Kamis, 24 November 2011

[C315.Ebook] Get Free Ebook American Green: Class, Crisis, and the Deployment of Nature in Central Park, Yosemite, and Yellowstone, by Stephen A. Germic

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American Green: Class, Crisis, and the Deployment of Nature in Central Park, Yosemite, and Yellowstone, by Stephen A. Germic

In this work of interdisciplinary scholarship, Stephen A. Germic reveals how America's first parks, both urban and "wilderness," were created and organized to mitigate the most threatening social and economic crises in the nineteenth century outside of the Civil War. Germic analyzes the intentionally disguised relationship between the constructed "nature" of Central Park, Yosemite, and Yellowstone and the expanding but crisis-prone capitalist state.

American Green demonstrates how the fundamental function of these parks was economic and political―in the service of maintaining a consensus regarding national identity. The organization and control of "natural" space, Germic argues, is inseparable from its function as a capitalist instrument. This instrumentalism served not only to define, constitute, and segregate social groups, but also to promote racial and ethnic identifications above those based on class interest. Providing a fresh insight into United States labor, cultural and environmental history, this book is an important contribution to our understanding of American parks and the complex meaning of American public space.

  • Sales Rank: #2670384 in Books
  • Brand: Brand: Lexington Books
  • Published on: 2001-05-25
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .36" w x 5.92" l, .47 pounds
  • Binding: Paperback
  • 160 pages
Features
  • Used Book in Good Condition

Review
This is a book that deserves to be read. (CHOICE)

Stephen A. Germic's American Green brings geography, ecocriticism, and narrative studies together in a historical materialist consideration of the national(ist) importance of parks in the nineteenth-century United States. Germic offers a compelling analysis of how the legislating and designing of national parks demonstrates the importance of "nature" and of space to articulations of U.S. nationalism. Considering Central Park alongside Yosemite and Yellowstone, he complicates conventional distinctions between urban and rural, city and frontier, east and west to show the ideological implications of these efforts to legislate nature and space....This work absolutely will be a significant contribution to several fields. (Priscilla Wald, Associate Professor of English, Duke University)

What emerges in the account is a cohesive and compelling portrait of nineteenth-century concepts of 'nature' as ideologically instrumental―intrinsically rather than incidentally connected to the perpetuation of class division and ethnic oppression. (Steven Rosendale, Northern Arizona University)

In this carefully argued and well-written book, Stephen Germic explores the spatial and rhetorical histories of two of the public monuments―the urban park and the frontier park―that played crucial roles in the formation of U.S. national identity. American Green will be widely reviewed and become required reading in courses in American studies and cultural studies. (Donald E. Pease Jr., Avalon Chair of Humanities, Dartmouth College)

About the Author
Stephen A. Germic is Visiting Assistant Professor in the Department of American Thought and Language, Michigan State University.

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Selasa, 22 November 2011

[R890.Ebook] Free Ebook Programming Languages for MIS: Concepts and Practice, by Hai Wang, Shouhong Wang

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Programming Languages for MIS: Concepts and Practice, by Hai Wang, Shouhong Wang

Programming Languages for MIS: Concepts and Practice supplies a synopsis of the major computer programming languages, including C++, HTML, JavaScript, CSS, VB.NET, C#.NET, ASP.NET, PHP (with MySQL), XML (with XSLT, DTD, and XML Schema), and SQL. Ideal for undergraduate students in IS and IT programs, this textbook and its previous versions have been used in the authors’ classes for the past 15 years.

Focused on web application development, the book considers client-side computing, server-side computing, and database applications. It emphasizes programming techniques, including structured programming, object-oriented programming, client-side programming, server-side programming, and graphical user interface.

  • Introduces the basics of computer languages along with the key characteristics of all procedural computer languages
  • Covers C++ and the fundamental concepts of the two programming paradigms: function-oriented and object-oriented
  • Considers HTML, JavaScript, and CSS for web page development
  • Presents VB.NET for graphical user interface development
  • Introduces PHP, a popular open source programming language, and explains the use of the MySQL database in PHP
  • Discusses XML and its companion languages, including XSTL, DTD, and XML Schema

With this book, students learn the concepts shared by all computer languages as well as the unique features of each language. This self-contained text includes exercise questions, project requirements, report formats, and operational manuals of programming environments. A test bank and answers to exercise questions are also available upon qualified course adoption.

This book supplies professors with the opportunity to structure a course consisting of two distinct modules: the teaching module and the project module. The teaching module supplies an overview of representative computer languages. The project module provides students with the opportunity to gain hands-on experience with the various computer languages through projects.

  • Sales Rank: #1635437 in Books
  • Published on: 2014-01-23
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x .90" w x 7.10" l, 1.60 pounds
  • Binding: Hardcover
  • 317 pages

About the Author

Shouhong Wang, PhD, Professor of Management Information Systems, Charlton College of Business, University of Massachusetts Dartmouth, USA

Hai Wang, PhD, Associate Professor of Computing and Information Systems, Sobey School of Business, Saint Mary's University, Canada

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Kamis, 17 November 2011

[W951.Ebook] Ebook The Humbling, by Philip Roth

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The Humbling, by Philip Roth

Everything is over for Simon Axler, the protagonist of Philip Roth’s startling audiobook. One of the leading American stage actors of his generation, now in his sixties, he has lost his magic, his talent, and his assurance. His Falstaff and Peer Gynt and Vanya, all his great roles, “are melted into air, into thin air.” When he goes onstage he feels like a lunatic and looks like an idiot. His confidence in his powers has drained away; he imagines people laughing at him; he can no longer pretend to be someone else. “Something fundamental has vanished.” His wife has gone, his audience has left him, his agent can’t persuade him to make a comeback.

Into this shattering account of inexplicable and terrifying self-evacuation bursts a counterplot of unusual erotic desire, a consolation for a bereft life so risky and aberrant that it points not toward comfort and gratification but to a yet darker and more shocking end. In this long day’s journey into night, told with Roth’s inimitable urgency, bravura, and gravity, all the ways that we convince ourselves of our solidity, all our life’s performances―talent, love, sex, hope, energy, reputation―are stripped off.

Following the dark meditations on mortality and endings in Everyman and Exit Ghost, and the bitterly ironic retrospect on youth and chance in Indignation, Roth has written another in his haunting group of late novels.

  • Sales Rank: #10054135 in Books
  • Brand: Roth, Philip/ Hill, Dick (NRT)
  • Published on: 2015-01-09
  • Formats: Audiobook, MP3 Audio, Unabridged
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.75" h x .50" w x 5.25" l,
  • Running time: 4 Hours
  • Binding: MP3 CD

From Publishers Weekly
Starred Review. A deteriorating and increasingly irrelevant actor finds the possibility of renewal in a younger woman in Roth's tight Chekhovian tragedy. At 65, Simon Axler, a formerly celebrated stage actor, is undergoing a crisis: he can no longer act, his wife leaves him and, suicidal, he checks himself into a psych ward. Then he retires to his upstate New York farm to wait for... something, which arrives in the form of Pegeen, daughter of some old theater friends who is now a lithe, full-breasted woman of forty, though with something of a child still in her smile. A Rothian affair ensues, despite (or perhaps because of) their age difference and Pegeen's lesbian past. Axler overlooks all the signs that should warn him not to trust too much in the affair and instead tries out more and more sexual turns with Pegeen (spanking, strap-ons, role play), until one night they pick up a drunk local for a three-way that might prove to be soul-crushing. Roth observes much (about age, success and the sexual credit lovers hold one with another) in little space, and the svelte narrative amounts to an unsparing confrontation of self. (Nov.)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
What happens when a man loses the one thing that defines him as a human being? With nods to Shakespeare, Chekhov, and Shaw, Roth's grim new novel explores this question—with varying success. While the Los Angeles Times and the Washington Post praised Roth's elegant writing and caustic wit, other reviewers found the novel superficial and oddly lifeless, citing flat characters, undeveloped plot contrivances, a lack of humor, and a hostile portrayal of homosexuality. Even the graphic sex is "coarse" and "dull," according to the San Francisco Chronicle. Though not his best work, The Humbling may appeal to faithful Roth fans; others should pick up one of his earlier novels.

From Booklist
*Starred Review* The great Roth has always written both short novels and long novels, choosing a length perfectly suited to what he has to say. Thus, his thirtieth book is brief and perfectly so. Soon into its pages, the reader will recall the title of a famous play about Henry II of England, The Lion in Winter. The lion here, increasingly toothless, is sixtysomething Simon Axler, a famous stage and screen actor. Yes, he’s famous, but now he is so stultified by uncertainty about his talent and how to execute his craft that he can no long perform. His wife flees, and Simon retires to his upstate New York farm, even checking himself into a psychiatric ward for a short stay. Roth does not labor over the man’s distress. Using spare prose, he makes the situation only as poignant as it deserves to be. When Simon takes up with a woman young enough to be his daughter, who is the daughter of old acting friends, Roth again uses concise language to best convey the sadness of what is only a short rehabilitation for Simon, and which ultimately forces his hand in determining how his life will proceed—or not. Roth’s voice, long heard and long appreciated, remains profound. --Brad Hooper

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82 of 94 people found the following review helpful.
The Humbug
By Mary Murrey
Don't get me wrong. Philip Roth's work deservedly belongs in the category of "Great American Literature", if we insist on such a category. I've always eagerly bought almost all his work--willing to pay for the hardback, I couldn't wait to get my hands on his latest book, and his world. I think his best novel is AMERICAN PASTORAL. This is great literature. But lately.... I don't know. Maybe we should call it the Woody Allen Effect. Old writer/auteur who has written classics, great work, has run out of steam and obsessed with himself and sex with younger women--his major driving force--can only write this theme over and over, which may be fascinating to him, but is borish and repetitive to most others. It's amazing that I haven't seen one negative review of Roth's new novel, THE HUMBLING in any major newspaper or magazine.Maybe the fact that the reviews, such as in the NTY's, are so short say something. I think critics are afraid of him.

The novel starts out well enough, interesting in fact... I believe,for some brief period that I'm with the master Roth, but alas, I'm not. My husband put the novel down on page 9 when we learn summarily that the protagonist's wife of twenty-some years, Victoria, has left without any believable reason other that Roth writes that it is so--i.e. her son's drug problem and her inability to put of his demanding, apparently never-ending negativity. "After the Kennedy Center debacle and his unexpected collapse, Victoria fell apart and fled to California to be close to her son." The entire marriage is summarized in about two pages.

The book is an OUTLINE. I would love to read about the protagonist, Simon Axler--an aging man losing his powers,in this case, his ability to get on the stage and pretend, that is to act. My God, what an existential situation! Wouldn't you love to know the gritty details, the unpleasant physical and psychological and quotitian details of his descent into mortality, and the accompanying lack of meaning that fame ultimately offers? But no, we get only a hint of this--a outline of a story that if any unknown writer dared submit would result in a rejection letter, with a possible encourgaging word. But we do get hot sex with a lesbian! I started to feel as if I was in the world of steamy romance novels. And of course this lesbian is no ordinary lesbian, no ordinary woman. Her name is Pegeen, she's a professor, and guess what? Simon knew her as a baby (Shades of Woody Allen again),being friends with her parents. Pageen is now a "lithe, full-breasted woman of forty, although with something of the child still in her..." The very end of the novel is clever, and again we see glimpes of that trickster, the master Roth. But overall the novel is disappointing, and I can only recommend it to Roth fans, who like me, enjoy seeing where he's at.

18 of 19 people found the following review helpful.
Goes Down Easy
By Cary B. Barad
You can still feel the Rothian magic in this modern tale of one man's agony and struggle to regain his reknowned reputation as a master of stagecraft. Debilitated by physical and emotional pain, the protagonist reveals his innermost torments as he comes across some unforgettable characters who will play decisive roles in his personal drama. Somewhere between a novella and a longish short story, this book is easily digested in one reading and leaves one with much to think about. Can't really ask for more than that.

43 of 55 people found the following review helpful.
Roth's best --- and most disturbing -- novel in years
By Jesse Kornbluth
I read the new Philip Roth novel the other day --- it's just 140 pages, with fewer words than usual per page, so you can knock it off in a few hours --- and I'm still disturbed.

This in an improvement over my reaction when I finished it.

I was shaky. Almost shaking.

I hope you will read 'The Humbling' --- I found it to be Roth's best work in years; sentence for sentence, paragraph for paragraph, he's still the most readable serious writer we've got --- but I have a problem saying much about it.

I didn't see the third and last section ("The Final Act") coming. I didn't want the ending to be what it was. Even afterward, I couldn't accept that this was how the story had to end. And I don't want to spoil it for you by describing it in any way.

I feel the same unease in discussing the second section ("The Transformation"), which also came as a surprise to me. In the interest of having it come as a surprise to you, I will speak no more of it here.

Which leaves me to convince you to read this masterful --- and, as I say, very disturbing --- book by discussing only the 43 pages of the first section ("Into Thin Air").

Well, okay. Simon Axler is one of the great stage actors of his generation. But now he's in his mid-60s, and he's adrift. This is how the book starts:

"He'd lost it. The impulse was spent. He'd never failed in the theater, everything he had done had been strong and successful, and then the terrible thing happened: he couldn't act. Going onstage became agony. Instead of the certainty that he was going to be wonderful, he knew he was going to fail. It happened three times in a row. And by the last time nobody was interested, nobody came. He couldn't get over to the audience. His talent was dead."

There's nothing more subjective than "talent". Maybe Axler's just tired. Maybe he just needs a rest.

He retreats to his house in the country, bringing a gloom thick as the poisonous cloud of a crop-duster. His wife flees. Now he's completely alone. And feeling suicidal. So he checks himself into a mental hospital for a month.

After, his harsh assessment is unchanged: "You're either free or you aren't...I'm not free anymore." Worse, he feels that his talent was a fluke, that all artistic spark is random: "This life's a fluke from start to finish."

He accepts that. Don't think of his as a career cut short, he says. Think how long it lasted.

Axler may be frozen, but Roth isn't --- he can pack a trilogy into a hundred pages. Things happen to Axler, and Axler makes things happen. He's not dead yet. Which means --- this is a Philip Roth book --- there will be a woman.

Alas, I cannot say more without spoiling the book's pleasure --- because it is pleasant to read a book this tight, this efficiently constructed; it's the exact opposite of Ian McEwan's disappointing 200-page shaggy marriage novel, 'On Chesil Beach'. But I can offer some clues.

One is Roth's interest in aging, which is not at all novelistic. In interviews, he's said that he's not looking to create either charmers or complainers; he's seeking reality.

Another hint. This is a book set in the country. In three sections --- three acts, if you will. It is, someone has suggested, a Chekhovian tragedy. Well, recall what Chekhov said about a gun that appears in the first act....

This is a long way from the summer romance of 'Goodbye, Columbus'. But Philip Roth was 26 when he published that. He's 76 now. He's outlived all of his rivals. He's our most prominent novelist. And over 30 books, he's learned how to disturb us --- and keep us reading. "The Humbling" is haunting proof.

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Rabu, 09 November 2011

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Purging Your House, Pruning Your Family Tree: How to Rid Your Home and Family of Demonic Influence and Generational Oppression, by Perry S

Is there a war going on in your home?
Does a weeping willow describe your family tree?
Do you secretly wish you had been born to a different family?
Did you pick up some bad DNA from someone in your lineage?

Our homes should be places of love and security, but demonic activity and hindrances often fill them with conflict, dissatisfaction, and disillusionment. Purging Your House, Pruning Your Family Tree takes you to the root of these issues, showing you how to rid your home and family of demonic influence and generational oppression.

With his unique blend of Bible knowledge and spiritual insight, Perry Stone brings to light the methods and strategies the devil uses to launch his attacks against our families.� Discover what you need to know to stand strong against him, including:

�������� How Satan selects his victims from an early age
�������� Removing accursed things from your house
�������� How you can prevent Satan’s return to your house
�������� The reason three o’clock in the morning taps into the spirit world
�������� Why we battle atmospheric warfare and how to change it

The insights in this book--if read, believed, and practiced--will help you to alter your present situation and prepare for a great emotional and spiritual future.


  • Sales Rank: #38670 in Books
  • Brand: Charisma Media Company
  • Published on: 2011-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .90" h x 6.00" w x 8.90" l, .80 pounds
  • Binding: Paperback
  • 240 pages

About the Author

Perry Stone directs one of America’s fastest growing ministries - Voice of Evangelism. From its 70,000 square foot International Ministry Center, Voice of Evangelism is striving to reach the world with the gospel of Christ through revivals, television, audio/video media, printed material, and missionary sponsorship. Perry has authored over forty books and booklets; produced over one hundred videos and DVDs, and hundreds of audio teaching albums series. Perry publishes The Voice of Evangelism magazine. Manna-Fest with Perry Stone, a weekly television program, can be seen nationally and internationally via cable and satellite systems around the world.

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Senin, 07 November 2011

[H468.Ebook] PDF Ebook Borderlands - La Frontera: The New Mestiza (English and Spanish Edition), by Gloria Anzaldua

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Borderlands - La Frontera: The New Mestiza (English and Spanish Edition), by Gloria Anzaldua

autobiography, bilingual Spanish/English

  • Sales Rank: #968600 in Books
  • Brand: Brand: Aunt Lute Books
  • Published on: 1987-08
  • Original language: English, Spanish
  • Number of items: 1
  • Binding: Paperback
  • 190 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
Anzaldua is a self-proclaimed borderland beinga Chicana who lives close to the border between Mexico and Texas, who shares several cultures and uses a mixture of languages. With exceptional insight, she creates a mosaic of the marginal person: a person, like herself, who exists in a state of transition, of ambivalence, of conflict; someone who is infused with many cultures yet cannot claim a single one wholly for herself. Her journal is written in earth tones, like an Aztec design, tones that are both engaging and striking. Weaving prose with poetry, Mexican-Indian history with psychology, mythology with philosophy, the author pulls together the frazzled edges of Chicano culture and of her sense of self. Anzaldua is a rebellious and willful talent who recognizes that life on the border"life in the shadows"is vital territory for both literature and civilization.
Copyright 1987 Reed Business Information, Inc.

From Library Journal
Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues. Andrea Caron Kempf, Johnson Cty. Community Coll. Lib., Overland Park, Kan.
Copyright 1987 Reed Business Information, Inc.

Review
Antigua, Mi Diosa
Cagado Abismo, Quiero Saber
Cancion De La Diosa De La Noche
The Cannibal's Cancion
Cervicide
Cihuatlyotl, Woman Alone
Companera, Cuando Amabamos
Corner Of 50th St, And Fifth Ave
Creature Of Darkness
Cultures
Cuyamaca
Don't Give In, Chicanita
El Sonavabitche
En El Nombre De Todas Las Madres Que Han Perdido
En Mi Corazon Se Incuba
Holy Relics
Horse
I Had To Go Down
Immaculate, Inviolate: Como Ella
Interface
La Curandera
Letting Go
Mar De Repollos
Martiz Sin Tumba O
Mujer Cacto
My Black Angelos
No Se Raje, Chicanita
Nopalitos
Poets Have Strange Eating Habits
A Sea Of Cabbages
Sobre Piedras Con Lagartijos
Sus Plumas El Viento
That Dark Shining Thing
To Live In The Borderlands Means You
We Call Them Greasers
White-wing Season
Yo No Fui, Fue Tete
-- Table of Poems from Poem Finder�

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0 of 0 people found the following review helpful.
A WONDERFUL ASSORTMENT OF ANZALDU�’S PROSE AND POETRY
By Steven H Propp
Gloria Anzald�a (1942-2004) also wrote/edited This Bridge Called My Back: Writings by Radical Women of Color, This Bridge We Call Home: Radical Visions for Transformation, Interviews/Entrevistas, Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color, The Reader, etc.

She wrote in the Preface to this 1987 book, “The psychological borderlands, the sexual borderlands and the spiritual borderlands are not particular to the Southwest. In fact, the borderlands are physically present wherever two or more cultures edge each other, where people of different races occupy the same territory, where under, lower, middle and upper classes touch, where the space between two individuals shrinks with intimacy. I am a border woman. I grew up between two cultures, the Mexican (with a heavy Indian influence) and the Anglo (as a member of a colonized people in our own territory). I have been straddling that… border, and others, all my life. It’s not a comfortable territory to live in, this place of contradictions. Hatred, anger, and exploitation are the prominent features of this landscape…

“This book, then, speaks of my existence. My preoccupations with the inner life of the Self, and with the struggle of the Self amidst adversity and violation; with the confluence of primordial images; with the unique positionings consciousness takes at these confluent streams, and with my almost instinctive urge to communicate, to speak, to write about life on the borders, life in the shadows. Books saved my sanity, knowledge opened the locked places in me and taught me how to survive and then how to soar… and words, my passion for the daily struggle to render them concrete in the world and on paper, to render them flesh, keeps me alive. The switching of ‘codes’ in this book from English to Castillian Spanish to the North Mexican dialect to Tex-Mex to a sprinkling of Nahuatl to a mixture of all of these, reflects my language, a new language---the language of the Borderlands. There, at the juncture of cultures, languages cross-pollinate and are revitalized; they die and are born.”

She observes, “Culture forms our beliefs. We perceive the version of reality that it communicates. Dominant paradigms, predefined concepts that exist as unquestionable, unchallengeable, are transmitted to us through the culture. Culture is made by those in power---men. Males make the rules and laws; women transmit them… The culture expects women to show greater acceptance of, and commitment to, the value system than men. The culture and the Church insist that women are subservient to males… For a woman of my culture there used to be only three directions she could turn: to the Church as a nun, to the streets as a prostitute, or to the home as a mother. Today some of us have a fourth choice: entering the world by way of education and career and becoming self-autonomous persons. A very few of us.” (Pg. 16-17)

She suggests, “Today, la Virgen de Guadalupe is the single most potent religious, political and cultural image of the Chicanlo/mexicano. She, like my race, is a synthesis of the old world and the new, of the religion and culture of the two races in our psyche, the conquerors and the conquered. She is the symbol of the mestizo true to his or her Indian values… Because Guadalupe took upon herself the psychological and physical devastation of the conquered and oppressed indio, she is our spiritual, political and psychological symbol… Guadalupe unites people of different races, religions, languages: Chicano Protestants, American Indians and whites…” (Pg. 30)

She explains, “So, if you really want to hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity---I am my language. Until I can take pride in my language, I cannot take pride in myself. Until I can accept as legitimate Chicano Texas Spanish, Tex-Mes and all the other languages I speak, I cannot accept the legitimacy of myself. Until I am free to write bilingually and to switch codes without having always to translate while I still have to speak English or Spanish when I would rather speak Spanglish, and as long as I have to accommodate the English speakers rather than having them accommodate me, my tongue will be illegitimate. I will no longer be made to feel ashamed of existing. I will have my voice; Indian, Spanish, white. I will have my serpent’s tongue---my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.” (Pg. 59)

She states, “The Writing is my whole life, it is my obsession. This vampire which is my talent does not suffer other suitors. Daily I court it, offer my neck to its teeth. This is the sacrifice which the act of creation requires, a blood sacrifice. For only through the body, through the pulling of flesh, can the human soul be transformed. And for images, words, stories to have this transformative power, they must arise from the human body---flesh and bone---and from the Earth’s body---stone, sky, liquid, soil. This work, these images, piercing tongue or ear lobes with cactus needle, are my offerings, are my Aztecan blood sacrifices.” (Pg. 75)

This book contains some of Anzald�a’s most pointed and passionate writing. It will be great interest to those who already love her writings, or as an excellent introduction to her for those who don’t.

0 of 0 people found the following review helpful.
A must-read for specialists in Spanish and Latin American Studies
By Dr. Christopher M. Minio
This is a must-read for students of and experts in Spanish and Latin American Studies. I used it as a primary source in my doctoral dissertation in the field.

0 of 0 people found the following review helpful.
love
By Elise
surprise autograph by the author! love it

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Minggu, 06 November 2011

[R102.Ebook] Download Mindfulness for Teachers: Simple Skills for Peace and Productivity in the Classroom (The Norton Series on the Social Neuroscience of Educat

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Mindfulness for Teachers: Simple Skills for Peace and Productivity in the Classroom (The Norton Series on the Social Neuroscience of Educat

  • Published on: 1600
  • Binding: Paperback

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Selasa, 01 November 2011

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On Directing Film, by David Mamet

Calling on his unique perspective as playwright, screenwriter, and director of his own critically acclaimed movies, House of Games and Things Change, David Mamet illuminates how a film comes to be. He looks at every aspect of directing—from script to cutting room—to show the many tasks directors undertake in reaching their prime objective: presenting a story that will be understood by the audience and has the power to be both surprising and inevitable at the same time.

Based on a series of classes Mamet taught at Columbia University's film school, On Directing Film will be enjoyed not only by students but by anyone interested in an overview of the craft of filmmaking.

  • Sales Rank: #18441 in Books
  • Brand: Penguin Books
  • Published on: 1992-01-01
  • Released on: 1992-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.70" h x .20" w x 5.00" l, .24 pounds
  • Binding: Paperback
  • 128 pages
Features
  • Great product!

Amazon.com Review
According to David Mamet, a film director must, above all things, think visually. Most of this instructive and funny book is written in dialogue form and based on film classes Mamet taught at Columbia University. He encourages his students to tell their stories not with words, but through the juxtaposition of uninflected images. The best films, Mamet argues, are composed of simple shots. The great filmmaker understands that the burden of cinematic storytelling lies less in the individual shot than in the collective meaning that shots convey when they are edited together. Mamet borrows many of his ideas about directing, writing, and acting from Russian masters such as Konstantin Stanislavsky, Sergei M. Eisenstein, and Vsevelod Pudovkin, but he presents his material in so delightful and lively a fashion that he revitalizes it for the contemporary reader.

From Library Journal
Noted playwright, screenwriter, and director Mamet offers his views on film directing taken, some in transcript form, from lectures and classes at Columbia. With only two films under his belt, Mamet is an odd choice to publish his opinions here, and his ideas are unsurprising. Although presumably being paid by Columbia, Mamet "suspects" film schools are "useless." Citing his heroes Eisenstein (story via cuts) and Hitchcock (pre-planning), he advises shooting scenes simply in the "least interesting way" possible and cutting everything extraneous to the story. He suggests reading in myth and psychology and watching a lot of animated cartoons. Refreshingly untheoretical, particularly regarding acting technique, this is fitfully interesting stuff, but a bit of an ego trip, too.
- David Bartholomew, NYPL
Copyright 1991 Reed Business Information, Inc.

Review
"Passion, clarity, commitment, intelligence—just what one would expect from Mamet."
—Sidney Lumet

Most helpful customer reviews

44 of 48 people found the following review helpful.
rigid, but important
By Jonathan LeMond
After reading screenplay books for years -- the likes of Syd Field, McKee, Howard, Hunter, etc. -- Mamet is a refreshing change. I realized how the other books, for all intents and purposes, were analyses of scripts, avoiding or skirting the issues of method and process. In other words, it's not hard to look at a huge box office and critically-acclaimed hit (Chinatown being the consensus favorite) and explain what makes it so good. We all know it's good. We've seen the movie. We've read the script. We're all in awe. And we all know the elements. But the actual process of writing, of formulating a story visually, of actually creating instead of merely analyzing, seems to be an afterthough to these folks. I mean, in some way, you've got to ask yourself why these fellas -- McKee, Field, and others -- have never actually written a thing! Mamet espouses a simplicity to the process of storytelling in film, beat by beat. It's a bit repetitive and sterile, as is the man himself. I don't agree with him on everything, and neither will you. He contradicts himself all the time and seems to take delight in his own presence, but he is a great craftsman, and anyone looking to tell stories visually would be mistaken to think this book unimportant or trivial. A must read for aspiring filmmakers, especially those who write.

80 of 96 people found the following review helpful.
"It's a good thing the people in Hollywood have no souls..."
By J. Ott
"...so they don't have to suffer through the lives they lead."
Mamet is always Mamet. Even when talking about directing-- after having directed only two films, HOUSE OF GAMES and THINGS CHANGE. Never heard of 'em, you say? Yes, this book is taken from a series of lectures he gave at Columbia film school in 1990. Since then, Mamet has directed Steve Martin not to be funny (THE SPANISH PRISONER) and Gene Hackman not to be cool (HEIST) as well as other actors not to "inflect."
Most people, like me, love Mamet's writing but find his directing stilted and wooden. This book explains why. Written half as rant and half as Socratic dialogue, Mamet lays out his film theory with second-rate Sergei Eisenstein (I think he means Kuleshov) and third-rate Bruno Bettelheim (who wrote about fairy tales, not film). The result is a mixed bag, not too informative about directing, but always entertaining.
If you want to know why telling a story on film is like telling a dirty joke, this is your book. If you'd like to read how to construct a movie about a farmer who has to sell a pig, or a student who wants to "get a retraction," this is your book. If you want to know why "[t]he less the hero is described to us, the better off we are," this is your book. It's slim, it reads fast, and it's easier to understand than THE THREE USES FOR A KNIFE. If you want a book about directing by a real director, I recommend Sidney Lumet's MAKING MOVIES.

14 of 15 people found the following review helpful.
Buy this book. It's worth it.
By Grady Bretton
I have found this book to be of great use. I have highlighted much of the text and have been assimilating it since it came out in hardcover. Technology is evolving toward consumer movie making and this book can serve as a point of departure for anyone with a video camera and a desire to tell stories but no pressing desire to become a part of "the industry". His technique is admittedly rigid but is simple to understand. When one honestly and patiently applies the technique in order to conceive a story outline, the results--since the unconscious is employed instead of the ego--can be quite enchanting. This book aims toward a more poetic cinema. I highly recommend it.

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