Kamis, 29 Maret 2012

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Gallipoli, by Peter Hart

One of the most famous battles in history, the WWI Gallipoli campaign began as a bold move by the British to capture Constantinople, but this definitive new history explains that from the initial landings--which ended with so much blood in the sea it could be seen from airplanes overhead--to the desperate attacks of early summer and the battle of attrition that followed, it was a tragic folly destined to fail from the start.

Gallipoli forced the young Winston Churchill from office, established Turkey's iconic founder Mustafa Kemal (better known as "Ataturk"), and marked Australia's emergence as a nation in its own right. Drawing on unpublished eyewitness accounts by individuals from all ranks--not only from Britain, Australia and New Zealand, but from Turkey and France as well--Peter Hart weaves first-hand stories into a vivid narrative of the battle and its aftermath. Hart, a historian with the Imperial War Museum and a battlefield tour guide at Gallipoli, provides a vivid, boots-on-the-ground account that brilliantly evokes the confusion of war, the horrors of combat, and the grim courage of the soldiers. He provides an astute, unflinching assessment of the leaders as well. He shows that the British invasion was doomed from the start, but he places particular blame on General Sir Ian Hamilton, whose misplaced optimism, over-complicated plans, and unwillingness to recognize the gravity of the situation essentially turned likely failure into complete disaster.

Capturing the sheer drama and bravery of the ferocious fighting, the chivalry demonstrated by individuals on both sides amid merciless wholesale slaughter, and the futility of the cause for which ordinary men fought with extraordinary courage and endurance--Gallipoli is a riveting account of a battle that continues to fascinate us close to a hundred years after the event.

  • Sales Rank: #461132 in Books
  • Published on: 2011-10-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.60" h x 1.70" w x 9.20" l, 1.89 pounds
  • Binding: Hardcover
  • 544 pages

Review

"[Peter Hart] has skillfully blended his analysis of the campaign with scores of personal accounts from both sides that fought at Gallipoli, and there are numerous maps to help readers better understand the progress of the fighting. Those who are interested in the First World War will find this a most compelling book, as we seek 'to resolve the conundrum of how somthing so stupid, so doomed from the outset, can remain so utterly fascinating.'" --Army History


"Gallipoli is replete with lengthy and compelling quotations by Australian, British, French and Turkish soldiers, most never before published. Hart's intimate familiarity with the battlefield, where he leads regular tours, adds a level of understanding absent from other books. Overall, Gallipoli is an important contribution to the growing literature on this epic and tragic campaign." --Edward G. Lengel, Military History


"The human element still defines this compelling account of an operation Hart dismisses as a 'lunacy that never could have succeeded,' driven by wishful thinking as opposed to the professional analysis of ends and means...He is at his best, however, in explaining and presenting the 'near-superhuman courage and endurance' of the combatants. That remains Gallipoli's enduring appeal." --Publishers Weekly


"An important reevaluation, largely from the Allied point of view. An excellent summary of an iconic campaign, offering many lessons for war planners." --Library Journal


"HERE is a marvellous, ghastly book...What makes Mr Hart's version so bracing is his method. He is a specialist in oral history at London's Imperial War Museum, and this book, like others he has written or co-written, gains richness and texture from the use of first-hand testimony." --The Economist


"This thorough updating of one of WWI's great 'might have beens' makes a good acquistion as we approach the centennial of the battle." --Booklist


"Macleod's Gallipoli is a valuable contribution to the sea of Gallipoli scholarship available. Her focus on the meaning of the campaign to the cultures of several of the participant nations is a much-needed scholarly approach to what is often an emotional discussion."-Richard Fulton, H-Net


About the Author

Peter Hart is Oral Historian of the Imperial War Museum and works as battlefield tour guide at Gallipoli. He is author of The Somme: The Darkest Hour on the Western Front and 1918: A Very British Victory

Most helpful customer reviews

53 of 53 people found the following review helpful.
A masterful anatomy of futile courage
By George A. Webster
`Gallipoli' is not the first time that Hart has been drawn to the disastrously conceived campaign of that name. He first put it under the microscope seventeen years ago in `Defeat At Gallipoli' , co-written with Nigel Steel. Since then, he has visited those fatal shores on several occasions leading battlefield tours. He tells us, indeed, that "Gallipoli will always be my primary interest in the Great War. I still love visiting the scenes of this most powerful of human dramas and long may that continue." In other words, here is an author who for the best part of twenty years has worked with and reflected upon the historical evidence for his subject as well as familiarising himself with the physical landscape upon which it was enacted. `Gallipoli' is the fully realised culmination of this investment of time and effort.

Hart sets out the scope of his book in his Preface. His purpose is to give an insight into what it was like to be a soldier at Gallipoli almost a century ago. This he achieves through his skilful selection of largely unpublished accounts from the men themselves. He's been weaving such eyewitness narratives into his books for long enough now to need no particular commendation from me as to how well he does this. But Hart's `Gallipoli' is an important book because of the context into which he places these fascinating first-person accounts. His overarching goal is to expose the futility of the campaign in which these individual experiences took place. This is achieved in two ways. Firstly, throughout the book Hart, himself a convinced `Westerner', looks at the Gallipoli adventure from the gimlet eyed perspective of the professional observers amongst the British High Command on the Western Front - the men who, rightly, remained convinced throughout the war that the only way to decisively win it was to beat the main German field army in the main theatre of the war. Hart never lets the reader forget that that was always going to be the Western Front, not the Dardanelles and that the latter was always a distraction from and a drain upon the former. Secondly, Hart guides us through the key battles of the Gallipoli campaign with a keen eye for the most tactically illuminating and less familiar episodes. In other words there is much that is new in this retelling of an oft-told tale.

Not the least of Hart's achievements in `Gallipoli' is to strike the right balance in according due prominence and recognition to each of the contingents of the truly international forces deployed there. Few military campaigns have spawned such legacies of national sentiment around the globe as Gallipoli. In Turkey and Australia and New Zealand in particular the epic of Gallipoli has become an essential component of the sinews of nationhood and a key element of the unifying myths which are essential to creating a sense of national identity in all countries. Yet whilst giving due recognition to these elements, and building the core of the story he unfolds around the British and ANZAC forces, Hart never loses sight of the important contributions of others. In particular, he makes the telling point that the part played by the French has usually received less than its due in English language accounts and that "it could be argued that they were the most effective fighting force at Gallipoli." Nor does he fall into the trap of portraying an Allied disaster as having more to do with bad luck than the skill and tenacious courage of their enemy. To this end Hart has introduced evidence from Turkish sources to give the reader a conception of the battle from their point of view. As he justly puts it, "they were, after all, the victors in 1915; the story they tell is one of equal heroism and superior military competence." Yet out of this broad picture of the seat of war and the various contingents engaged there, the stoic courage and bloody minded endurance of the losers never fails to impress the reader of the well-chosen and often moving accounts of the appalling situation which they found themselves in. The factual foundation stones of the ANZAC legend are safe in Hart's capable hands.

Peter Hart has an impressive enough back catalogue of Great War histories to his name which speak for themselves - almost literally, more often than not, due to his trademark use of unerringly apt quotations from the participants. Hart's skills, developed over thirty years of interviewing military veterans as the oral historian at the Imperial War Museum, are never less than evident in his selection of these verbatim quotes. Others, of course, have used similar techniques - Lyn MacDonald is one who springs immediately to mind. What takes Hart's work immeasurably beyond such cut and paste works, however, is the insight and authority of his linking narratives which place his eyewitness accounts firmly into their historical context. The wisdom of Hart's contextualisation and conclusions are what have earned him a reputation as a fine military historian. Whilst he is an unashamedly popular narrative historian, Hart's books always fully support his conclusions through their extensive source notes. In his `Gallipoli' we see the maturing of an historian at the top of his game. In this book the authoritative historical analysis and narrative into which the gem stones of the accounts of participants are set is even more extensive than in his previous works, giving Peter Hart's `Gallipoli' an immediate claim to be an essential title for anyone interested in what the author calls this "doomed but fascinating campaign." Recommended.

22 of 23 people found the following review helpful.
Gallipoli by Peter Hart
By JCS
Most of us that have been fortunate enough to visit the battlefields of Gallipoli know that one visit isn't enough. Gallipoli is the type of place that makes you return ... again and again. Similarly, not content with writing one book on the Gallipoli campaign, Peter Hart has written a second account of this ill-fated venture and we should be rightly thankful.

This new book uses completely new material to that found in his first book, "Defeat at Gallipoli", written with Nigel Steele and published in 1994.

Hart needs no introduction to the WW1 military history enthusiasts. His previous publications cover all three services and he is particularly noted for "The Somme", "1918: A Very British Victory" and "Aces Falling" (that formed the nucleus for the well received BBC Timewatch of the same name).

In case you didn't know, Peter Hart is the Oral Historian at the Imperial War Museum. His genre is to use first-hand accounts and weave them into incisive and frank campaign analysis, and very importantly, in a style that is easy to follow and fully understandable. "Gallipoli" is no different and is arguably Hart's best work yet.

Hart's theme is that the Gallipoli campaign was doomed from the outset and significantly averted war resources away from the critical war theatre of the Western Front. He begins by setting the political scene that led to the Naval and Army campaigns. We learn that the Turkish army that opposed the British forces were not an ill-disciplined rabble but professional, highly motivated troops, well led by subalterns and senior officers; the myth of Turkish machine guns confronting the Allied landings is skilfully and persuasively argued against. The different stages of the campaign are broken down into a series of chapters and together with the concise maps, Hart's descriptions of locations and places of combat could easily serve as a battlefield guide on location. As it happens, included at the back of the book is a guide to visiting Helles, ANZAC and Suvla - some people think of everything.

When I had finished Gallipoli it was difficult to decide what I liked best about Hart's new book but of course this accolade must be reserved for the first hand accounts that make this history book so vivid. Hart doesn't only interlace his authoritative narrative with British and ANZAC first-hand accounts, but also with those from the French, German and Turkish combatants as well. This isn't just another book on Gallipoli but is breaking new ground and encompassing the views of those from all the participating nations. Add to this, photos that I certainly haven't seen published before, plus the extensive list of references and sources, and you have the Must Have book for military enthusiasts for 2011.

Well done Peter Hart.

14 of 14 people found the following review helpful.
Gallipoli - An Essential Read
By J. Grundy
The Gallipoli campaign cannot be said to have been poorly served by historians. Indeed, this is the author's second work on the subject, the first, "Defeat at Gallipoli", was co-authored with Nigel Steel. However, this book makes a strong claim to adding much that is new to our understanding of what it meant to be a participant in the ill-fated Dardanelles adventure. And one that I would unhesitatingly recommend to anyone interested the subject.

The telling of history, particularly that concerning the Great War, has developed significantly in the past thirty years or so. The actions of great men and plans of campaign illustrated by broad arrows on a map have been largely overtaken by anecdotal accounts of the actual participants. Both approaches have their merits but weaknesses too. Detached accounts telling how this or that division or brigade moved an inch across a map pay little heed to the price paid by the men on the ground. Whilst the stories of the men themselves without the historical infrastructure on which to link the reality of war to how and why they came to be there in the first place leave the reader little the wiser. And Peter Hart again proves himself to be a master at combining the two traditions, complemented with his own informed and expertly articulated interpretation of events.

'Gallipoli' is written in the author's by now trademark style. The motivations and actions of those at the very top of the chain of command are outlined clearly and concisely, setting in context the experiences of those given the job of putting the lofty aims of the likes of Churchill into practice. But, and this was for me the stand out feature of this work, the author reminds us that the allied forces were not simply battling military incompetence, difficult terrain, a harsh climate and flies but well-led and very brave, professional Turkish soldiers. In addition, we are reminded of the French contribution to the campaign, one that has received little attention from English-speaking authors (and I suspect amongst French ones too). Indeed, Peter Hart goes so far as to argue that the French were the most effective military force on the allied side and given the hardest task, exposed as they were to fire from the Asiatic shore whilst tackling some of the toughest conditions found anywhere on the Peninsular.

The role of the French contingent might surprise many readers, as will, perhaps, the author's firm assertion at the very beginning of the book that the campaign was a forlorn hope from the start. Hart's contention is that politicians looking for a cheap alternative to taking on Germany on the Western Front did more than delude themselves, they wasted thousands of lives in the process. And the grand scheme to send aid to Russia via the Dardanelles is exposed as a complete fantasy. The irony that the British in 1915 lacked the very shells and artillery required to break the deadlock of trench warfare, either in France or Gallipoli, meaning there were none to spare for the Russians in the first place, is not lost.

Although this is the author's second visit to Gallipoli, the quotations from those involved are all new; their power will make an impact on the most avid reader of military history. As such, `Gallipoli' is another magnificent tribute by Peter Hart to the generation that fought the Great War. I am, as anyone might guess, an admirer of the author's work. But what is clear here and in his other works is that Peter Hart directs our admiration to those whose story he has so beautifully told. Highly recommended.

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Rabu, 28 Maret 2012

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Selwyn's Law of Employment is the market leading textbook on employment law. Now in its sixteenth edition, it has long been viewed as essential reading for students of employment law and employment law practitioners together with those studying the law in a business or professional environment.

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Online Resource Centre
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  • Sales Rank: #4006824 in Books
  • Published on: 2010-11-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.60" h x 1.70" w x 9.60" l, 2.97 pounds
  • Binding: Paperback
  • 705 pages

About the Author

Norman Selwyn, Barrister at Law, is a former university lecturer, immigration adjudicator, and Chairman of the Social Security Appeal Tribunal.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Excellent Condition for a Used Book
By Anderson
This book was in excellent condition and it was a good purchase. Though and old version it is a gold mine.

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Jumat, 23 Maret 2012

[E200.Ebook] PDF Ebook The Brain: Fuzzy Arithmetic to Quantum Computing (Studies in Fuzziness and Soft Computing) (v. 165), by Armando Freitas da Rocha, Eduardo

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We could start writing this book by saying, with several other authors, that the brain is the most powerful and complex information processing device known, whether naturally developed or created artificially. Although we fully agree with this statement, in doing so we would be misleading the reader, in the sense that the present book basically aims to formalize the knowledge concerning brain physiology accumulated over the past few decades. Instead of merely describing the complexity of the cerebral str- ture or presenting a collection of commentaries and reviews of interesting experimental results, we take into account novel achievements in quantum information and quantum computation, and avail ourselves of recently - veloped mathematical tools. Neuroscience was bom in the 19'~ century with the works of Paul Brocca. However, this fledgling field experienced a boom only in recent times, following the development of powerful non-invasive techniques for probing the neural circuitry supporting the complex cognitive functions of the human brain. Although sophisticated mathematical models and phy- cal theories are the basic tools behind the conceptual foundations and a- lytical implementation of these modem techniques, to the best of our knowledge no effort was made to formalize the actual knowledge about brain function into a coherent theoretical framework incorporating the - cent developments in mathematical and physical science. Addressing this lack was our first motivation in writing this book.

  • Sales Rank: #5345660 in Books
  • Brand: Brand: Springer
  • Published on: 2004-11-23
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.21" h x .56" w x 6.14" l, 1.05 pounds
  • Binding: Hardcover
  • 228 pages
Features
  • Used Book in Good Condition

Review

From the reviews:

"This textbook on brain neurology considers, besides fuzzy grammars, fuzzy languages and classical information processing, also quantum information and computation as well to be essential to explain the brain as an intelligent processing system. … is highly interesting and readable." (K.-E. Hellwig, Zentralblatt MATH, Vol. 1135 (13), 2008)

From the Back Cover

"The Brain- From Fuzzy Arithmetic to Quantum Computing" presents an original and astounding new understanding of the brain by taking into account novel achievements in Fuzziness and Quantum Information Theory. Bringing together Neuroscience, Soft Computing, Quantum Theory, and recent developments in mathematics the actual knowledge about the brain functioning is formalized into a coherent theoretical framework. This monograph develops new and powerful neural models providing formal descriptions of biochemical transactions in the brain to guide neuroscience experiments and to better interpret their results. This book demonstrates how the physiology of the neuron can be understood based on the fundamentals of fuzzy formal languages and introduces the basics of quantum computation and quantum information to the brain. It discusses how molecular transactions at the cellular level implement such concepts, shows how certain neural structures, like the dendritic spine, are specialized to function as quantum computing devices and demonstrates how the brain can be viewed as a quantum processing intelligent system.

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  • Sales Rank: #588357 in Books
  • Published on: 2015-11-11
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 819 pages

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Sabtu, 10 Maret 2012

[O369.Ebook] Ebook Breathing Grace: What You Need More Than Your Next Breath, by Harry Kraus

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Breathing Grace: What You Need More Than Your Next Breath, by Harry Kraus

Each week thousands of Christians will sing "Amazing Grace" at church, paying lip service to one of the most phenomenal aspects of Christianity, yet walking away untouched by its magnitude. They pay mental assent to the concept, but their hearts are untouched.

In the author's words, "God's grace is amazing, abundant, free, and available. So why is spiritual famine an epidemic both inside and outside the church? Because although we've come to Christ by recognizing grace, few of us have carried it along as essential equipment on the Christian path. . . . God never promised a pain-free life, but he did promise that his grace is all we need in our search for peace and fulfillment."

Breathing Grace is a unique look at a topic that stands at the very core of the Christian faith. Dr. Harry Kraus, best-selling author and practicing surgeon, reveals the gospel of grace through a series of medical metaphors, predominantly the physiology of our need for and utilization of oxygen. The clinical flavor of the book brings to life a subject that many Christians have failed to grasp and incorporate into their daily lives, illustrating our need, God's provision, and the moment-by-moment inflow and exhalation of grace to a starving world.

Breathing Grace includes study questions for group and individual use.

  • Sales Rank: #461778 in eBooks
  • Published on: 2012-08-14
  • Released on: 2012-08-14
  • Format: Kindle eBook

Review
"My friend Harry Kraus is an accomplished surgeon and novelist. Now in Breathing Grace, he proves himself an insightful spiritual guide, using medical analogies to illustrate great truths. Harry's heart for God and for people spills over on each page."
Randy Alcorn
Author of Heaven, Safely Home, and Deception

"There is no shortage of books on divine grace, but this one is different. Kraus has resorted to a medical metaphor, which he uses especially well in an era when the public is obsessed with health and medicine. But the real lack is spiritual maintenance, which in this presentation is laid out in an interesting and exciting fashion. Thrilling case histories, both medical and spiritual, abound. The human body can go three weeks without food, three days without water, three minutes without oxygen, but spiritual need requires minute by minute dosing, and grace is the remedy. This is not merely a 'how to' book but conveys a simple and satisfying way of life."
C. Everett Koop
M.D., former Surgeon General of the United States

"With a physician’s skill, my favorite Christian fiction writer dissects the truths of grace with compelling medical analogies. Breathing Grace is soul surgery that will transform your life as it probes the core of your relationship with God."
David Stevens
M.D., M.A. (Ethics), Executive Director, Christian Medical Society

Review

"My friend Harry Kraus is an accomplished surgeon and novelist. Now in Breathing Grace, he proves himself an insightful spiritual guide, using medical analogies to illustrate great truths. Harry's heart for God and for people spills over on each page."
—Randy Alcorn, Founder and Director, Eternal Perspective Ministries; author, Heaven and Happiness

"There is no shortage of books on divine grace, but this one is different. Kraus has resorted to a medical metaphor, which he uses especially well in an era when the public is obsessed with health and medicine. But the real lack is spiritual maintenance, which in this presentation is laid out in an interesting and exciting fashion. Thrilling case histories, both medical and spiritual, abound. The human body can go three weeks without food, three days without water, three minutes without oxygen, but spiritual need requires minute by minute dosing, and grace is the remedy. This is not merely a 'how to' book but conveys a simple and satisfying way of life."
—C. Everett Koop, former Sugeron General of the United States; former Editor-in-Chief, Journal of Pediatric Surgery

"With a physician's skill, my favorite Christian fiction writer dissects the truths of grace with compelling medical analogies. Breathing Grace is soul surgery that will transform your life as it probes the core of your relationship with God."
—David Stevens, CEO, Christian Medical and Dental Associations

"Kraus combines creative imagination, professional and clinical perspectives, and cross-cultural insights from his work in Africa with the Scriptures as the word of grace and does so out of his own genuine commitment to Christ. The uniting thread that runs through the book is the emphasis that knowing Jesus in grace makes a radical difference in the way we live and relate to others. Through this work the reader will be enriched in spirit and in faith."
—Myron S. Augsburger, Former President, Eastern Mennonite University

About the Author

Harry Kraus, M.D., is a practicing general surgeon and the author of eight novels, including the best-selling Could I Have This Dance? and The Chairman. He received his M.D. degree from Medical College of Virginia, completed his surgical internship and residency at University of Kentucky, and formerly practiced in Virginia. Dr. Kraus is currently serving with Africa Inland Mission as a missionary surgeon at Kijabe Hospital in Kenya, where he lives with his wife and three sons. Visit his website at www.cuttingedgefiction.com.

Wayne Shepherd's voice is heard widely in Christian radio and on many audiobook projects for authors such as Max Lucado, Henry Blackaby, and James Dobson. His radio credits include hosting Walk in the Word with James MacDonald, In the Studio with Michael Card, The Public Square, and several other radio projects. After 32 years of service at Moody Broadcasting in Chicago, Wayne Shepherd has now launched Wayne Shepherd Communications and serves a variety of clients as a voice talent, radio consultant, and radio host.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Breathing Grace
By Barbara Borntrager
Combining riveting, everyday occurrences as a surgeon along wtih scripture, Harry Kraus shows the difference between living moment by moment by grace as opposed to relying on ourselves. For those of us who struggle with self worth, the simple, yet profound truth is that we forget to breathe in God's acceptance for daily living and end up choking on our inadequacies. It happens all the time--we begin the day with a pure heart eager to honor our Lord. Then throughout the day we become anxious, angry, resentful, insecure, suspicious of another, trying to look better than we really are--we're losing life, in need of grace and not even aware of our need for spiritual resuscitation. As I read this book, I find myself breathing deeply of God's love, moving me from worthless to worthy, and finding new freedom to breathe grace out to others. This is a book I'll pick up again and again.

5 of 6 people found the following review helpful.
AAHHHHHH!!!
By Deborah Howard
Breathing Grace is one book-long metaphor -- refreshing and satisfying as a deep breath of crisp, clear mountain air. Dr. Kraus has delivered a fresh look at the life-giving and life-sustaining qualities of the grace of God.

He begins each chapter with a medical story. His formula is to take these physiological illustrations and apply them to our spiritual life. The continuing theme of his book is that grace is to our very soul what oxygen is to every cell of our body. He does this with the gracefulness of a dancer and the mastery of a poet. Every chapter is written in an easy-going style, like he's sitting across the dining table dazzling us with the conviction of this assertion.

Breathing Grace is chock full of scripture, which effectively supports his arguments throughout the book. And while the chapters are practical and relevant, they challenge us to strive for deeper awareness of God's spectacular grace to His children.

Having a medical background, I found the medical illustration to spiritual application seamless and beautifully thought out. His explanations of complex physiology are clear and concise but may be too much for non-medical types who want an easier read. However, I urge you to push through it because the point he's coming to is completely worth your concentration through the medical passages. I believe you will find his stories fascinating and intriguing on their own. Dr. Kraus repeatedly reveals his heart to the reader and endears himself to us in the process. More importantly, he points us to Christ, reminding us of His sovereignty, justice and love. Without lecturing, Dr. Kraus pleads with us to wake up to the glories of God's grace.

Near the end of the book, he writes, "Take a breath and realize that you didn't deserve it. Every moment is a gift. And every moment we can function as a steward of that gift. So go ahead. Breathe in. That's God's grace. Now exhale grace on a dying world." Read this book. It will resuscitate your appreciation of God's grace - and every breath you take.

2 of 2 people found the following review helpful.
Refreshing message about grace
By Sonya O. Mounts
Dr. Harry Kraus uses a medical model to explain grace. I have this on CD and have listened to it several times. As Christians, we don't have to earn God's favor, we already have it and we can live fully with gratitude to Christ for his sacrifice for us. The book is really a beautiful reminder that we don't have to have this heaviness over our shoulders, will I be good enough, do enough, etc.--Jesus paid the debt for our sin and our motivation for service is not out of fear, but out of love.

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Rabu, 07 Maret 2012

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This reproduction was printed from a digital file created at the Library of Congress as part of an extensive scanning effort started with a generous donation from the Alfred P. Sloan Foundation. The Library is pleased to offer much of its public domain holdings free of charge online and at a modest price in this printed format. Seeing these older volumes from our collections rediscovered by new generations of readers renews our own passion for books and scholarship.

  • Published on: 1917-12-31
  • Original language: English
  • Dimensions: 10.25" h x 1.22" w x 7.25" l,
  • Binding: Paperback
  • 486 pages

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Big, Bold & Bright Plastic CanvasFrom Brand: DRG

Plastic canvas comes to life in this book which features larger pieces stitched in bright cheerful colors. Featuring a variety of projects, including tissue toppers, wall art, boxes and containers, table toppers and yard art, there are projects for any room of the house! Designs are stitched on 7-count plastic canvas and feature readily available yarn and embellishments.

  • Sales Rank: #485725 in Books
  • Brand: Brand: DRG
  • Published on: 2006-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.89" h x .69" w x 8.50" l,
  • Binding: Hardcover
  • 178 pages
Features
  • Edited by Bobbie Matela & Lisa Fosnaugh
  • All projects stitched on 7 -count plastic canvas

Most helpful customer reviews

2 of 2 people found the following review helpful.
Love This Book
By S. Flatt
I love this book. A large variety of patterns which are bold and beautiful. Some patterns are easy and some are more difficult. A definatly must have for those who are canvas art addicts or those new to the craft who want to grow their skills, work their way up.

2 of 2 people found the following review helpful.
Nice book of patterns.
By S. B. Conway
I do a lot of plastic canvas and this book had some great patterns. The patterns are also easy to read. The book also has a great variety in the patterns picked.

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Big, Bold & Bright Plastic Canvas book
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This is one of my favorite plastic books of all time. I have already made a couple of these, especially the one on the cover. There are some gorgeous patterns in this book. Amazing! Thank you. :)

See all 12 customer reviews...

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Sabtu, 03 Maret 2012

[C909.Ebook] Download Reading Comics: How Graphic Novels Work and What They Mean, by Douglas Wolk

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Reading Comics: How Graphic Novels Work and What They Mean, by Douglas Wolk

Reading Comics: How Graphic Novels Work and What They Mean, by Douglas Wolk



Reading Comics: How Graphic Novels Work and What They Mean, by Douglas Wolk

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Reading Comics: How Graphic Novels Work and What They Mean, by Douglas Wolk

Suddenly, comics are everywhere: a newly matured art form, filling bookshelves with brilliant, innovative work and shaping the ideas and images of the rest of contemporary culture. In Reading Comics, critic Douglas Wolk shows us why and how. Wolk illuminates the most dazzling creators of modern comics-from Alan Moore to Alison Bechdel to Chris Ware-and explains their roots, influences, and where they fit into the pantheon of art. As accessible to the hardcore fan as to the curious newcomer, Reading Comics is the first book for people who want to know not just which comics are worth reading, but ways to think and talk and argue about them.

  • Sales Rank: #1029671 in Books
  • Published on: 2008-06-10
  • Released on: 2008-06-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .94" w x 6.00" l, .99 pounds
  • Binding: Paperback
  • 416 pages

Amazon.com Review
Amazon Significant Seven, August 2007: With none of the bashful, "comics aren't just for kids any more!" throat-clearing that accompanies most mainstream writing on comics, Douglas Wolk's Reading Comics: How Graphic Novels Work and What They Mean leaps straight into smart, conversational talk about perhaps the liveliest medium going. His enthusiasms and criticisms are infectious and often surprising, and, most refreshingly, he treats the two often warring (or at least mutually ignorant) sides of comics--the superhero tradition and the art comics that have gained highbrow attention lately--without ignoring the differences between them. Reading Comics is an appealingly idiosyncratic tour of many of his favorite artists that doesn't hesitate to criticize some of the most revered names in the business (like Chris Ware and Will Eisner) or investigate some of its most forgotten genre byways (like the '70s series Tomb of Dracula) with serious enthusiasm. --Tom Nissley

Questions for Douglas Wolk

Amazon.com:What do comics--the writing and the pictures and the narrative combined--give us that other art forms don't?

Wolk: The most important thing comics give us, I think, is drawing that makes a story. What you're seeing when you look at a page of comics, you're not just looking at a bunch of images that represent a plot, you're looking at something that came from somebody's hand--a deliberately distorted world, changing over time, built by a particular artist, line by line.

Amazon.com: There is a great perceived divide in comics, between the superhero tradition and what you call art comics. One of the pleasures of your book is the way you happily work both sides of that divide without fuss. Do you think the divide is valid, or does it melt away the more attention you pay to individual artists?

Wolk: There's definitely a useful distinction to make--art comics are primarily about particular cartoonists' self-expression, and superhero comics are primarily about the characters and their shared fictional history. One's an ethos, the other's a genre. But I don't think individual artists have to stay in one camp or the other, and in any case an ethos and a genre can overlap. You can say that Mark Bagley and Hope Larson belong to totally different schools, but then somebody like Bill Sienkiewicz turns up and makes the idea of a binary opposition look ridiculous. In fact, the best genre comics almost always have a really strong sense of expressive style about them.

Amazon.com: One way you, by necessity, limit the range of your discussion is to leave out the newspaper-strip side of comics history. As someone who came to comics from that side of things, it was a little disconcerting to read a book on American comics that only made a single passing reference to Charles Schulz. What influence do you think newspaper strips have had on the development of art comics especially?

Wolk: One of the biggest breakthroughs I had in writing Reading Comics was realizing that not only did I not have to make it comprehensive, it'd be more interesting and useful if it didn't even pretend to be comprehensive! I didn't mention newspaper strips much because they mostly seem to me to be playing a slightly different game from narrative comics--at least, there hasn't been a lot of extended narrative in newspaper strips in a long time. (By their nature, they have to get in and get out in a few lines, and now that they're all postage-stamp-sized, there's really no way they can move a story forward.) What newspaper strips did contribute to art comics was the development of distinctive visual style--the idea that an artist's handiwork was at least as important as a strip's characters--but these days they're so tightly limited by their size and populism and every-third-panel punchlines that they sometimes seem like an arcane kind of microminiature. Everybody loves "Peanuts," but I don't know that there's even room for a new stylist as fresh as Schulz (or George Herriman or Milton Caniff or Winsor McCay) on the newspaper page now. On the other hand, "Calvin & Hobbes" wasn't so long ago.

Amazon.com: And for a reader like me who has pretty much bypassed the superhero tradition and become a Dan Clowes/Charles Burns/Chris Ware fan via Peanuts and literary fiction, where would you recommend I start reading on the superhero side of the divide, which, as you say, has become so self-referential that it can be hard to crack the code?

Wolk: I was talking with some friends recently about the common mistake of recommending Alan Moore and Dave Gibbons' Watchmen, as great as it is, as a starting point for superhero comics--as one of them put it, that's like recommending The Seventh Seal as someone's first movie! For pure, unencumbered superhero joycore, I love Grant Morrison and Frank Quitely's All-Star Superman--if you've heard of Clark Kent and Lois Lane, you know everything you need to know to enjoy it, and it deepens with repeated reading. Brian Michael Bendis and Michael Gaydos's cruelly witty Alias, about a self-loathing ex-superheroine-turned-P.I., has lots of Easter eggs for the continuity-obsessed, but it probably works even better as a stand-alone story. And if you're at all into Victorian literature and/or want to sample Moore's work, the two volumes of The League of Extraordinary Gentlemen (drawn by Kevin O'Neill) are hugely fun on their own, and also illustrate by analogy the way a lot of the best superhero comics and other pulp art work: providing metaphors to illuminate the central concerns of their moment.

Amazon.com: You're as prolific a writer about music as you are about comics. How do you compare writing about the two?

Wolk: They're hard to compare--it feels like different parts of my brain deal with music and comics. I suppose both of them present the risk of paying too much attention to the words and missing the really important stuff. There's also much more of a tradition of music criticism with a strong, personal voice, and a richer shared vocabulary for talking about what's happening in music. ("Musical," for instance, is a perfectly normal word; there's no word that means "comics-ish"...) Right now, people writing about comics (in English, anyway) are still making it up as we go along, which is risky but exciting.

Amazon.com: I'm a big fan of your little book on James Brown's Live at the Apollo, my favorite so far in that wonderful 33 1/3 series, and one thing that struck me, having read your two books now, is that one, the James Brown book, is super-tight (fitting its subject I guess), aphoristic and efficient, while the other, Reading Comics, seems purposefully loose, willing to take a stroll and maybe not come back. Is that a difference you thought about while writing the two books?

Wolk: It was! I thought of Live at the Apollo as one long essay, a way of diagramming how the 35 minutes of that album exploded outwards in time, and I stole a lot of its tone and technique from George W.S. Trow's tiny fireball of a book In the Context of No Context. I wanted Reading Comics to be more conversational--the idea was to open up as many arguments as I could, to try to broaden the way people talk about comics instead of codifying it.

From Publishers Weekly
As the graphic novel flourishes and gains legitimacy as an art form, serious comics criticism is an inevitable byproduct, and PW contributing editor Wolk's analytical discourse is a welcome starting point. The volume contains two sections: Theory and History, an explanation of comics as a medium and an overview of its evolution, and Reviews and Commentary, a diverse examination of creators and works. This section spans Will Eisner's pioneering efforts as well as the groundbreaking modern comics by the Hernandez brothers, Chris Ware and Alison Bechdel. Since there are decades worth of books already focusing on the superhero genre, the raw clay from which the comics industry was built, the relatively short shrift given to the spandex oeuvre's insular mythologies is a wise choice that allows the nonfan a glimpse into the wider range that comics commands. Wolk's insightful observations offer much to ponder, perhaps more than can be fully addressed in one volume, but the thoughtful criticism and knowledgeable historical overview give much-needed context for the emerging medium. B&w illus. (July)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Wolk certainly knows the field of comics and has interesting things to say about a wide variety of them. Unfortunately, his first two chapters are so bogged down because of his arrogant and condescending style that it's hard to find any content. In later chapters, some of his excellent assessment of comics and what makes them work as both art and entertainment shines through. The book is not meant to be a canon of what comics are good; as he states, "I'm more interested in starting discussions (and arguments) about comics than settling them with any kind of self-appointed authority." His critiques and in-depth looks at comics creators whose works he finds particularly interesting to discuss certainly meet that goal—but only for readers already familiar with the artists he's discussing. Despite his insight, his overuse of the phrase "more on that later" (oftentimes leaving readers with little explanation until chapters after his first argument) and the extremely antagonizing first two chapters make the book a difficult read. It may find use in classrooms about comics as literature or the nature of criticism, but it will have a difficult time finding an audience anywhere else.—Alana Abbott, James Blackstone Memorial Library, Branford, CT
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Most helpful customer reviews

0 of 0 people found the following review helpful.
I want my money back. I bought this for ...
By Anonymous
I want my money back. I bought this for a college class and the teacher just lectured about how this isn't how to read comics.

35 of 39 people found the following review helpful.
A book that wants to be more than it is
By Blake Petit
This is rather a difficult book to review. While I definitely appreciate the fact that comics are being treated seriously as a scholarly work, I'm not really sure that this book is, in fact, what it claims to be. The first third of the book is ostensibly dedicated to a discussion of the format of comics and he potential of the medium, but Wolk constantly peppers the book with condescending commentary on mainstream books even as he purports to love them, going so far at one point as to suggest that there's something developmentally wrong with an adult who still enjoys a character he enjoyed as a child. While there's certainly nothing wrong with the heavy bias towards independent comics this book displays, he often paints most superhero comics with the same brush (except, of course, for perennial exceptions Watchmen, The Dark Knight Returns and a few others). In other words, he does quite a bit to perpetuate the same primitive attitudes about comics that this book supposedly works to dispel.

The rest of the book is essentially a recommended reading list, with chapters devoted to different comic creators and their work. This section, honestly, is rather predictable. He gushes over the work of Alan Moore (even the total derailment of Promethea), pretentiously assures us that it's "okay" to read Dave Sim and Steve Ditko though they display (horrors!) conservative ideas in their work, and talks about the mastery of Maus. Not to say this section is all bad. Even in his predictability, he provides a very strong analysis of the Hernandez brothers' work, that of Chris Ware, of Chester Brown, and several other names that a mainstream reader may never have heard of. Perhaps the best chapter in the book is his analysis of Grant Morrison's work, which has actually convinced me to give The Invisibles another try. (I was put off by the anarchist tone of the first volume, something that doesn't appeal to me, but the idea in the analysis that the intended readers of the comic are actually people who have already read it makes me think that it's worth trying again).

This isn't a bad book - there are a lot of interesting ideas and thoughtful insights into comics as a whole and several comics in particular. But in the end, Wolk suffers the same fate as a lot of people who have tried to analyze comics as an artform. Simply put, the book thinks it's more important than it actually is.

11 of 11 people found the following review helpful.
Needed an editor to really polish it
By Andrew Otwell
There's a lot to recommend this book. No matter how versed you are in comics (I'm not), you're sure to find something new here about an amazingly complex medium.

But it's got some annoying flaws. Particularly in the first third of the book, it can be seriously geeky when it should be introductory and welcoming. You may find yourself stumbling on what seems like fan jargon or expert knowledge. I didn't(and still don't) understand the stylistic differences between Jack Kirby's early and late work. But that's the kind of thing Wolk more or less assumes at times.

At best, the book has some wonderful visual analyses of comic panels and styles. That's good, because most of the arguments require you to trust the visual descriptions. For a book about comics there aren't nearly enough illustrations, and none in color. How about a companion website where readers could look at more than a few low-quality black and white reproductions?

But Wolk's writing style gets annoying at this length. The book's trying to be academic and authoritative, but do it with a casual writing style. It doesn't work. Wolk often writes like a smart blogger; in other words, like someone who *really* needs an editor with a sharp red pencil. For example, he'll use annoying terms like "wave at" or "poke at" to mean "show" and "examine." He has a short "interview" between himself and Mr. Straw Man which feels like a clumsy way of avoiding constructing actual prose. Or he'll discover a new ten-dollar word (like "somatic") and use it two or three times in as many pages. He uses cliched writing (calling someone "a god-awful hack") constantly.

Worst, nearly every page has at least two or three parenthetical phrases, which makes following arguments clunky. An editor would have deleted these as either truly side comments, or else rewritten them to be part of the argument.

You might not be bothered by these things, though I was. They get in the way of reading and following what's actually a pretty subtle and worked-out argument.

See all 16 customer reviews...

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