Kamis, 28 Januari 2016

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Carnal Isræl: Reading Sex in Talmudic Culture, by Daniel Boyarin

Beginning with a startling endorsement of the patristic view of Judaism—that it was a "carnal" religion, in contrast to the spiritual vision of the Church—Daniel Boyarin argues that rabbinic Judaism was based on a set of assumptions about the human body that were profoundly different from those of Christianity. The body—specifically, the sexualized body—could not be renounced, for the Rabbis believed as a religious principle in the generation of offspring and hence in intercourse sanctioned by marriage.

This belief bound men and women together and made impossible the various modes of gender separation practiced by early Christians. The commitment to coupling did not imply a resolution of the unequal distribution of power that characterized relations between the sexes in all late-antique societies. But Boyarin argues strenuously that the male construction and treatment of women in rabbinic Judaism did not rest on a loathing of the female body. Thus, without ignoring the currents of sexual domination that course through the Talmudic texts, Boyarin insists that the rabbinic account of human sexuality, different from that of the Hellenistic Judaisms and Pauline Christianity, has something important and empowering to teach us today.

  • Sales Rank: #791692 in Books
  • Published on: 1995-08-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .65" w x 5.98" l, .85 pounds
  • Binding: Paperback
  • 272 pages

Review
"I find Boyarin's stance appealing, his fusion of Talmudic scholarship with post-modern literary theory brilliant, his arguments convincing."--Alicia Ostriker, "Women's Review of Books

About the Author
Daniel Boyarin is Taubman Professor of Talmudic Culture at the University of California, Berkeley and the author of A Radical Jew: Paul and the Politics of Identity (California, 1994).

Most helpful customer reviews

16 of 19 people found the following review helpful.
brilliant speculation
By Berel Dov Lerner
Boyarin manages to cover some very interesting Talmudic material on gender and sexuality in an intelligent and informed manner. He also has a deep understanding of cultural theory, and argues for a number of exceptionally striking theses regarding Talmuds' (deliberate plural: he contrasts the Babylonian Talmud with the Jerusalem or Land of Israel Talmud) relationships to sexuality, gender, and embodiment. HOWEVER, Boyarin's claims are so wide-ranging and fundamental that it would require the study of a great deal of additional primary textual material to really confirm them in a responsible fashion.

6 of 12 people found the following review helpful.
A taboo subject approached openly
By Maurizio Giuliano
This books approaches in a very open way the issue of sex in the Talmud. Not an easy thing to do... Yet it manages to do so well, without excessively offending one view or another. Through its approach, it probably expores one of the earliest expressions of feminism in Judaism.

0 of 0 people found the following review helpful.
Doing background reading
By Amazon Customer
This book is background reading for a class on the old testament. Great price. Only way to make it better would be to get the physical book.

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Rabu, 27 Januari 2016

!! Ebook Shakespeare's Metrical Art, by George T. Wright

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Shakespeare's Metrical Art, by George T. Wright

This is a wide-ranging, poetic analysis of the great English poetic line, iambic pentameter, as used by Chaucer, Sidney, Milton, and particularly by Shakespeare. George T. Wright offers a detailed survey of Shakespeare's brilliantly varied metrical keyboard and shows how it augments the expressiveness of his characters' stage language.

  • Sales Rank: #494267 in Books
  • Brand: Brand: University of California Press
  • Published on: 1991-11-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .82" w x 5.98" l, 1.10 pounds
  • Binding: Paperback
  • 363 pages
Features
  • Used Book in Good Condition

Review
"Wright's book is rare in its field in being extremely well-written and fascinating. . . . It is the best book about metre I have ever read, and one of the most helpful books about Shakespeare for some years."--Peter Levi, "Notes & Queries

About the Author
George T. Wright is Regents' Professor of English at the University of Minnesota and author of The Poet in the Poem and W. H. Auden.

Most helpful customer reviews

32 of 32 people found the following review helpful.
Best book on prosody, period.
By A Customer
This is more than a history of iambic pentameter and a brilliant analysis of its use in the hands of its greatest practitioner, it should probably also be read as the best general introduction to prosody available. Truly general introductions may touch on more forms and offer a more complete view of English poetic history, but none out there (that I've seen, at least) are as perceptive as Wright and none of them, perhaps because of their general natures, elucidate so fully the possibilities of expressive variation and mimetic form in poetry the way Wright does in such minute detail. Chapters like "Lines with extra syllables," or "Lines with omitted syllables," or "Play of phrase and line" may at first glance promise only dry reading, and it's probably hard to believe that a 300-page book on iambic pentameter could be one of the best works of literary criticism you could ever read. But this is an analysis of at least half of what poetry is all about and, more importantly, the half most rarely talked about (most college professors don't even know how to). Digest this rich and beautifully written book with a handful of Shakespeare's plays (you won't be able to stay away from them after reading it anyway) and you'll be ready to tackle and analyze most any other poet with relative confidence for yourself.

19 of 19 people found the following review helpful.
An introduction to the metrics of Shakespeare & his day.
By A Customer
George T. Wright's "Shakespeare's Metrical Art" is an
introduction not only to the art of Iambic Pentameter as
Shakespeare practiced it but also a starting point to an
understanding the art of Iambic Pentameter itself. Mr. Wright
argues that in Shakespeare the Iambic Pentameter meter found
its greatest and most flexible practitioner. In
appreciating the beauty of Shakespeare's artistry we also
come to appreciate the intrinsic artistry and beaty of the
meter. Mr. Wright's journey begins with Chaucer and Wyatt,
the former being the earliest practitioner of the Iambic
Pentameter line and also the greatest until Shakespeare. His
reading of Chaucer's lines, as most often Iambic Pentameter,
sometimes runs counter to accepted wisdom, yet, as with his
conception of the meter itself, his argument is well-reasoned
and convincing. More contraversial is his treatment of Wyatt's
often inconsistent use of meter. Yet, here again, Wright
offers the reader a plausible framework into which Wyatt's
poetry becomes another expression of the meter's vitality and
flexibility. From the further disintegration of the meter
after Wyatt, Wright begins his treatment of Shakespeare's
metrical art. Every facet of Shakespeare's flexible and
imaginative use of the meter (his diversions from its strict
course) is methodically examined and considered for its
possible influence upon the meaning of the text. These
diversions include Shakespeare's use of long and short lines,
syllabic ambiguity, lines with extra syllables, lines with
omitted syllables, trochees, false trochees and other such
variations as are possible within the iambic pentameter meter.
Wright rounds off the book with an all too short consideratiom
of the meters use after Shakespeare -- including the writers
Donne, Milton, and in passing twentieth writers Frost, Stevens,
and Eliot. With Mr. Wright's contention that the Iambic
Pentameter meter reached its zenith at Shakespeare's hands,
his argument comes to the inevitable conclusion that Shakespeare's
skill is one which later generations may echo, rarely equal, but never exceed.
This is a book both for the lover of Shakespeare and the
reader of poetry who wishes to better understand the art of
one of the english language's greatest trimphs.

11 of 11 people found the following review helpful.
An Excellent and Helpful Book
By Kent Richmond
If you are interested in prosody and want a brief introduction, I still recommend (now that it is back in print) Shapiro and Beum's The Prosody Handbook: A Guide to Poetic Form (Dover Books on Literature & Drama). It tells you just what you need to know, and you can comprehend it without a teacher's help. But if you want a greater understanding of the English language's most famous verse form, iambic pentameter, then I recommend George T.Wright's Shakespeare's Metrical Art.

Wright begins with a general description and history of iambic pentameter. We learn why it became such an important tool for English poets and see it at work in the hands of its various practitioners from Chaucer on. But the bulk of the book focuses on Shakespeare's use of the form. Using generous examples from the plays and statistical evidence, Wright shows how Shakespeare manipulated the iambic pentameter line to achieve dramatic effects and how Shakespeare's metrical choices changed over the span of his career.

Be prepared for quite a list of terms to describe Shakespeare's alterations and deviations--broken-backed lines, epic caesurae, double trimeters, amphibrach, enjambment, and so forth. If you do not have much background in the language of poetic rhythm, consider brushing up first on the basic terms (iambs, trochees, dactyls, anapests, spondees). Fortunately, Wright seems conscious of these difficulties and graciously uses self-explanatory terms--short lines, shared lines, long lines, extra syllables, omitted syllables--when he categorizes metrical deviations.

Another virtue of Wright's book is his cautious use of easily understood statistics to show the choices Shakespeare made. In its most basic sense, style means the repetition of certain elements, and the three tables in the appendix provide compelling evidence that Shakespeare did change his style as he matured as a dramatist and that he was also an accomplished writer of prose.

I need to state two caveats before fully endorsing the book. The book focuses on lines that deviate from the simplest conception of iambic pentameter in order to reveal elements of Shakespeare's art. But even at his wildest (Lear's banishment of Kent, for example), Shakespeare rarely wrote unmetrical lines. He stretched the meter without violating it, and that is why he is so good. Wright knows this, but by looking at unusual cases, he may give the impression that Shakespeare was indifferent toward meter and ignored its constraints. That notion is incorrect. Take a look at this twenty-syllable sentence: "Most English sentences have a rhythm/ that is not iambic pentameter." This sentence has the right number of syllables to form two lines of blank verse, but it violates Shakespeare's sense of iambic pentameter in two places. Shakespeare did not write verse lines with this rhythm. Such a line would be printed as prose. It is not Shakespearean verse.

I also worry that Wright allows for too much intentionality in Shakespeare's rhythmic choices. Shakespeare never really finished anything aside from the sonnets, and the plays we read today are often pieced together from the quarto, the folios, and actors' prompt books. I suspect Wright exaggerates the attention Shakespeare gave to his composition. In Wright's defense, there is no way to know what was craft and what was instinct. And there is no denying Shakespeare's ability to make iambic pentameter sound like natural speech. No other writer of his day that I know of matched Shakespeare's feel, grace, and timing.

On a personal note, Wright's book was invaluable in preparing me to write my verse translations of Shakespeare's plays. In rendering Shakespeare's lines into contemporary English, I had to make decisions as to what constituted a metrical line. When a line is deviant, was Shakespeare being careless, was the printer sloppy, or was it a part of Shakespeare's design? Should I carry that deviation over into my translation, or should I repair it? Wright's book was a definite help in deciding such things.

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Selasa, 26 Januari 2016

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Arabic Short Stories (Literature of the Middle East)From University of California Press

An alleyway of Tangier as seen through the eyes of a prostitute, the price paid by a sophisticated Cairene philanderer for his infatuation with a young bedouin girl, the callous treatment a young wife receives from the man to whom she has been married. These are some of the themes of the twenty-four stories in this volume, each by a different author and rendered into English by one of the finest translators of Arabic fiction. Among the authors represented are Edward El-Kharrat, Bahaa Taher, Alifa Rifaat, and Ghassan Kanafani. Through the eyes of insiders, these stories show us the intimate texture of life throughout the diverse countries and cultures of the Arabic world.

  • Sales Rank: #2419095 in Books
  • Published on: 1994-12-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .50" w x 5.51" l, .64 pounds
  • Binding: Paperback
  • 173 pages

Language Notes
Text: English, Arabic (translation)

About the Author
Denys Johnson-Davies has lived much of his life in the Middle East and has published fifteen volumes of modern Arabic literature. He lives in Cairo, Abu Dhabi, and Spain. Roger Allen is Professor of Arabic Literature at the University of Pennsylvania. He is the author of The Arabic Novel (1994) and Modern Arabic Literature (1987).

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4 of 4 people found the following review helpful.
Of Interest
By Reader in Tokyo
This book was published in 1983 and contained 24 stories by the same number of writers. Half of them were from Egypt, and the rest from 10 other Arab countries. There was nothing from the countries of the Arab peninsula. Two women were represented, Lebanon's Hanan al-Shaykh and Egypt's Alifa Rifaat. Information on the specific year of publication for most of the stories was lacking, but they appeared to date mostly from the 1970s.

From 1994, editions of the book contain an enlightening introduction to the development of the modern short story in the Arab world, written by the scholar Roger Allen. Roughly speaking, he describes the decades up to the 1940s as a period of the genre's emergence in connection with journalism, often reflecting a romantic sensibility, and development along the lines of French and Russian models.

The 1940s and 50s are described as a move away from romanticism toward a naturalistic form of realism, in which the short story was used frequently as a means of social criticism, with some degree of optimism prevailing. Writing in the 1960s reflected an increasing sense of alienation, stemming from the failure of political systems, heightened repression and the consequences of defeat in the 1967 war. Many writers shifted to more allusive, surreal and symbolic narratives to reflect their sense of a fragmented, illogical reality, with the trend continuing into the 1970s. At the same time, the later decades saw the increasing prominence of female writers. Allen's introduction also included a bibliography of other anthologies and translations of individual authors.

Stories enjoyed included "Small Sun," by Syria's Zakaria Tamer, a parable-like tale of a man whose greed and hopes led him to approach a djinn and suffer the consequences. "Another Evening at the Club," by Alifa Rifaat, about a pampered wife whose maid had to endure the effects of anxiety about her marriage. "The Persian Carpet," by Lebanon's Hanan al-Shaykh, about a sensitive girl's meeting with her divorced mother and an unhappy memory caused by the sight of a carpet. And "The Chair Carrier," by Yusuf Idris, in which a modern-day resident of Cairo encountered a specter from the Pharaonic age who refused to put down the burden given him long ago by his master.

"Flower Crazy," by Morocco's Mohammed Chukri, was mainly a series of weakly related vignettes from a woman's day that nevertheless were filled with vivid images and pungent sensations. "The Slave Fort," by Palestine's Ghassan Kanafani, described a narrator's trip to the seaside, where he met an unfortunate man and pondered the years of a man's life. Another piece, "Glimpses from the Life of Maugoud Abdul Maugoud and Two Postscripts," by Yusuf Sharouni, though hardly enjoyable, was interesting for its relentless plotting of the inward path taken by a narrator estranged from himself and happiness, with conflicting feelings of guilt and innocence, who might have committed several crimes.

Many of the other stories either were far too allusive, surreal or symbolic for me to understand or were relatively straightforward but just didn't capture my imagination. If this had been otherwise, I would've rated the book more highly.

Twelve of the stories in this collection have been included in the much larger Anchor Book of Modern Arabic Fiction, published in 2006 by the same translator, Denys Johnson-Davies. Having worked as a translator of Arabic fiction for 60 years, he's among those in the field who themselves should receive an unlimited number of stars.

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Minggu, 24 Januari 2016

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Rickshaw Beijing: City People and Politics in the 1920s, by David Strand

In the 1920s, revolution, war, and imperialist aggression brought chaos to China. Many of the dramatic events associated with this upheaval took place in or near China's cities. Bound together by rail, telegraph, and a shared urban mentality, cities like Guangzhou, Shanghai, and Beijing formed an arena in which the great issues of the day--the quest for social and civil peace, the defense of popular and national sovereignty, and the search for a distinctively modern Chinese society--were debated and fought over. People were drawn into this conflicts because they knew that the passage of armies, the marching of protesters, the pontificating of intellectual, and the opening and closing of factories could change their lives. David Strand offers a penetrating view of the old walled capital of Beijing during these years by examining how the residents coped with the changes wrought by itinerant soldiers and politicians and by the accelerating movement of ideas, capital, and technology. By looking at the political experiences of ordinary citizens, including rickshaw pullers, policemen, trade unionists, and Buddhist monks, Strand provides fascinating insights into how deeply these forces were felt. The resulting portrait of early twentieth-century Chinese urban society stresses the growing political sophistication of ordinary people educated by mass movements, group politics, and participation in a shared, urban culture that mixed opera and demonstrations, newspaper reading and teahouse socializing. Surprisingly, in the course of absorbing new ways of living, working, and doing politics, much of the old society was preserved--everything seemed to change and yet little of value was discarded. Through tumultuous times, Beijing rose from a base of local and popular politics to form a bridge linking a traditional world of guilds and gentry elites with the contemporary world of corporatism and cadres. 

  • Sales Rank: #1640373 in Books
  • Published on: 1993-04-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .86" w x 5.98" l, 1.15 pounds
  • Binding: Paperback
  • 388 pages

From the Inside Flap
"An important work that adds a new dimension to our understanding of the changing politics and society of China during the early twentieth century."--Lloyd Eastman, University of Illinois "Here is a study that combines rich description of Beijing life in the 1920s with incisive analysis of political change in modern China. In the interaction of police and rickshaw men, chambers of commerce and labor unions, political parties and occupational guilds, Strand finds the emergence of a new 'public' sphere of political activity. This is a path-breaking contribution to our understanding of modern Chinese politics."--Joseph W. Esherick, University of Oregon 

From the Back Cover
'A lucid and interesting analysis of Beijing society and politics in the generally confusing era of the 1920s...From Strand's careful account one realizes that the social and political life of Beijing even under warlordism was organized and integrated to a far greater extent than that of many younger cities in other countries.' John K. Fairbank, The China Quarterly

About the Author
David Strand is Associate Professor of Political Science at Dickinson College.

Most helpful customer reviews

7 of 11 people found the following review helpful.
Excellent, a masterpiece on the growth of Beijing
By A Customer
David Strand takes a large scale topic, namely the rise of Beijing in the early part of the century, and magnificently weaves a compelling tale. He covers all facets of city life, and in doing so, paints a vivid, and historically significant portrayal of life in 1920s Beijing. The book is definitely an important study and should be read by all who have any interest in China.

6 of 11 people found the following review helpful.
One of the best books on Republican China
By A Customer
I first came across this book when I was a graduate student in the China programme at London's School of Oriental and African Studies (SOAS). It is certainly one of the best works on early 20th century China.

3 of 7 people found the following review helpful.
Brilliant study; meticulous, original research.
By A Customer
A masterpiece of historical research and writing.
Brilliant study; meticulous, original research.
A model for historians.
Wish that I had wrote it.

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Protestants are making phenomenal gains in Latin America. This is the first general account of the evangelical challenge to Catholic predominance, with special attention to the collision with liberation theology in Central America. David Stoll reinterprets the "invasion of the sects" as an evangelical awakening, part of a wider religious reformation which could redefine the basis of Latin American politics.

  • Sales Rank: #2482743 in Books
  • Published on: 1991-07-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.48 pounds
  • Binding: Paperback
  • 445 pages

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Sabtu, 23 Januari 2016

* Free Ebook Fear at the Edge: State Terror and Resistance in Latin AmericaFrom University of California Press

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Fear at the Edge: State Terror and Resistance in Latin AmericaFrom University of California Press

Despite the emergence of fragile democracies in Latin America in the 1980s, a legacy of fear and repression haunts this region. This provocative volume chronicles the effect of systematic state terror on the social fabric in Chile, Argentina, Brazil, and Uruguay from the 1960s to the mid-1980s.

The contributors, primarily Latin American scholars, examine the deep sense of insecurity and the complex social psychology of people who live in authoritarian regimes. There is Argentina, where the brutal repression of the 1976 coup almost completely smothered individuals who might once have opposed government practices, and Uruguay, where the government forced the population into neutrality and isolation and cast a silent pall on everyday life. Accounts of repression and resistance in Chile and Brazil are also vividly presented. The denial and rationalization by citizens in all four countries can only be understood in the context of the generalized fear and confusion created by the violent military campaigns, which included abductions, torture, and disappearances of alleged terrorists.

The recent transition to civilian rule in these countries has spotlighted their powerful legacy of fear. These important essays reveal disturbing insights into how fear is generated, legitimized, accommodated, and resisted among people living under totalitarian rule.

  • Sales Rank: #1811697 in Books
  • Published on: 1992-12-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .69" w x 5.98" l, .90 pounds
  • Binding: Paperback
  • 308 pages

From the Inside Flap
"A genuinely interdisciplinary work . . . the best attempt I have ever seen at a truly unified intellectuals' approach to an important issue."—Timothy Wickham-Crowley, Georgetown University

"Very seldom does a collected volume achieve the academic quality and internal coherence that one sees in this case. It is a major contribution to comparative research on post-authoritarian situations."—Carlos Waisman, University of California, San Diego

From the Back Cover
"A genuinely interdisciplinary work . . . the best attempt I have ever seen at a truly unified intellectuals' approach to an important issue."--Timothy Wickham-Crowley, Georgetown University

"Very seldom does a collected volume achieve the academic quality and internal coherence that one sees in this case. It is a major contribution to comparative research on post-authoritarian situations."--Carlos Waisman, University of California, San Diego

About the Author
Juan E. Corradi is Professor of Sociology at New York University and the author of The Fitful Republic: Economy, Society, and Politics in Argentina (1985). Patricia Weiss Fagen works for the United Nations High Commission for Refugees in El Salvador and is the author of Exiles and Citizens: Spanish Republicans in Mexico (1973). Manuel Antonio Garretón is a member of the Latin American Faculty of Social Sciences in Santiago, Chile.

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Kamis, 21 Januari 2016

!! Ebook UNESCO General History of Africa, Vol. VIII: Africa since 1935 (unabridged paperback)From University of California Press

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UNESCO General History of Africa, Vol. VIII: Africa since 1935 (unabridged paperback)From University of California Press

The result of years of work by scholars from all over the world, The UNESCO General History of Africa reflects how the different peoples of Africa view their civilizations and shows the historical relationships between the various parts of the continent. Historical connections with other continents demonstrate Africa's contribution to the development of human civilization. Each volume is lavishly illustrated and contains a comprehensive bibliography.

This final volume of the acclaimed series of African history by African scholars takes on the complex political, economic, and cultural challenges the continent has faced—and still faces—in shaking off the legacy of colonialism. The book begins with Mussolini's invasion of Ethiopia in 1935 and continues on through the struggle for independence in the years following World War II. The glittering but uncertain dawn of independence that began in the 1960s has resulted in a quest for development that continues today.

Editor A. A. Mazrui and his contributors address the impact of these challenges for the present and future. In his concluding chapter, Mazrui suggests that Africa still awaits two great revolutions—a sexual revolution in the roles of men and women and a scientific revolution in the skills of its people.

  • Sales Rank: #796339 in Books
  • Published on: 1999-04-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.25" h x 2.00" w x 5.50" l, 2.42 pounds
  • Binding: Paperback
  • 1071 pages

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22 of 35 people found the following review helpful.
A Politically Correct History of Africa
By Roberto Munguambe
One should expect the eigth volume of UNESCO's General History of Africa to be the most disappointing in the series. The previous volumes had shown the motive behind UNESCO's project was not so much to make a history of africa as to make a history africans should be proud of. That is one hard task to accomplish once you try and tackle with the post-colonial history of the continent. One can understand the focus on the struggle for independence, even though some of the chapters read tiring. It is the chapters on independent africa that simply are not honest history-making: terror, censorship and corruption in the new-born african nations does not figure in this book, the mad reveries of african socialism and personality-cult are politely brushed aside. This is not the history of africa as one can tell it today, it is an elaboration on the politically correct which does africans no favor.

1 of 9 people found the following review helpful.
Required Text
By J. Stallworth
This book was required for my class so I had no choice but to buy it. It arrived before I expected and was much cheaper here than it was in the campus bookstore. Overall, Amazon was a great way to go!

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First published in 1850, New York by Gas-Light explores the seamy side of the newly emerging metropolis: "the festivities of prostitution, the orgies of pauperism, the haunts of theft and murder, the scenes of drunkenness and beastly debauch, and all the sad realities that go to make up the lower stratum—the underground story—of life in New York!" The author of this lively and fascinating little book, which both attracted and offended large numbers of readers in Victorian America, was George G. Foster, reporter for Horace Greeley's influential New York Tribune, social commentator, poet, and man about town. Foster drew on his daily and nightly rambles through the city's streets and among the characters of the urban demi-monde to produce a sensationalized but extraordinarily revealing portrait of New York at the moment it was emerging as a major metropolis. Reprinted here with sketches from two of Foster's other books, New York by Gas-Light will be welcomed by students of urban social history, popular culture, literature, and journalism.

Editor Stuart M. Blumin has provided a penetrating introductory essay that sets Foster's life and work in the contexts of the growing city, the development of the mass-distribution publishing industry, the evolving literary genre of urban sensationalism, and the wider culture of Victorian America. This is an important reintroduction to a significant but neglected work, a prologue to the urban realism that would flourish later in the fiction of Stephen Crane, the painting of George Bellows, and the journalism of Jacob Riis.

  • Sales Rank: #614538 in Books
  • Color: Red
  • Published on: 1990-11-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .59" w x 5.98" l, .79 pounds
  • Binding: Paperback
  • 251 pages

Most helpful customer reviews

14 of 15 people found the following review helpful.
A Great Sampler of a Great Sensationalist
By Rocco Dormarunno
Stuart Blumin has done a brilliant job of capturing the essence of George Foster's contemporaneous accounts of New York as he presented it, in "New York by Gas-Light and Other Urban Sketches". By that I mean that this collection of "sketches" are not to be taken as literal accounts. This is not a history. George Foster was one of the acknowledged kings of sensationalism when it came to writing about mid-19th century New York City.
While the Five Points neighborhood was a crime-ridden, filthy neighborhood, its depiction in Foster's accounts are highly exaggerated. And while crime was an unavoidable element of a New York which, at the time, had no real police force, Foster's essays would lead one to believe that merely walking down the street--any street--was an invitation to mayhem. This was not true then, nor is it now. So why did he write these sketches? Why did he make Manhattan seem so undesirable? Because there was a profit to be made. Affluent New Yorkers bought these types of books to make themselves feel better about their own situations, and it offered them a bit of voyeurism into a dark world that was a part of their island. It also proved popular with people in other cities, as they could read about the terrors of a New York City that was cluttered with "filthy immigrants", criminals and chaos. And George Foster played it to the hilt!
If you can put aside the over-the-top stuff, however, there is much to be learned in these pages. The streets of lower Manhattan were congested, they did smell (think of the wild pigs or of the countless horses that were relied upon for transportation), and the misery of the slums was a given, if you were poor. Foster's language is also an undeniable historic artifact, as it captures the idioms of the day.
For my money, the more historic sketches are in the second half of this collection, the streaks of "sunlight". Here Foster presents a handful of vignettes of every day life in the growing city. "The Eating-Houses" is a delightful look at how ordinary men and women took their meals. And the "Quarter of an Hour under an Awning" is so lucid, so cleanly written--even with its pickpocket story--that it is the most "real feeling" essay in the book. The sudden storm that breaks out during the afternoon rush hour, the inablility to catch an omnibus (bus) or a hack (taxi) rings true to this day. At times, on my lunch hour, I walk by the street corner near City Hall where this quarter of an hour passed, and can watch it all transpire in my head. With so many of the old buildings still extant in that area, it's easy to do.
"New York by Gas-Light and Other Urban Sketches" is a marvelous book about a by-gone era in New York's history, as well as a great insight into the sensational sensationalist that George Foster was.
Rocco Dormarunno, author of The Five Points and The Five Points Concluded

18 of 20 people found the following review helpful.
Excellent First-Person Account of New York Life in 1850
By L. Sabin
This book was a delight to read. The fact that it was written as a first person account, using the vernacular of the time, made it even better. Also, the fact that the majority of the book is involved with nocturnal New York, and all the seedy goings-on one might associate with it in any time period, make it even more interesting. I especially liked the way Foster evoked a sense of adventure, by figuratively taking the readers hand and "leading" him down darkened streets and alleys, etc.
For a quick dose of NYC history from a perspective you can't get everywhere else, this book is highly recommended.

2 of 2 people found the following review helpful.
Sensationalism at its most sensational
By Dark Romantic
To start with, Blumin's introduction is an important piece, wrangling together the few certain facts about Foster's life and career; this alone makes Blumin's work valuable. He also contextualizes the writing and offers an extended analysis of the type of sensationalism Foster wrote, why it was popular, and how to read and understand it. Foster's book itself is outstanding - and a fun read. He writes like a poet, with beautiful imagery and fascinating description. I picked this book up partly because it fed into my interest in George Lippard and his book "The Quaker City, Or, the Monks of Monk Hall: A Romance of Philadelphia Life, Mystery, and Crime," but the two are hardly comparable. Lippard offers a more enclosed urban storyline and, more importantly, he's not a good writer and his over-the-top moral judgments as the story rolls along make it nearly unreadable except for specialists. Foster, however, knows how to entertain, but he also writes elegantly. It's a sort of bouncy, witty style that reminds me a bit of the prose of Nathaniel Parker Willis - especially because it is written in the first person and invites the read to tag along on the adventure.

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Rabu, 20 Januari 2016

# Fee Download I, Candidate for Governor: And How I Got Licked, by Upton Sinclair

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I, Candidate for Governor: And How I Got Licked, by Upton Sinclair

Here, reprinted for the first time since its original publication, is muckraking journalist Upton Sinclair's lively, caustic account of the 1934 election campaign that turned California upside down and almost won him the governor's mansion.

Using his "End Poverty in California" movement (more commonly called EPIC) as a springboard, Sinclair ran for governor as a Democrat, equipped with a bold plan to end the Depression in California by taking over idle land and factories and turning them into cooperative ventures for the unemployed. To his surprise, thousands rallied to the idea, converting what he had assumed would be another of his utopian schemes into a mass political movement of extraordinary dimensions. With a loosely knit organization of hundreds of local EPIC clubs, Sinclair overwhelmed the moderate Democratic opposition to capture the primary election. When it came to the general election, however, his opposition employed highly effective campaign tactics: overwhelming media hostility, vicious red-baiting and voter intimidation, high-priced dirty tricks. The result was a resounding defeat in November.

I, Candidate tells the story of Sinclair's campaign while also capturing the turbulent political mood of the 1930s. Employing his trademark muckraking style, Sinclair exposes the conspiracies of power that ensured big-money control over the media and other powerful institutions.

  • Sales Rank: #1410804 in Books
  • Published on: 1994-12-16
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .61" w x 5.51" l, .77 pounds
  • Binding: Paperback
  • 272 pages

Most helpful customer reviews

13 of 14 people found the following review helpful.
Surprising and Enjoyable
By A Customer
This excellant account of the race for governor in California offers unique insight into the tactics and motivations of the canidates and their supporters with a wry but rarely bitter pen. Written by Sinclair almost imediately after the conclusion of the race, this journal of sorts sheds first hand light on the California of 1934. A California that disturbingly resembles the America of today. The connection I made with the author's deepest values allows me to accept Upton Sinclair as worthy of my emulation. Read this.

1 of 1 people found the following review helpful.
Easy to keep a good man down, just take his job.
By grafdog
Excellent product! Highly recommended to anyone who enjoys a quality interlude of tasteful entertainment.

0 of 0 people found the following review helpful.
Worth Reading Today
By Scott McLaughlin
Terrific account of how politics really works, and how reform movements are easily derailed by the media and political elite. At once witty and wise, Sinclair provides a down-to-earth account of the EPIC campaign: End Poverty in California.

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Senin, 18 Januari 2016

> Ebook Free The Selected Poetry Of Yehuda Amichai, Newly Revised and Expanded edition (Literature of the Middle East), by Yehuda Amichai

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The Selected Poetry Of Yehuda Amichai, Newly Revised and Expanded edition (Literature of the Middle East), by Yehuda Amichai

Yehuda Amichai is Israel's most popular poet as well as a literary figure of international reputation. In this revised and expanded collection, renowned translators Chana Bloch and Stephen Mitchell have selected Amichai's most beloved and enduring poems, including forty new poems from his recent work.

from Tourists:Once I was sitting on the steps near the gate at David's Citadel and I put down my two heavy baskets beside me. A group of tourists stood there around their guide, and I became their point of reference. "You see that man over there with the baskets? A little to the right of his head there's an arch from the Roman period. A little to the right of his head." "But he's moving, he's moving!" I said to myself: Redemption will come only when they are told, "Do you see that arch over there from the Roman period? It doesn't matter, but near it, a little to the left and then down a bit, there's a man who has just bought fruit and vegetables for his family."

  • Sales Rank: #524896 in Books
  • Published on: 1996-10-30
  • Original language: English
  • Number of items: 1
  • Dimensions: .62" h x 6.07" w x 8.91" l, .75 pounds
  • Binding: Paperback
  • 192 pages

From Publishers Weekly
Pieces of laundry hanging from Jerusalem's rooftops serve as signposts distinguishing Arabs from Jews; Amichai's brief lyric crystallizing their mutual hatred would heal the rift, if words could. Israel's best-known poet sifts centuries of Jewish experience in firsthand impressions of his troubled land; moreover, he makes the particular universal. In their remarkable translations, Bloch and Mitchell bring over the poet's healing, wise voice in a modern American idiom that nevertheless remains true to his biblical and cultural roots. Amichai circumscribes the world in a few lines; pain, joy, sorrow, hope press against the reader with the felt weight of experience. Love poems are shot through with an ironic awareness that love is no panacea. In their richness of history, their ever-present political dimension, their sharing of a common frame of reference with their audience, these poems are miles above almost anything in contemporary American verse.
Copyright 1986 Reed Business Information, Inc.

Review
"For sheer energy of imagination, for the constantly renewed sense of poetry's ability to engage reality, Amichai has no close competitors on the Israeli scene, and perhaps only a few worldwide." -- Robert Alter, New York Times Magazine

1924
1978 Reunion Of Palmach Veterans At Ma'ayan Harod
Advice For Good Love
All These Make A Dance Rhythm
Almost A Love Poem
And As Far As Abu Ghosh
And That Is Your Glory
An Arab Shepherd Is Searching For His Goat On Mount Zion
As For The World
At The Beach
At The Maritime Museum
At The Monastery Of Latroun
At The Seashore
Autobiography, 1952
Autumn Is Near And The Memory Of My Parents
Autumn Rain In Tel Aviv
Ballad In The Streets Of Buenos Aires
Ballad Of The Washed Hair
Before
Beginning Of Autumn In The Hills Of Ephraim
The Body Is The Cause Of Love
The Box
A Bride Without A Dowry
The Bull Returns
A Child Is Something Else Again
Children's Procession
The Course Of A Life
The Diameter Of The Bomb
A Dog After Love
Ecology Of Jerusalem
Elegy
Elegy On An Abandoned Village
The Elegy On The Lost Child
End Of Summer In The Judean Mountains
An Eternal Window
The Eve Of Rosh Hashanah
Evidence
Fall In Connecticut
Farewell
Field Of Sunflowers
First Rain On A Burned Car
A Flock Of Sheep Near The Airport
For My Birthday
Forgetting Someone
From In A Right Angle: A Cycle Of Quatrains
From Summer Or Its End
From The Book Of Esther I Filtered The Sediment
From We Loved Here
Gifts Of Love
God Has Pity On Kindergarten Children
A Great Tranquillity: Questions And Answers
The Greatest Desire
Half The People In The World
Half-sized Violin
Hamadiya
Here
History
The Hour Of Grace
Huleikat--the Third Poem About Dicky
I Feel Just Fine In My Pants
I Guard The Children
I Know A Man
I Lost My Identity Card
I Walked Past A House Where I Lived Once
I've Already Been Weaned
I've Grown Very Hairy
Ibn Gabirol
In A Leap Year
In The Full Severity Of Mercy
In The Garden, At The White Table
In The Middle Of This Century
In The Morning It Was Still Night
In The Old City
Inside The Apple
Instead Of Words
Jacob And The Angel
Jasmine
Jerusalem
Jerusalem Is Full Of Used Jews
Jerusalem, 1967
Jerusalem, 1985
Jews In The Land Of Israel
Kibbutz Gevaram
The Last Word Is The Captain
Late Marriage
A Letter
A Letter Of Recommendation
Like The Inner Wall Of A House
Look: Thoughts And Dreams
Lost Objects
Love Is Finished Again
Love Song
A Luxury
A Man In His Life
A Man Like That On A Bald Mountain In Jerusalem
Mayor
A Mutual Lullaby
My Father In A White Space Suit
My Mother Comes From The Days
My Mother Died On Shavuot
National Thoughts
Near The Wall Of A House
North Of Beersheba
North Of San Francisco
Not Like A Cypress
Now In The Storm
Now She's Breathing
Now The Lifeguards Have All Gone Home
Of Three Or Four In A Room
On Mount Muhraka
On Some Other Planet You May Be Right
On The Day I Left
On The Day My Daughter Was Born No One Died
Orchard
A Pace Like That
The Parents Left The Child
A Pity. We Were Such A Good Invention
The Place Where We Are Right
Poem For Arbor Day
Poem Without An End
Poems For A Woman
A Precise Woman
Psalm
A Quiet Joy
The Real Hero
Relativity
Resurrection
Ruhama
The Rustle Of History's Wings, As They Used To Say Then
Sandals
The Sea And The Shore
Seven Laments For The War-dead: 1
Seven Laments For The War-dead: 2
Seven Laments For The War-dead: 3
Seven Laments For The War-dead: 4
Seven Laments For The War-dead: 5
Seven Laments For The War-dead: 6
Seven Laments For The War-dead: 7
The Shore Of Ashkelon
Six Poems For Tamar
The Smell Of Gasoline Ascends In My Nose
So I Went Down To The Ancient Harbor
A Song Of Lies On Sabbath Eve
Songs Of Continuity
Songs Of Zion The Beautiful: 11
Songs Of Zion The Beautiful: 12
Songs Of Zion The Beautiful: 14
Songs Of Zion The Beautiful: 15
Songs Of Zion The Beautiful: 17
Songs Of Zion The Beautiful: 18
Songs Of Zion The Beautiful: 2
Songs Of Zion The Beautiful: 21
Songs Of Zion The Beautiful: 22
Songs Of Zion The Beautiful: 23
Songs Of Zion The Beautiful: 27
Songs Of Zion The Beautiful: 29
Songs Of Zion The Beautiful: 3
Songs Of Zion The Beautiful: 31
Songs Of Zion The Beautiful: 32
Songs Of Zion The Beautiful: 34
Songs Of Zion The Beautiful: 35
Songs Of Zion The Beautiful: 36
Songs Of Zion The Beautiful: 37
Songs Of Zion The Beautiful: 4
Songs Of Zion The Beautiful: 5
Songs Of Zion The Beautiful: 8
Sonnet From The Voyage
Sort Of An Apocalypse
Statistics
Such As Sorrow
Summer Begins
Summer Evening In The Jerusalem Mountains
The Sweet Breakdowns Of Abigail
There Are Candles That Remember
They Are All Dice
Threading
Through Two Points Only One Straight-line Can Pass
To A Convert
To Bake The Bread Of Yearning
To Carry The Weight Of Heavy Buttocks
To My Love, Combing Her Hair
Too Many
Tourists
Travels Of The Last Benjamin Of Tudela
Try To Remember Some Details
Two Disappeared Into A House
Two Photographs
The U.n. Headquarters In The High Commissioner's House
The Visit Of The Queen Of Sheba
The Way It Was
What A Complicated Mess
What Kind Of Man
When A Man's Far Away From His Country
When I Banged My Head On The Door
When I Have A Stomachache
When I Was A Child
When I Was Young, The Whole Country Was Young
Wildpeace
Yehuda Ha-levi
Yom Kippur
You Are So Small And Slight In The Rain
You Can Rely On Him
You Mustn't Show Weakness
You Too Got Tired
I've Grown Very Hairy
-- Table of Poems from Poem Finder®

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

Most helpful customer reviews

50 of 50 people found the following review helpful.
This is =the= translation of =the= Israeli poet
By Ari Davidow
Reading Yehuda Amichai in Hebrew is wonderful. His sense of word is matched only by the way in which his whimsy and depth reflect Israel. But translations in English have been so bad that the translators, editors, and publishers of such editions should probably be exiled to a supermarket in the suburbs where they are forced to listen to Rod McKuen all day. This, on the other hand, is poetry. I attribute the success of this volume to the fact that both Chana Bloch and Stephen Mitchell, the translators, are such outstanding poets and translators in their own rights. A few of my favorite poems are missing, but so many wonderful ones are here; reading them in this English is like discovering them all over again, and discovered how good he is all over again.

15 of 15 people found the following review helpful.
Amichai's beautiful map
By Ann Pai
To read Yehuda Amichai in English is to sojourn, yes, in Jerusalem, more, in Amichai's denuded heart -- but to see it all with a crick in my neck, able only to look out the left-hand side of the bus. In this translation of his Selected Poetry, the scenes pass: stone and sand architecture; crowds of workers, soldiers, family members; heaped goods and quiet meals; long loves and fleeting notice. Reading these poems is to sustain explosions of new sense memories, to be consumed with fresh details -- reading the poems in English is to know they harbor still more beauty. Not knowing Hebrew, I can't turn my head to see what incomparable, heartbreaking balance of truth and wish lies out that window.

Amichai's voice is calm, colloquial, casual. The way one might say, "Pardon me, you've dropped your pen," Amichai will say, "And in the big cities, protestors blocked the roads like / a blocked heart, whose master will die..."

So I wonder what I'm not hearing. How must one who makes easy fantastical connections, who sets single nouns and entire memory constructs equal, also play with homonym, rhythm, internal rhyme, with invented words, cousins of ancient words? This is, after all, Amichai--a poet credited with revivification, with re-knitting the bones of Hebrew vernacular. His poetry gave a country a new map into its old language.

Here's Amichai: "At the end of summer I breathe this air / that is burnt and pained. My thoughts have / the stillness of many closed books: / many crowded books, with most of their pages / stuck together like eyelids in the morning."

And Amichai, to a woman: "You had a laughter of grapes: / many round green laughs. / Your body is full of lizards. / All of them love the sun."

In these poems, the acts of watching and describing become one intention, one result. Amichai systematizes little, responds much; sees, and does not sneer; judges, not to dispose but to know. His poems are not slices of life, but core samples.

If you want to learn something about how to love a city and yet not pretend its horrors do not exist, how to cherish a person, yet not omit flawed relationship, read Yehuda Amichai. If you want to read not a declaration of love, but a proof of love, read Amichai. For to observe without flinching, whatever terrors of truth or beauty may appear, and remain steadfast, observing, is a proof of love. "I see everything about you," Amichai says to the city, the seasons, the soldiers, his woman, his father, his God, "and here I am still."

Amichai is not frightened away. He thereby makes it safe for us to look on a terrible world complete.

I suspect that in Hebrew, the one difficulty of these poems would dissipate. In weight, in flavor, the poems are like a rare, nutritive honey -- not a condiment but a dietary staple, heavy, dependable. I suspect that in Hebrew the tone dances, that the phrases don't share a single, though delicious, viscosity, as in English. But who am I to complain of manna?

What survives translation is not the full tour, not a map to Hebrew vernacular. What survives is a map through Amichai. We can navigate by these lines and points, read the poems like the knots of a safety rope -- here -- we descend into the technical truths of war, of loss, and of heretofore unimaginable love.

9 of 9 people found the following review helpful.
The most popular poet of Israel
By Shalom Freedman
Amichai is the most popular and beloved poet of Israel. His language is at once understandable , and clear, deep and suggestive. He learned from American poetry the colloquial voice and he speaks to his reader in a kind of down-to- earth language which is nonetheless rich with knowledge of Hebrew traditional texts, most prominently the Bible. Amichai writes of the great themes , love and war, and he writes out of his own experience. He writes with reverence and irony both in relation to the people close to him and to the land of Israel. His connection with Jerusalem is special and he presents the many layers of its complex history and identity through his own personal daily meanderings in the city.

He is a humane and profound poetry who while confronting the most painful realities nonetheless presents a voice strongly affirming the value of life.

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