints by Rembrandt and his pupils. Essays by expert contributors offer insights into the production of the panels and their relationship to other works in Rembrandt's oeuvre; how he changed the meaning and status of the canonical image of Christ in northern European art; and much more. Rembrandt and the Face of Jesus is a marvelously intriguing study of how one of the greatest painters of the Dutch Golden Age revolutionized an aspect of art history dating to antiquity.

  • Sales Rank: #1341768 in Books
  • Published on: 2011-07-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 12.29" h x 1.05" w x 10.40" l, 4.34 pounds
  • Binding: Hardcover
  • 256 pages

Review
“The show skirts the thornier issue of Rembrandt’s relationship to Jews in general. On that subject the catalog has more to offer.” —The New York Times (The New York Times)

“Scholarly and captivating catalog.”—The Big Think Reviews  (The Big Think Reviews)

"[A]n engaging scholarly text . . . From this study, Rembrandt emerges as an ever more expert storyteller and examiner of humanity."—A Golahny, Choice (A Golahny Choice)

About the Author
Lloyd DeWitt is Associate Curator in the Department of European Painting before 1900 at the Philadelphia Museum of Art. Blaise Ducos is Curator in the Département des Peintures at the Musée du Louvre, Paris. Franziska Gottwald is a postdoctoral fellow at Queens University, Kingston, Ontario. George S. Keyes is Curator Emeritus of European Paintings at the Detroit Institute of Arts. Shelley Perlove is Professor of Art History at the University of Michigan, Dearborn. Larry Silver is Professor of Northern Renaissance Art at the University of Pennsylvania. Seymour Slive, a preeminant scholar of Dutch art and author of numerous books on the subject, was formerly Director of the Fogg Art Museum, Harvard University. Ken Sutherland is Conservation Scientist and Mark Tucker is Vice Chairman of Conservation, both at the Philadelphia Museum of Art.

Most helpful customer reviews

11 of 11 people found the following review helpful.
Imagining Jesus
By William M. Burgan
"Rembrandt and the Face of Jesus" -- now showing in Philadelphia -- is one of the most memorable exhibitions I have ever seen. I do not think any other painter rivals Rembrandt's historical imagination, and the catalog is fully up to the challenge of capturing this aspect of his genius -- both informative in text and deeply rewarding in reproductions. A magnifying glass helps with some of the drawings and etchings -- not that these are indistinct or poorly printed: the magnification simply makes more clear what miraculous inventiveness and control Rembrandt brought to this task, especially in the etchings of Christ Healing the Sick and Christ Preaching. The catalog is especially helpful in its account of his revolutionary will to portray Jesus not as an idealized icon but as a believably individual Jew. To say the catalog is worthy of the exhibition is both to tell the truth and to offer the highest praise possible.

12 of 13 people found the following review helpful.
review
By Katherine A. Carroll, or Donald A Carroll
I love this book I wish the exhibit was on the west coast too. These pictures of Jesus lend one to think that Rembrandt was given a special inspired vision of what Jesus looks like. Makes me feel like I know God a little better. Great for meditation.

4 of 4 people found the following review helpful.
Excellent Catalog
By Kindle Customer
This is the catalog issued in conjunction with the excellent exhibit held at the Philadelphia Museum of Art - I used it in preparation for viewing the exhibit. The very informative essays, detailed explanation of techniques used in analyzing the works that appeared in the exhibit, and the fabulous reproductions are well worth the cost of the book.

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Every Farm a Factory: The Industrial Ideal in American Agriculture (Yale Agrarian Studies Series), by Deborah Fitzgerald

Winner of the 2003 Saloutos Award for the best book on American agricultural history given by the Agricultural History Society During the early decades of the twentieth century, agricultural practice in America was transformed from a pre-industrial to an industrial activity. In this book Deborah Fitzgerald argues that farms became modernized in the 1920s because they adopted not only new machinery but also the financial, cultural, and ideological apparatus of industrialism. Fitzgerald examines how bankers and emerging professionals in engineering and economics pushed for systematic, businesslike farming. She discusses how factory practices served as a template for the creation across the country of industrial or corporate farms. She looks at how farming was affected by this revolution and concludes by following several agricultural enthusiasts to the Soviet Union, where the lessons of industrial farming were studied.

  • Sales Rank: #239733 in Books
  • Published on: 2010-02-26
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .58" w x 5.98" l, .84 pounds
  • Binding: Paperback
  • 256 pages

From the Publisher
Yale Series in Agrarian Studies

About the Author
Deborah Fitzgerald is associate professor in the Programme in Science, Technology and Society at the Massachusetts Institute of Technology.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Fantastic work.
By Amazon Customer
We used text in a Emory graduate class on sustainable ag. Fantastic work.

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Jumat, 16 Januari 2015

^ Download A Little Book of Language, by David Crystal

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A Little Book of Language, by David Crystal

A Little Book of Language, by David Crystal



A Little Book of Language, by David Crystal

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A Little Book of Language, by David Crystal

With a language disappearing every two weeks and neologisms springing up almost daily, an understanding of the origins and currency of language has never seemed more relevant. In this charming volume, a narrative history written explicitly for a young audience, expert linguist David Crystal proves why the story of language deserves retelling.

From the first words of an infant to the peculiar modern dialect of text messaging, A Little Book of Language ranges widely, revealing language’s myriad intricacies and quirks. In animated fashion, Crystal sheds light on the development of unique linguistic styles, the origins of obscure accents, and the search for the first written word. He discusses the plight of endangered languages, as well as successful cases of linguistic revitalization. Much more than a history, Crystal’s work looks forward to the future of language, exploring the effect of technology on our day-to-day reading, writing, and speech. Through enlightening tables, diagrams, and quizzes, as well as Crystal’s avuncular and entertaining style, A Little Book of Language will reveal the story of language to be a captivating tale for all ages.

  • Sales Rank: #256739 in Books
  • Published on: 2011-04-26
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x 5.50" w x 1.00" l, .68 pounds
  • Binding: Paperback
  • 272 pages

From Publishers Weekly
Starred Review. In the mode of Yale's successful publication of E.H. Gombrich's A Little History of the World, one of the world's leading linguists introduces us to our most critical mode of communication. Crystal (The Story of English) fills this exhilarating romp through the mysteries and vagaries of language, from how infants acquire language to how many words the average adult knows (40,000) and slang (Linguists love collecting slang. It's a bit like collecting stamps). In a concluding minimanifesto, he hopes, among other things, that everyone who has a real interest in language will try to preserve the world's languages in all their rich variety, whether remote, dying languages or the variations of dialect and accent in their own language. This is especially important today, he says, to note how we shape language and how language shapes us. Crystal smoothly boils down his vast knowledge about the peculiarities of spelling, grammar, and diction, and the influence of new kinds of linguistic style (computer language, texting) on language development. This is the perfect primer for anyone interested in the subject. Illus. (June)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
"'David Crystal is not just a great linguist, but a true champion and lover of language.' (Benjamin Zephaniah) 'Crystal-clear, witty and informative, a book to bring out the linguist in us all.' (Roger McGough) 'demotic, lively, rigorous but unabashedly unpedantic David Crystal reminds us that living languages know no boundaries, that they adapt themselves joyously to new conditions. Here he indulges himself with great good humour in his little book of love for the pleasures of language and words worldwide.' (Iain Finlayson, The Times (London)) 'A Little Book of Language is a simple history of all language, taking in phonetics, development, social uses, the internet, endangered languages and a touch of literature.' (Joy Lo Dico, The Independent On Sunday) 'A Little Book of Language may be for children (of all ages, as the saying goes), yet it's by no means childish or juvenile. In other words, buy it for your son or daughter, but read it yourself.' (Michael Dirda, Washington Post)"

About the Author
David Crystal is one of the world's preeminent language specialists. Writer, editor, lecturer, and broadcaster, he is Honorary Professor of Linguistics at the University of Wales, Bangor. He has written nearly 100 books, including The Cambridge Encyclopaedia of the English Language, By Hook or By Crook: A Journey in Search of English, Txtng: The Gr8 Db8, The Stories of English, and Rediscover Grammar, and has published widely on phonetics, Shakespeare's language, and child language. In 1995 he was awarded the OBE for services to the English language. He lives in Holyhead, UK.

Most helpful customer reviews

41 of 41 people found the following review helpful.
Rated G for High Language Content, All Ages Admitted
By takingadayoff
Is it possible that there are multiple David Crystals? It seems unlikely that just one person can write as many books, give as many interviews, and complete as many projects as he does.

A longtime fan of Crystal, I have to admit I was a little perplexed by A Little Book of Language at first. The subject matter was interesting, as usual, but the style was different. He seemed chattier, and there were so many exclamation points! What was going on?

Since I'd started reading the book immediately upon receiving it, without looking at the descriptions or blurbs, I didn't realize it is aimed at younger readers. Once that little mystery was solved, I settled back in, and found that aside from what this adult perceives as a slightly patronizing tone (but may seem quite innocuous to the age group it is aimed at), the book is quite a good introduction to many language-related topics.

While A Little Book of Language is simple, it is by no means simple-minded. Reading past the occasional clanger ("Not everyone in [Australia] speaks like [Paul Hogan in Crocodile Dundee]. Many Aussies have educated accents too."), I found that there was plenty for older readers to learn as well. For instance, sign languages have "accents" and someone whose native language is American Sign Language might have a distinctive accent when speaking British Sign Language, by holding the thumb straight out rather than close to the forefinger in certain words, for example.

When I was a youngster I read books by Mario Pei, who wrote about language and linguistics for the general reader. I loved his books about word origins and language quirks. Of course, his books, written in the 1960s and 70s, would be seriously out of date now. The studies of language have come a long way in the past few decades. Come to think of it, I can't think of any books that might serve as a general all-purpose introduction to general readers of all ages in the same way that Mario Pei's did, until now. There are plenty of ranting polemics by grammar police. Or if you want more specialized and scholarly writing, there are excellent works by popular linguists such as Seth Lerer, Derek Bickerton, and Steven Pinker. However, for non-academic and generally accessible works on the way language works, you can't beat David Crystal.

6 of 6 people found the following review helpful.
Delightful! This should be on every student's "must read" list
By Gregory J. Casteel
I absolutely loved this book, and read it over the course of just two evenings. I wasn't planning on doing that -- my original plan was to read the book over the course of a week or two -- but, once I started reading it, I simply couldn't put it down. I dropped everything else I was planning to do, and devoured this wonderful little book as quickly as I could. It really was that good. Clear; concise; easy to read; engaging; educational; fun -- it's everything you could ask for in a book. Written for young readers, but suitable for readers of just about any age and educational level, this introduction to language and linguistics is essential reading for anyone who wants to learn the basics of how humans communicate through speech, writing, and signing.

We all grow up speaking our native language (or signing it, in the case of deaf children); and most of us learn to read and write as schoolchildren. We also learn the rules of grammar in school. And some of us even go on to study the basics of one or more foreign languages. But learning a language is not the same thing as learning ABOUT language. Few of us ever really learn about language itself: what language is; how it works; why we have language at all; how children learn to use language; why there are so many different languages in the world; how many languages there are; how they are distributed; how they are related to each other; how languages change over time; why it can be so difficult to translate something from one language into another; why different speakers of the same language don't all sound exactly alike; why people are often judged by the way they speak; what dialects are; how languages and dialects serve to give people a sense of group identity; the politics of language; how language affects culture; why people speak with different accents; how the sounds of spoken language are made; what grammar is; what function it plays in language; why different styles of language are used in different situations; why the style of written language is different from the style of spoken language; why we have written language; how different languages are written; why many words aren't spelled the way they sound; why some people never learn to read and write; etc. These fascinating topics, among many others, are the focus of the field of "linguistics" -- the study of language. Even though just about everyone learns the mechanics of how to use their own language, and many learn the mechanics of how to use one or more foreign languages, few people ever bother to learn about the nature of language itself: In other words, few people ever study linguistics. That's a shame; because language affects everything we do. In fact, some might even argue that our use of language is the main thing that separates humans from all other animals. The more we know about language, the more we know about the world we live in and about what it means to be human. Everyone needs to know certain basic things about language; and every student needs to study at least the rudiments of linguistics. The earlier they begin their study of language, the better: high school is better than college, and middle school is better than high school.

This is one of the few books on language that I've come across that is suitable for readers of just about any age. It's clear enough to be understood by middle schoolers, and yet informative enough to be useful to college graduates. Even I learned a few new things from reading this book; and I've actually taken linguistics courses and read lots of books on the subject. The author, David Crystal, is a noted linguist who has written several excellent books on language -- including some very useful reference books that I'm really glad I have in my home library. In this book, Crystal manages to present the essentials of linguistics in a clear, concise, easy-to-read manner, suitable for young readers, without in any way "dumbing down" the material. No, this is not an in-depth text aimed at linguistics graduate students. (If you're looking for that, look elsewhere.) But it is an excellent introduction to linguistics for beginners, suitable for adult readers as well as children. In fact, if I had to recommend just one book to introduce the basics of language to people who have never studied linguistics, this would be that book.

One of the reasons I like this book so much is that it fits in very well with my own philosophy of teaching: Always start by providing students with a basic, simplified overview of the fundamentals of the subject, trying your best not to get bogged down in unnecessary details, but covering everything that a non-specialist might realistically need to know about the subject, while laying a solid foundation that the students can build upon if they wish to learn more. This book does that; and it does it brilliantly. Perhaps even more importantly, I'm convinced that any student who reads this book will feel motivated to try to learn even more about language and linguistics. If you want to inspire students to learn, this is the sort of book that can do it. It would make a wonderful gift to a young reader, or to a high school graduate about to go off to college. Or, just do what I did and get a copy for yourself, and enjoy it for its clarity, simplicity, and beauty of style. If you don't know much about language, this is the perfect place to start your education. But, even if you have studied linguistics, you'll probably find some new insights here, just as I did. (Besides, even an expert in a given subject can often benefit by a refresher in the fundamentals of that subject every now and then.) I really can't recommend this book highly enough: It is wonderful. I wish I had a book like this when I was a kid.

13 of 16 people found the following review helpful.
Please Read Further!
By L. Potts
This is addressed to the previous reviewer, who doesn't (or maybe didn't, by now) realize that A Little Book of Language was written for young teens. Read a bit further in the blurbs and cover notes; the information is there. As a children's librarian, I'd like to add that children's literature is probably the most difficult kind to write, without slipping into the patronizing or the precious tone of voice. It's hardly fair to expect a book written for young people to read like a book written for adults, however. Not because adult fiction/non-fiction is somehow superior to juvenile fiction/non-fiction. It isn't. Many highly-literate adults love children's literature--which encompasses a great deal more than Mother Goose and fairy tales, by the way--as writing of great immediacy, power, and feeling. Mr. Crystal did an outstanding job of addressing today's young teen audience, a difficult task, especially when we consider the written word must now compete with technology for the attention of young people. I can testify that it is, at times, an uphill struggle for teens accustomed to the truncated minimalist "English" of text messaging to relate to language at its richest and best. It was high time for A Little Book of Language to appear. I applaud Mr. Crystal for bringing it about.

L. S. Potts

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