Selasa, 30 November 2010

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Senin, 29 November 2010

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Minggu, 21 November 2010

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Beautiful Mornin': The Broadway Musical in the 1940s, by Ethan Mordden

"Music and girls are the soul of musical comedy," one critic wrote, early in the 1940s. But this was the age that wanted more than melody and kickline form its musical shows. The form had been running on empty for too long, as a formula for the assembly of spare parts--star comics, generic love songs, rumba dancers, Ethel Merman. If Rodgers and Hammerstein hadn't existed, Broadway would have had to invent them; and Oklahoma! and Carousel came along just in time to announce the New Formula for Writing Musicals: Don't have a formula.
Instead, start with strong characters and atmosphere: Oklahoma!'s murderous romantic triangle set against a frontier society that has to learn what democracy is in order to deserve it; or Carousel's dysfunctional family seen in the context of class and gender war.
With the vitality and occasionally outrageous humor that Ethan Mordden's readers take for granted, the author ranges through the decade's classics--Pal Joey, Lady in the Dark, On the Town, Annie Get Your Gun, Phinian's Rainbow, Brigadoon, Kiss Me, Kate, South Pacific. He also covers illuminating trivia--the spy thriller The Lady Comes Across, whose star got so into her role that she suffered paranoid hallucinations and had to be hospitalized; the smutty Follow the Girls, damned as "burlesque with a playbill" yet closing as the longest-run musical in Broadway history; Lute Song, in which Mary Martin and Nancy Reagan were Chinese; and the first "concept" musicals, Allegro and Love Life. Amid the fun, something revolutionary occurs. The 1920s created the musical and the 1930s gave it politics. In the 1940s, it found its soul.

  • Sales Rank: #976377 in Books
  • Color: Purple
  • Published on: 1999-10-07
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.40" h x 1.10" w x 6.00" l, 1.24 pounds
  • Binding: Hardcover
  • 288 pages

From Publishers Weekly
Once again establishing that he is as impressive a nonfiction writer as he is a novelist (How Long Has This Been Going On?; Buddies), Mordden analyzes the many notable hits (and egregious flops) of the 1940s, and describes how they figured intoAand indeed establishedAthat period's importance to the Broadway musical theater. It was a decade of many milestones, chief among which was the emergence of Rodgers and Hammerstein with 1943's unlikely groundbreaker, Oklahoma ("all Broadway gaped as these two partnered up"), followed in 1945 by Carousel ("the piece that truly tells us what a Rodgers and Hammerstein show was"). Mordden's references are up-to-the-minute (he cites the late 1990s Encores! series of revivals at New York's City Center) and his research is meticulousAin his chapter on a particularly significant '40s development, "The Cast Album," he trounces the widely held notion that Oklahoma was the first show to be recorded (it was 1900's Floradora). His gift for the piquant phrase is delightfully evident (Harold Arlen's music for a Bloomer Girl duet is "a slithery wisteria jazz"), as is his fondness for the direct approach (Irving Berlin's Miss Liberty "was a total disaster... a bomb with two wonderful elementsAthe score and the dancing"). And though he delivers the expected encomiums to such stars of the decade as Agnes de Mille and Ethel Merman, he frequently airs provocative, somewhat unusual opinions, as when he says of the composer of Lady in the Dark and Lost in the Stars, "the Broadway musical would not have been what it was without Kurt Weill." Nor would it be nearly as enjoyable without this perceptive, witty and informative guided tour. (Oct.) America, following 1997's Make Believe (the 1920s) and 1998's Coming Up Roses (the '50s).
Copyright 1999 Reed Business Information, Inc.

From Library Journal
For Broadway musicals, the decade of the 1940s opened with Oklahoma! and closed with South Pacific. In Mordden's opinion, Oklahoma! was a breakthrough and defining moment in musical theater due to its introduction of strong characters, atmosphere, and the integration of dance and song into the fabric of the story. Mordden (Make Believe: The Broadway Musical in the 1920s and Coming Up Roses: The Broadway Musical in the 1950s) uses the first third of his book to establish this belief, with explanations of other musicals that had innovative elements from the 1920s and 1930s. He also analyzes other 1940s musicals, such as On the Road, Annie Get Your Gun, Finian's Rainbow, and Brigadoon as well as lesser-known works. Recommended for theater collections.AJ. Sara Paulk, Coastal Plain Regional Lib., Tifton, GA
Copyright 1999 Reed Business Information, Inc.

From Booklist
The 1940s were a time of change in the American musical. Although still sporadically popular, the old-fashioned musical comedy, with its silly plots and dependence on big stars, was being supplanted by such more serious, carefully conceived, and artfully executed shows as Oklahoma! and Carousel. This "Rodgers and Hammerstein revolution" was accompanied by another revolution, in recording technology, which produced the original cast record album, which helped transform hit shows into theatrical classics. Mordden's passionate, literate, painstakingly researched history charts the ups and downs of this crucial decade. As in his Make Believe (1997) and Coming Up Roses (1998), on the 1920s and 1950s musical, respectively, he focuses not only on a decade's big successes--in the '40s, Kiss Me Kate, Brigadoon, and Rodgers and Hammerstein's early work--but also on important shows that didn't become hits--such as, in the '40s, Lady in the Darkand shows that never had a chance. This procedure reveals how the musical form evolved, which innovations were readily accepted, and which were rejected. Essential reading for musical theater fans. Jack Helbig

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30 of 34 people found the following review helpful.
Another masterpiece, even when walking the edge
By John McWhorter
Ethan Mordden is my favorite author of all time -- his breadth and depth of knowledge and critical acumen are utterly unsurpassed among writers on vintage American popular culture. In this book as in all of his others, the way he can, in a few quick, masterful strokes, make you feel like you are at an obscure, unrecorded musical which now exists only as yellowing files in a few libraries is nothing less than astounding. His combination of erudtion, wit and insight never fail to take my breath away. The decade-by-decade series of which this book is the third helps make life worth living, this one helping make sense of a particularly challenging ten years in musicals' history. Near the end, Mordden does indulge in some nervy speculations that could use some more backup, though. Was homophobia really the reason WHERE'S CHARLEY didn't get a cast album? If Porter's music for KISS ME, KATE was so good because he knew the score would be preserved on a record, then why didn't he keep writing at this level afterwards? Since SOUTH PACIFIC came at the end of the decade, we'd like it to be an apotheosis of the developments over that time, but would we really say that of this fine but chunky piece of work if it had come along in 1945? If the invention of the cast album was really why shows started running longer, then why have runs continued getting even longer since? Yet Mordden is such a treasure that one simply takes these as questions you wish you could take up with the master. Overall, no one writing in his bailiwick even approaches him; this book, like all of his work, is a national treasure.

3 of 3 people found the following review helpful.
Can't get enough of Mr. Mordden's mordant musical theater observations
By Victor Thomas
One day, someone will stitch together Ethan Mordden's Broadway musical books into one cohesive review of 20th century theater. In the meantime, Beautiful Mornin' is one of his tiptop decade reviews, and critical to his book series as this is the decade when Oklahoma changed everything since it opened. He is really good at tying together separate musical efforts into a larger context, and enlivens his accounts with some decidedly opinionated takes on what's god and what's not good. That is what makes this chronicle fun. He revels in his subject, and the writing shows that.

2 of 2 people found the following review helpful.
History Written with Wit and Style
By David
I have two advanced degrees in history and have read hundreds...and I mean hundreds of history books for one reason or another. But I have to say this series, especially this book, as well as the one immediately before and after it, are brilliant. I went into them knowing a great deal about the American musical theater but left with double the knowledge and a real, out loud laugh or two. Amazing books--if you love this very American art form, read these books!

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Senin, 15 November 2010

[Y157.Ebook] Download Ebook A Century of Genocide: Utopias of Race and Nation, by Eric D. Weitz

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A Century of Genocide: Utopias of Race and Nation, by Eric D. Weitz


Why did the twentieth century witness unprecedented organized genocide? Can we learn why genocide is perpetrated by comparing different cases of genocide? Is the Holocaust unique, or does it share causes and features with other cases of state-sponsored mass murder? Can genocide be prevented?


Blending gripping narrative with trenchant analysis, Eric Weitz investigates four of the twentieth century's major eruptions of genocide: the Soviet Union under Stalin, Nazi Germany, Cambodia under the Khmer Rouge, and the former Yugoslavia. Drawing on historical sources as well as trial records, memoirs, novels, and poems, Weitz explains the prevalence of genocide in the twentieth century--and shows how and why it became so systematic and deadly.


Weitz depicts the searing brutality of each genocide and traces its origins back to those most powerful categories of the modern world: race and nation. He demonstrates how, in each of the cases, a strong state pursuing utopia promoted a particular mix of extreme national and racial ideologies. In moments of intense crisis, these states targeted certain national and racial groups, believing that only the annihilation of these "enemies" would enable the dominant group to flourish. And in each instance, large segments of the population were enticed to join in the often ritualistic actions that destroyed their neighbors.


This book offers some of the most absorbing accounts ever written of the population purges forever associated with the names Stalin, Hitler, Pol Pot, and Milosevic. A controversial and richly textured comparison of these four modern cases, it identifies the social and political forces that produce genocide.


  • Sales Rank: #840752 in Books
  • Published on: 2005-01-23
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.00" h x 6.10" w x 9.10" l, 1.15 pounds
  • Binding: Paperback
  • 368 pages

From Publishers Weekly
University of Minnesota history professor Weitz offers a sobering comparative study of four of the past century's genocidal regimes: Stalin's Soviet Union, Nazi Germany, Cambodia under Pol Pot and Bosnia in the 1990s. (While acknowledging that the Holocaust was unprecedented, Weitz explicitly rejects the notion that it was "unique" and incomparable to other genocides.) Weitz begins with a tightly argued account of how Enlightenment thought, together with 19th-century romanticism's nostalgia for an imagined and innocent past, combined to provide the intellectual underpinning for the growth of nationalism and racism, which provided the 20th-century engine for state-organized genocide. Weitz then explores the historical precedents in each country, providing context for a comparison of how each government accomplished its horrific goals. There is much new in Weitz's analysis and his isolation of the common mechanisms of state-sponsored genocide is an invaluable contribution to the literature on the subject, such as his discussion of the prevalence of one-on-one brutality in the cases of Serbian, Nazi and Cambodian atrocities. The descriptions of the mechanisms for the purges, specifically how each government made large sections of their population complicit in the crimes, is chilling. Despite its analytical and reasoned approach, this work cannot be read without feeling outrage, despair and horror. Weitz's work raises profound questions about the human capacity for violence.
Copyright 2003 Reed Business Information, Inc.

Review

One of Choice's Outstanding Academic Titles for 2003


"There is much new in Weitz's analysis and his isolation of the common mechanisms of state-sponsored genocide is an invaluable contribution to the literature on the subject. . . . Despite its analytical and reasoned approach, this work cannot be read without feeling outrage, despair and horror. Weitz's work raises profound questions about the human capacity for violence."--Publishers Weekly



"An important, thought-provoking book on an inordinately complex subject."--Gavriel Rosenfeld, The New Leader



"Weitz has produced something exceedingly rare: a scholarly book one cannot put down. This is a meritorious, thoughtful book."--Choice



"Weitz makes a persuasive case that these genocides were not simply anarchic eruptions of age-old hatreds, but rather were engineered by crisis-ridden regimes promoting utopian visions requiring a radical refashioning of the population."--Martin Farrell, Perspectives on Politics



"A Century of Genocide has much to offer. It will serve as an excellent first introduction to Lenin and Stalin's crimes, the Holocaust, the Cambodian massacres of the 1970s and the ethnic cleansing in Yugoslavia."--Brendon Simms, Times Higher Education Supplement



""A] book that must be read and that must be argued over. Without an understanding of the issues [it] tackle[s] with passion and in depth, the desire to intervene--to prevent ethnic cleansing or genocide--is meaningless."--Rima Berns-McGown, International Journal



"This important, highly thoughtful book is a welcome addition to the growing literature on genocide in the twentieth century. It deserves a wide audience among scholars, undergraduates, and policy makers. Broad ranging, genuinely comparative, rigorous, and learned, A Century of Genocide is engagingly written, while prudent and balanced in its judgments."--Frank Chalk, Slavic Review

From the Inside Flap
"In his well-documented comparative account of five mass killings in the twentieth century, Eric Weitz has uniquely perceived the ideological connections and analogous revolutionary crises that resulted in 'a century of genocide.' Not only does his book demonstrate that human rights safeguards are indispensable for preventing human rights disasters, but it will help identify early warnings of future crimes against humanity."--David Weissbrodt, David Weissbrodt, coauthor of International Human Rights and Member, United Nations Sub-Commission on the Promotion and Protection of Human Rights

"This ambitious and broad-ranging study of genocide in the twentieth century is one of the most illuminating works of comparative history to appear in recent years. It shows in graphic and sometimes gut-wrenching detail how a vicious combination of racist ideology, power hungry leadership, and a popular willingness to participate in mass murder can result in the most appalling crimes against humanity. We can hope to prevent genocide only if we understand it, and this book is a major contribution to such an awareness."--George M. Fredrickson, author of Racism: A Short History

"This is a passionate, persuasive, and elegantly argued study of the genocidal policies and behavior of four twentieth-century regimes that are rarely systematically compared."--David Chandler, author of Brother Number One: A Political Biography of Pol Pot

"Weitz brings a wealth of learning and understanding to the problem of genocide. His book is sensible and even-handed all the way through, breaking free of staid categories of analysis. Innovative and refreshing in tone, it traces its devastating story right down to the local level, where, after all, genocide happens."--Robert Gellately, author of Backing Hitler: Consent and Coercion in Nazi Germany

"Eric Weitz's Century of Genocide is a model of comparative history. Brilliantly organized around the themes of race and nation, it keenly analyzes both the similarities and differences between the genocidal regimes of Hitler's Germany and Pol Pot's Cambodia and the genocidal actions of Stalin's Soviet Union and Milosevic's Greater Serbia."--Christopher Browning, author of Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland

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27 of 28 people found the following review helpful.
It lacks something
By pnotley@hotmail.com
Several years ago Eric Weitz wrote a fascinating book about the German Communist Party which argued that its notoriously truculent and dogmatic nature was not simply the result of Stalinist domination, but instead reflected the party's own German traditions as well as an understandable reaction to Weimar's intolerance of them. One would think that Weitz would be an excellent author to write about twentieth-century genocide. But this comparative account of four major genocides is disappointing. By his own admission Weitz does not have sufficient scholarly expertise to study the genocides in Armenia and Rwanda. So instead he looks first at Soviet terror in general and the more specifically genocidal deportations carried out against various nationalities during and after World War Two. Then he looks at Nazi Germany, Pol Pot Cambodia and the Serbian attack on Bosnia. All of his four accounts share certain key similarities. First, all the perpetrators were moved by a utopian ideology. Second, all the perpetrators were in some way or another "modern" and sought to use modern instruments to carry out their crimes. Third, all the genocides took place in periods of profound social and political crisis. Fourth, all the genocides were able to use the mass complicity of the society as a whole. Fifth, all the genocides had their own savage rituals of inhumanity.
Not bad, and the discussion of the Soviet Union and Nazi Germany are based on a reasonable discussion of the latest research. But there are some real problems with Weitz's account. For a start consider the "utopian" nature of genocide. Weitz does not define what a "utopia" is. This is rather important, since "utopian" implies the impossible, indeed the impossible that it would be dangerous to attempt. But while the Holocaust was a uniquely cruel atrocity, it was hardly "utopian" since it was, in fact, all too possible to kill 90% of Polish Jewry. More problematically, to what extent can Serbian nationalism be viewed as utopian? Undoubtedly some people thought a victorious Greater Serbia would lead to a better future. But the dominant themes in Serbian propaganda were paranoia, fear and self-pity. Instead of looking to a glorious millennium, Serbs concentrated on the "collective guilt" of Croats and Bosnians with Nazism. What Utopias did the Hutus dream of, or the final rulers of the Ottoman Empire have? One may agree with Weitz that Hitler and his colleagues believed in a "redemptive" anti-Semitism. But how far did this filter down to his executioners? (It strikes me that Arno Mayer's oft-derided "Why did the Heavens Not Darken," about the connection of the Holocaust to a vicious war against Communism, does better at answering this question.) The modernity of "genocide" is also problematic. That is certainly the case with Cambodia. Weitz's focus on ideology and ideological logic does not explain why Pol Pot followed a path that no other Communist party did. At one point Weitz suggests that Pol Pot's policies flowed logically from an ultra-radicalism, yet at other points he notes that he had to purge the Communist party frequently. More importantly, emptying the cities and abolishing money does not strike me as clever plans to destroy the ancien regime while following Democratic Kamuchea's own path to industrial modernity.
There are other problems. While genocide is understandably linked to war and crisis, this is not always the case. When destroying half of the population of what is now Congo, Belgium faced no imminent threat, nor did it carry out its crimes for any other reason than greed. Too much concentration on utopia and conflation of it with "fanaticism" leads to tautology. We condemn genocides as acts of fanaticism, and then define as fanatical genocidal acts. Weitz's discussion of the Yugoslav crisis does not really explain why so many Serbs and other Yugoslavs would support a policy that would definitely make the new nations considerably less than the sum of their parts. At one point Weitz mentions that Yugoslavia had a weaker civil society than, say, Poland or East Germany. But what distinguished pre-Milosevic Yugoslavia was not an especially brutal Communist regime. Indeed, the opposite was the case. Nor did Milosevic Serbia lack opposition parties and an independent church. There were no shortage of Serbs who denounced Milosevic, but a profound shortage of those who denounced Srebnica, and Weitz does not really explain why. At times Weitz's arguments are weak. He discusses popular complicity with genocidal crimes, though his main example for Nazi Germany actually takes place in Lithuania. He takes an example of one Serbian thug who comments that a victim looks like a cabbage and generalizes that this how all Serbian fighters viewed Bosnians. This is part of a larger problem with Weitz's discussion of ritual. Much of what he says about tortures and the rituals of atrocities is true, much of it is obvious, much of it is fashionable, but none of it is new or original. Likewise the accounts of genocide, while obviously horrific, do not really get us close to the minds of the perpetrators. Ultimately this is a book that adds little to our knowledge.

8 of 9 people found the following review helpful.
Holocausts
By John C. Landon
Interesting analytical comparative history of genocide in the twentieth century, in Russia, Germany, Cambodia, and Serbia. After invoking the case of Armenia the author shows the common core of these four in the light of the nineteenth century tide of race and nationalism. The emergence of race as a concept is demonized now, but the legacy of Darwinism tends to be underplayed, although the account makes clear the mood of Social Darwinist confusion leading up to the First World War and its coarsening of spirits (and Armenian overture) resulting in the walpurgisnacht to come. The concept of genocide was arguably miscast, since it applies too technically to racial issues. (Cf.The emergence of the term and the Genocide treaty, along with the life of its inventor Lemkin in A Problem from Hell. Also the case of Rwanda should be included, cf. A People Betrayed, by L. R. Melvern)

13 of 18 people found the following review helpful.
Skip it
By Michael B. Farrell
This book is poorly written, painfully repetitive, and excruciatingly poorly edited. The ideas are poorly organized, and at times it appears to be nothing more than a loose collection of quotations from other authors. The first chapter contains some interesting ideas, but its straight downhill from there. I should have known not to waste my time with this book when, in the prelude, the author states he will not address the Rwandan genocide because he doesn't know enough about it. Since the book attempts to cover the phenomenon of genocide in the 20th century from a comprehensive perspective, it seems somewhat dubious that the author submits not to understand one of the major genocides of the century. In short, this book is boring, obtuse and devoid of any useful purpose - I suggest taking a pass.

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Minggu, 14 November 2010

[F674.Ebook] Download Ebook The Postmodern Explained: Correspondence 1982-1985, by Jean-Francois Lyotard

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The Postmodern Explained: Correspondence 1982-1985, by Jean-Francois Lyotard

A fine softcover copy. Light shelf wear. Tight binding. Clean, unmarked pages. NOT ex-library. Indexed. 141pg. Shipped Weight: Under 1 kilogram. Category: Philosophy; ISBN: 0816622116. ISBN/EAN: 9780816622115. Inventory No: 019032.

  • Sales Rank: #1019739 in Books
  • Brand: Brand: Univ Of Minnesota Press
  • Published on: 1992-12-18
  • Original language: French
  • Number of items: 1
  • Dimensions: 9.00" h x .50" w x 6.00" l, .59 pounds
  • Binding: Paperback
  • 160 pages
Features
  • Used Book in Good Condition

From Library Journal
These edited letters, addressed to children by Lyotard from 1982 to 1985, discuss postmodernism from various points of view. The nature of postmodern art, derived from Kant's category of the sublime and embodied in the avant-garde, is an important aspect of Lyotard's ideas. The political side of postmodern thinking as a retreat from unifying thought, an escape from totalitarianism, is also explained. Lyotard uses the concept of the narrative to evaluate discourse, action, psychology, and language. Wlad Godzich's afterword is especially helpful in placing Lyotard in a philosophic tradition and showing the development of his ideas. Recommended for large philosophy collections.
- Gene Shaw, Elmwood Park Lib., N.J.
Copyright 1992 Reed Business Information, Inc.

Language Notes
Text: English (translation)
Original Language: French

From the Back Cover
A major figure in the contemporary critical world, Jean-Francois Lyotard originally introduced the term 'postmodern' into current discussions of philosophy. The Postmodern Explained is an engaging collection of letters addressed to young philosophers, including the actual children of some of Lyotard's colleagues, that inform the trajectory of his thinking in the period before The Postmodern Condition through The Differend.

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1 of 4 people found the following review helpful.
Good book
By Jun Liu
The book meets my immediate needs and is a succinct summary of a complex issue, but the ridge begins to detach from the pages.

0 of 0 people found the following review helpful.
A COLLECTION OF LETTERS PROVIDING SOME INTRODUCTION TO THE MOVEMENT
By Steven H Propp
Jean-Fran�ois Lyotard (1924-1998) was a French philosopher, sociologist, and literary theorist, best known as a pioneer of Postmodernism. He was co-founder of the International College of Philosophy with Jacques Derrida, Fran�ois Ch�telet, and Gilles Deleuze. He also wrote The Postmodern Condition, Postmodern Fables, The Lyotard Reader, etc.

The Preface to the French edition of this book explains, "We have collected some letters by the author that take up the issue of postmodernity. Obtaining [Lyotard's] consent to their publication was not without its difficulties. We argued that it could help to clear him of certain accusasions... his main objection was the na�vet� of these texts addressed to children; that, if they were published, their deceptive, pedagogical clarity would do nothing to life the quality of a controversy that was already confused enough. And, he added, he was too far from being clear about the question himself to venture a pronouncement on a hazy intuition."

The translator explains in his Foreword, "In these pages Lyotard approaches the postmodern as a way of maintaining the possibility of thought `happening'---in philosophy, art, literature, and politics; of thought proceeding when it has lost faith in its capacity to repair the crimes of the past by guiding the present toward the end of the realization of ideas... the promise of the French title to `explain to children' ... is surely ironic and not to be taken literally. It will not have explained the postmodern. Rather, it will have shown why it is necessary to approach the philosophical questions raised by postmodernity ... with the mind of the child. For childhood is the season of the mind's possibilities..."

Lyotard states in the first essay, "What then is the postmodern? What place, if any, does it occupy in that vertiginous work of questioning the rules that govern images and narratives? It is undoubtedly part of the modern." (Pg. 12) He continues, "The postmodern would be that which in the modern invokes the unpresentable in presentation itself, that which refuses the consolation of correct forms, refuses the consensus of taste permitting a common experience of nostalgia for the impossible, and inquires into new presentations... to better produce the feeling that there is something unpresentable. The postmodern artist or writer is in the position of a philosopher; the text he writes or the work he creates is not in principle governed by preestablished rules and cannot be judged according to a determinant judgment, by the application of given categories to this text or work. Such rules and categories are what the work or text is investigating. The artist and the writer therefore work without rules and in order to establish the rules for what will have been made." (Pg. 15)

He states, "There is no reasonable excuse for the confusion of reasons. The confusion lies in the very `modern' project of a universal language, that is, a metalanguage capable of collecting together every shred of meaning established in specific languages. The doubt case on `reason' springs not from the sciences but from the critique of metalanguage, that is, from the decline of metaphysics (and therefore of metapolitics as well)." (Pg. 65)

He observes, "the `post' of postmodernism has the sense of a simple succession, a diachronic sequence of periods in which each one is clearly identifiable. The `post-' indicates something like a conversion: a new direction from the previous one. Now this idea of a linear chronology is itself perfectly `modern.'" (Pg. 76) He continues, "Technoscientific development has become a means of deepening the malaise rather than of allaying it. It is no longer possible to call development progress. It seems to proceed of its own accord, with a force, an autonomous motoricity that is independent of us... The question of postmodernity is also, or first of all, a question of expressions of thought: in art, literature, philosophy, politics." (Pg. 78-9)

One may finish reading this book and still be confused about what precisely "postmodernism" is---which, by the nature of the movement, is to be expected. But Lyotard's words are surely helpful in explaining, and in clearing up some misconceptions.

20 of 22 people found the following review helpful.
Perceiving the Modern
By George Davidson
As a hard-core modernist, I've been puzzled by this whole postmodern phenomena, which, to me, seemed impenetrable, so the title of this book caught my eye. Further, Lyotard has been called the theoretician of the postmodern, hence this book seemed like a good place to start trying to understand the postmodern. The book contains an afterward by Wlad Godzich that I found to be extremely helpful (read it first). I cannot claim to understand the postmodern, even after reading this book, but I have some insight into how it can make us more aware of the modern, which is characterized by a belief in universals and the project of improvement and emancipation of all humanity from bondage. Legitimacy for the actions toward that end was believed to stem from the Idea of this ultimate condition. However, 20th Century history has cast doubt on both the theoretical underpinnings (legitimacy) and practice of progress (how could the modern project have led to Auschwitz?). It is this doubt that created a postmodern awareness. 'Post' not in the sense of following, but in the sense of complexity subsuming and overwhelming the naive (unexamined) nature of this long standing project of progress.

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Jumat, 12 November 2010

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The Nature of Order Book One The Phenomenon of Life, by Christopher Alexander (signed)

  • Sales Rank: #12777315 in Books
  • Published on: 2001
  • Binding: Hardcover

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Kamis, 11 November 2010

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Le lacrime di Nietzsche (Biblioteca) (Italian Edition), by Irvin D. Yalom

� un giorno di ottobre del 1882 e Josef Breuer, quarantenne geniale psichiatra, medico personale a Vienna di artisti e filosofi come Brahms, Br�cke e Brentano, � al Caff� Sorrento in compagnia di una giovane donna che non conosce, ma che ha avuto l’impudenza di convocarlo nel rinomato caff� veneziano per una �questione di estrema urgenza� in cui ne andrebbe addirittura del �futuro della filosofia tedesca�.

La donna si chiama Lou Salom� ed � di inusuale bellezza: fronte poderosa, luminosi occhi azzurri, labbra piene e sensuali.

Nonostante la temperatura pungente del mattino, si � tolta il manto di pelliccia e, guardandolo direttamente negli occhi, con voce ferma gli ha detto di temere per la vita di un suo caro amico: Friedrich Nietzsche, il pensatore tedesco che, secondo Richard Wagner, ha �regalato al mondo un’opera senza pari�. Poi, posando leggermente la mano guantata sulla sua, ha aggiunto che il filosofo � in preda a una profonda prostrazione. Uno stato che si manifesta con una moltitudine impressionante di sintomi: emicrania, parziale cecit�, nausea, insonnia, febbri, anoressia, e che lo porta ad assumere pericolose dosi di morfina...

Cos�, attraverso la voce della musa della Vienna fin de si�cle, Josef Breuer, stimato medico ebreo, futuro padre della psicanalisi, uomo dal comportamento ineccepibile e, tuttavia, oppresso anche dai legami e dalle convenzioni della vita borghese e matrimoniale e profondamente turbato dalla bella Bertha, sua paziente da due anni, apprende della disperazione estrema di colui che diverr� il suo pi� illustre paziente. Breuer, infatti, sottoporr� il filosofo alle sue cure, basate sulla convinzione che la guarigione del corpo passi attraverso quella dell’anima. E tra lui e Nietzsche, nel corso di numerose sedute, si instaurer� un dialogo serrato e coinvolgente durante il quale Breuer cercher� di arrivare alle radici del male oscuro del filosofo e di indurlo ad aprirgli il cuore.

  • Sales Rank: #1749599 in eBooks
  • Published on: 2011-02-24
  • Released on: 2011-02-24
  • Format: Kindle eBook

Most helpful customer reviews

0 of 0 people found the following review helpful.
Good!
By Alessandro Storti
Great book to discover how Nietzsche could have been as person and not only as authour . Really advise to have it vext to the bed, good

0 of 0 people found the following review helpful.
Five Stars
By Michelle Perello
A very nice and particular book, I would definitively recom

mend it!

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Selasa, 09 November 2010

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Llf Principles/Applications Assessment Counseling, by Whiston

  • Published on: 2016-03-07
  • Original language: English
  • Number of items: 1
  • Dimensions: .0" h x .0" w x .0" l, .0 pounds
  • Binding: Ring-bound

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Senin, 08 November 2010

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The Complete Guide to Portfolio Construction and Management Hardcover February 6, 2012, by Lukasz Snopek

  • Published on: 1605
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Food Swings: 125+ Recipes to Enjoy Your Life of Virtue & Vice, by Jessica Seinfeld

An all-new collection of more than 125 delectable recipes that reflect the way we really eat: sometimes healthy, sometimes indulgent—delicious, either way

Food Swings offers a range of simple and satisfying recipes that speak to both sides of your food brain. Here you’ll find the perfect go-to dish for when you want to eat light or for when you are in the mood for something more indulgent. The first half of the book, “Virtue,” provides recipes for your controlled side, while the other half, “Vice,” is for when you need to feel the wind in your hair. All of it is meant to be enjoyed equally in this fun something-for-everyone collection. So whether you’re a home cook looking for new inspiration, a big eater who is ready to party, or a human who might be occupied with watching your waist, you will find what you are looking for in Food Swings. Those who are eating gluten-free, dairy-free, meat-free, or almost-vegan, you have come to the right place!

VIRTUE
Quinoa Bowl with Almond Butter, Strawberries, and Hemp Seeds
Ginger Salmon with Sesame Cucumbers 
Whole Roasted Cauliflower, Tomatoes, and Garlic
Roasted Plums with Honey and Pistachios

VICE
Cinnamon Buns
Buttermilk Panfried Chicken 
Lasagna Bolognese 
Chocolate Fudge Cake

In addition to the dozens of inspired dishes offered here, you’ll also find personal essays, tips, and tricks for best results, and a gorgeous color photo for nearly every recipe. So no matter what you’re in the mood for, you’ll find the perfect recipe for it in Food Swings.

Praise for Food Swings

“It’s a lot easier to make healthy choices when the meals are both good for you and crazy good at the same time. Jessica Seinfeld’s new book, Food Swings, has that nailed, packed as it is with simple recipes that are kind to your body, crowd-pleasingly delicious (quit the side-eye, picky fourth grader), even gluten-free. Dinner victory, all around.”—Redbook

“Seinfeld has assembled 125 recipes that allow readers to eat as healthfully or indulgently as their mood dictates. . . . Readers can have their cake and quinoa, too, with Seinfeld’s latest, which strikes an effective balance between two popular eating styles.”—Library Journal

“Jessica Seinfeld gets it, even down to the one-liners. With three cookbooks under her apron, Seinfeld takes a cue or two from her husband, Jerry, targeting both the devil and the damsel in her 125 recipes. She’s eminently practical, very straightforward, and keeps her dishes in line with our modern proclivities: quick, healthy with an occasional sinfulness, convenient for the beginner as well as for the experienced home chef.”—Booklist

“In a friendly voice Seinfeld encourages readers to take her approach to what she calls ‘food swings’ and eat without guilt. Or, she concedes, to eat with less guilt. . . . However you divide up the recipes, this is a great day-to-day cookbook with tasty-looking recipes that are approachable and simple to prepare.”—Publishers Weekly

  • Sales Rank: #579 in Books
  • Published on: 2017-04-25
  • Released on: 2017-04-25
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.20" h x 1.10" w x 8.26" l, 1.25 pounds
  • Binding: Hardcover
  • 288 pages

Review
“It’s a lot easier to make healthy choices when the meals are both good for you and crazy good at the same time. Jessica Seinfeld’s new book, Food Swings, has that nailed, packed as it is with simple recipes that are kind to your body, crowd-pleasingly delicious (quit the side-eye, picky fourth grader), even gluten-free. Dinner victory, all around.”—Redbook
 
“Seinfeld has assembled 125 recipes that allow readers to eat as healthfully or indulgently as their mood dictates. . . . Readers can have their cake and quinoa, too, with Seinfeld’s latest, which strikes an effective balance between two popular eating styles.”—Library Journal
 
“Jessica Seinfeld gets it, even down to the one-liners. With three cookbooks under her apron, Seinfeld takes a cue or two from her husband, Jerry, targeting both the devil and the damsel in her 125 recipes. She’s eminently practical, very straightforward, and keeps her dishes in line with our modern proclivities: quick, healthy with an occasional sinfulness, convenient for the beginner as well as for the experienced home chef.”—Booklist
 
“In a friendly voice Seinfeld encourages readers to take her approach to what she calls ‘food swings’ and eat without guilt. Or, she concedes, to eat with less guilt. . . . However you divide up the recipes, this is a great day-to-day cookbook with tasty-looking recipes that are approachable and simple to prepare.”—Publishers Weekly

About the Author
Jessica Seinfeld is the author of three New York Times bestselling cookbooks: Deceptively Delicious, Double Delicious, and The Can’t Cook Book. She is the president and founder of the GOOD+ Foundation (formerly Baby Buggy), a nonprofit organization that has donated more than twenty million items to low-income families through their national network of more than one hundred antipoverty programs across the United States. She lives in Manhattan with her husband, comedian Jerry Seinfeld, and their three children, two dachshunds, and one cat.

Most helpful customer reviews

3 of 4 people found the following review helpful.
Love the easy, fun recipes.
By Jboshea
I love her and her cookbooks b/c they are not too crazy hard and long to make. I like that she puts in the prep time and total time in each recipe and the pictures, YES, those are the best part! I browsed through and saw so many things I'm excited to make. Her honesty and the fact that she's feeding her family make you want to try these out.

3 of 4 people found the following review helpful.
I am going to love using this cookbook!
By S. Wilshe
I just received this cookbook this week and I have already tried 3 of the recipes. They are really easy and do not take a lot of preparation. Just what I need for our busy schedule. Oh, and I forgot the most important thing- they're SO GOOD! I am going to recommend this cookbook to everyone. Thank you Jessica Seinfeld!

0 of 0 people found the following review helpful.
This is one of my favorite cooking books so far
By Ana Chinchilla
This is one of my favorite cooking books so far ! A definite staple for my kitchen ! Specially the yummy receipts for breakfast !

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