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  • Published on: 1700
  • Binding: Paperback

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Kamis, 21 April 2011

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Covers issues related to the practice of both diagnostic and interventional MRI on this new type of open design MR scanner. The unique configuration and often mid-field strengths of these machines necessitates new strategies for both diagnostic and interventional procedures compared to that ofthe standard 1.5 tesla diagnostic-only MR scanners, to which the majority of the radiologic literature is addressed today. This broad, multi-authored work will appeal to radiologists, medical physicists, other physicians, and health care personnel.

  • Sales Rank: #7737366 in Books
  • Brand: Brand: Springer
  • Published on: 2000-01-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.75" h x 8.25" w x .75" l, .0 pounds
  • Binding: Hardcover
  • 304 pages
Features
  • Used Book in Good Condition

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[M363.Ebook] Free Ebook On the Sublime, by Longinus

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The word “style” has become a weariness to think upon; so much is said, so much is printed about the art of expression, about methods, tricks, and turns; so many people, without any long experience, set up to be judges of style, on the strength of having admired two or three modern and often rather fantastic writers. About our author, however, we know that his experience has been long, and of the best, that he does not speak from a hasty acquaintance with a few contemporary précieux and précieuses. The bad writing of his time he traces, as much of our own may be traced, to “the pursuit of novelty in thought,” or rather in expression. “It is this that has turned the brain of nearly all our learned world to-day.” “Gardons nous d’écrire trop bien,” he might have said, “c’est la pire manière qu’il y’ait d’écrire.”I.5 The Sublime, with which he concerns himself, is “a certain loftiness and excellence of language,” which “takes the reader out of himself.... The Sublime, acting with an imperious and irresistible force, sways every reader whether he will or no.” In its own sphere the Sublime does what “natural magic” does in the poetical rendering of nature, and perhaps in the same scarcely-to-be-analysed fashion. Whether this art can be taught or not is a question which the author treats with modesty. Then, as now, people were denying (and not unjustly) that this art can be taught by rule. The author does not go so far as to say that Criticism, “unlike Justice, does little evil, and little good; that is, if to entertain for a moment delicate and curious minds is to do little good.” He does not rate his business so low as that. He admits that the inspiration comes from genius, from nature. But “an author can only learn from art when he is to abandon himself to the direction of his genius.”

  • Published on: 2015-12-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .31" w x 6.00" l, .42 pounds
  • Binding: Paperback
  • 134 pages

About the Author
Andrew Lang (March, 31, 1844 July 20, 1912) was a Scottish writer and literary critic who is best known as a collector of folk and fairy tales. Lang s academic interests extended beyond the literary and he was a noted contributor to the fields of anthropology, folklore, psychical research, history, and classic scholarship, as well as the inspiration for the University of St. Andrew s Andrew Lang Lectures. A prolific author, Lang published more than 100 works during his career, including twelve fairy books, in which he compiled folk and fairy tales from around the world. Lang s Lilac Fairy and Red Fairy books are credited with influencing J. R. R. Tolkien, who commented on the importance of fairy stories in the modern world in his 1939 Andrew Lang Lecture On Fairy-Stories.

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0 of 0 people found the following review helpful.
appropriate words have power
By Mark
Unlike other first century Treatises, the On the Sublime by Longinus has passed through the filtering of time and survived to be still relevant for usage for today's writers and orators. It is a "How to do book" in the demonstrating of the power contained in figurative language to illustrate its importance in the art of sublimity. It shows the many ways that sublimity can inspire awe to promote the sensation, and the perception
of something inferior becoming something which possesses a higher worth. There is a laundry list which includes expressions, passions, manners and styles which can both elevate and exalt especially in dignity ,or honor those marked objects which are being targeted. The examples of the many styles can range from the choice or the transposition of words used, the solemn urging (adjuration), the using of longer phrasing in place of a shorter ones (periphrasis) to the boldness of the usage of metaphors. Also, there are examples of styles which are opposed to sublimity like bombast and false sentiment. In addition, the vices of style which are destructive to sublimity like the abuse of rhythm, broken and jerky clauses and the improper use of familiar words are revealed by the author. If one is really interested in the craft of writing, this book is worth a read, in that; it has endured the test of time in serving as a standard of excellence in the teaching of the sublime.
M. A. Kehrle

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Rabu, 20 April 2011

[H323.Ebook] PDF Download Guide to the Pianist's Repertoire, Fourth Edition (Indiana Repertoire Guides), by Maurice Hinson, Wesley Roberts

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Guide to the Pianist's Repertoire, Fourth Edition (Indiana Repertoire Guides), by Maurice Hinson, Wesley Roberts

Guide to the Pianist’s Repertoire continues to be the go-to source for piano performers, teachers, and students. Newly updated and expanded with over 250 new composers, this incomparable resource expertly guides readers to solo piano literature. What did a given composer write? What interesting work have I never heard of? How difficult is it? What are its special musical features? How can I reach the publisher? It’s all here. Featuring information for more than 2,000 composers, the fourth edition includes enhanced indexes. The new "Hinson" will be an indispensable guide for many years to come.

  • Sales Rank: #1207175 in eBooks
  • Published on: 2013-12-03
  • Released on: 2013-12-03
  • Format: Kindle eBook

Review

"[T]his volume, as its predecessors, is excellent for piano teachers planning recitals." ―American Reference Books Annual



"After perusing this comprehensive book, pianists will have a new list of music to learn!" ―American Music Teacher



"Praise for the 3rd Edition:
"[A]n important tool for any pianist or musicologist who wants to explore the piano repertoire. Its thoroughness and scholarly approach are products of the most painstaking research and labors of love." ―Journal of the American Liszt Society

Praise for the 2nd Edition:
"As the reader may already know, Hinson is sui generis! And we owe him renewed thanks." ―The American Music Teacher
"Highly recommended...." ―American Reference Books Annual
"The appearance of the revised and enlarged edition of Guide to the Pianist’s Repertoire is an event to celebrate..." ―Notes
"[S]tuffed with information..." ―The Musical Times
"[A]s a concise reference work, it stands alone...." ―Choice" ―



"The release of any book by Maurice Hinson (this time with co-author Wesley Roberts) is a major event, especially in the piano world. This Fourth Edition of Guide to the Pianist's Repertoire represents an accomplishment of staggering proportion, with over 1200 pages, more than 300 pages longer than the Third Edition. Dr. Hinson describes it as an updated ‘practical listing of the important piano literature,’ but it offers significantly more than that. In addition to the inestimable value of finding little known works, the reader also benefits from the lucid descriptions and practical information about piano music from 1700 to the present. This ‘Guide’ is an extraordinary resource for anyone devoted to the rich repertoire for the piano." ―Nelita True, Eastman School of Music



"The chapter on anthologies and collections will be invaluable to teachers and pianists wishing to explore new musical worlds." ―International Piano



"[T]he latest Hinson/Roberts Guide still remains a necessary resource for pianists, pedagogues, and libraries." ―NOTES: QTLY JRL MUSIC LIB ASSN



"This is an indispensable tool to any piano performer or student desiring to widen their musical horizons." ―La Lettre du Musicien



"This guide by Hinson... has been regarded as the leading English-language reference tool for solo piano literature since it was first published in 1973. Each succeeding edition has expanded in scope and quality.... Highly recommended." ―Choice

About the Author

Maurice Hinson is Senior Professor of Piano at the Southern Baptist Theological Seminary and was founding editor of the Journal of the American Liszt Society.

Wesley Roberts is Professor of Music at Campbellsville University.

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26 of 29 people found the following review helpful.
A Necessary Reference, But Far Too Many Problems!
By pianophile8
Forty years have elapsed since the first edition of this Guide appeared. One would think that during that time, sufficient opportunities would have been available for a thorough re-examination of its contents--whether for the correction of errors, the addition of previously-omitted composers and works, and for the style and usefulness of the descriptions. To a limited extent this has been done for the new 4th edition, which is some 250 pages larger than its predecessor. Unfortunately far too many problems still remain.

Any reference book is only as useful as what it contains for whatever the user is looking up at the moment. From that standpoint, why are only a few of Beethoven's variation sets and Bagatelles described or listed? No one would insist on descriptions of all 555 Scarlatti Sonatas, but only 15 are singled out for specific mention. Similarly, there is an arbitrary selection of only 19 of Haydn's 50+ Sonatas, and fewer than half of Chopin's nearly 60 Mazurkas. This is standard repertoire where all the individual works ought to be at least briefly covered. The Iberia suite of Albeniz gets an overall mention, but we are told nothing about the 12 substantial, individual pieces within that work. Nor do the 24 Preludes & Fugues of Shostakovich receive anything more than a generalized overall summary.

Among earlier keyboard composers, coverage is hit-or-miss, usually the latter. There's no mention of Sweelinck, for example, and for Byrd, Gibbons, Rameau, both Couperins, Duphly, Chambonnieres and Frescobaldi we get only lists of published editions; anyone seeking a representative sampling of specific works is out of luck. The relative allotment of space for several entries is questionable: why do Messiaen's early, unrepresentative Preludes, for instance, deserve a full page?

Major omissions, especially for 20th-century composers, are far too numerous for a reference book of this type. Fortunately Scott Joplin, Eubie Blake, Jelly Roll Morton and James P. Johnson are included, but by the same token, where are James Scott, Joseph Lamb, Zez Confrey, Dana Suesse, and Billy Mayerl? Nowhere to be found are any of the following, all of whom have had major piano works published, performed and recorded in recent years: Salvatore Martirano, Roxanna Panufnik, Ernst Levy, Earl Wild, Alberic Magnard, Nikolai Roslavets, Ronn Yedidia, Pancho Vladigerov, Ernest Schelling, Oldrich Korte, and Alexis Weissenberg. Other composers who are included receive less than their due: important recent works by Richard Danielpour, David Del Tredici, Stephen Hartke, and Judith Zaimont (among others) are missing, as are Carl Vine's Second and Third Sonatas and his Bagatelles and Preludes, Charles Wuorinen's Third Sonata, Leon Kirchner's Second and Third Sonatas, and Easley Blackwood's Concert Etudes and Sonata.

Most entries include concise descriptions of style characteristics and pianistic requirements. Too many, however, contain outright factual errors. According to the Guide, Bach's Goldberg Variations consist of 32 (not 30) variations! Max Reger is absurdly credited with writing "50-page Fugues." Liszt's etude called "Ab Irato" is said to conclude "with two pages of quiet loveliness" when in fact it hurtles to a violent ending. The timing given for the Dukas Sonata--65 minutes--is at least 25 minutes beyond its usual duration. Sorabji's Sonata No.3 does not last "12 hours" (!?); 90 minutes is more like it. Calling Michael Tippett's Sonata No.2 "mainly lyrical" misses the point of the work entirely. Among misspellings (relatively few), Sergei Bortkiewicz remains "Bortikievich" even after four editions of the Guide.

Too many descriptions border on the naive or sophomoric. There is a reference to "Diabelli's fun theme." We are duly informed that Chopin's Barcarolle is "remarkably successful" (was there ever any doubt?). A Chopin Waltz is said to be "Effective, brilliant, pianistic. Makes a fine effect." Then there are attempts at performance instructions: "Find correct tempo and hold it"; "Do not drag tempo"; "Watch the fp markings." And so on.

The book offers many bibliographical references to articles, dissertations and monographs, but again these are hit or miss. Important recent volumes on Alkan, Busoni, Medtner, Sorabji, Anton Rubinstein, Reger, and Shostakovich are apparently unknown to the authors. The works list for Alkan, incidentally, is still a mess, completely confusing the make-up of his Op.39 Etudes in the Minor Keys.

The general comprehensiveness of the book makes it a necessary reference for pianists and teachers, but only by default (since it really has no competition among English-language piano literature surveys). In light of the many problems throughout (only a few mentioned here), and the four decades that have elapsed since the first edition, it could and should have been much better. Perhaps a Wiki version ought to be prepared for electronic access with the capability of additions and corrections.

0 of 0 people found the following review helpful.
I'll have to opt for the hard copy fifteen pounder...
By Saladnut
I returned the Kindle version of this Book. There is no good way to search the book with Kindle. I have used the notes function to create my own indexes for navigating through the alphabetical structure. But that takes a lot of time. Then I wanted the "notes" for this (and other) books to be synchronized across two or three devices. After "indexing" as far as the T's, my "notes" synchronized, but they synchronized to the device that only had two "notes"-- effectively erasing the notes. I would like to have the book in digital format but the paper hard copy is going to be my better option. Otherwise, I love this book. It isn't perfect; but, the scope is amazing. Sometimes Dr. Hinson's tone is almost coffee-talk casual. But I enjoy those ambiguous shades tone as much as the attempt to be concise, meaningful and "comprehensive".

4 of 6 people found the following review helpful.
Fantastic resource for performer, teacher, and hobbyist pianist.
By 1monkey
I have owned the previous editions of Hinson's guides and used them over and over to find interesting and well crafted pieces that are "off the beaten track." I also love the listings of editions available. The ratings are very helpful, and the scholarship is of the highest quality. I have found pieces to add to my solo recital programs that are wonderful and unique, pieces for my students that are perfect when I am looking for music for small hands or "easy sounds hard." It's also a great guide to the immense world of classical music publishing when the choices seem overwhelming. I appreciate this reference book very much and love this latest edition. Lots of new composers included.

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Rabu, 13 April 2011

[K725.Ebook] Ebook Download American Government: 2008 Update Edition, by Alan Gitelson, Robert Dudley, Melvin Dubnick

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American Government: 2008 Update Edition, by Alan Gitelson, Robert Dudley, Melvin Dubnick

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American Government: 2008 Update Edition, by Alan Gitelson, Robert Dudley, Melvin Dubnick

Distinguished by its myth versus reality framework, American Government encourages students to confront their preconceptions about American government and to think critically about the U.S. political system. Up-to-date coverage includes the 2006 mid-term elections, the Supreme Court, domestic and international policy, and economic and social welfare.Extensively updated, this edition features a sixteen-page, full-color "Year in Review" insert of the most captivating news stories and powerful images from The Associated Press. This dynamic text will engage your students and foster critical thinking about the stories that shape our nation.

  • Sales Rank: #2360208 in Books
  • Published on: 2007-12-06
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.75" h x 7.50" w x .75" l, 1.95 pounds
  • Binding: Paperback
  • 592 pages

About the Author
Alan Gitelson (PhD Syracuse) is Professor and former Chair of the Political Science Department at Loyola University of Chicago. He is well known in the areas of voting and political parties and is the author of numerous books and articles in these fields.

Robert Dudley (PhD Northern Illinois University) is Chair of the Department of Public and International Affairs at George Mason University. His areas of specialty include judicial behavior and the presidency. His articles have been published in numerous journals, including APSR and the JOURNAL OF POLITICAL SCIENCE.

Melvin Dubnick (PhD University of Colorado) is Professor of Political Science and director of the MPA program at the University of New Hampshire. He has written on a range of issues from accountability, regulatory policymaking, and federalism to health care reform.

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0 of 0 people found the following review helpful.
The textbook was great but..
By Steve O
The topic was so boring! With that aside it is still a great textbook covering the basic workings of the US government and how it should function. Found it much cheaper here than I could at any book store.

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On Images: Their Structure and Content, by John V. Kulvicki

Whether it was the demands of life, leisure, or a combination of both that forced our hands, we have developed a myriad of artifacts--maps, notes, descriptions, diagrams, flow-charts, photographs, paintings, and prints--that stand for other things. Most agree that images and their close relatives are special because, in some sense, they look like what they are about. This simple claim is the starting point for most philosophical investigations into the nature of depiction.

On Images, by contrast, argues that what it is to be a picture does not fundamentally concern how such representations can be perceived. What matters is not how we perceive representations but how they relate to one another. This kind of approach, first championed by Nelson Goodman in his Languages of Art, has not found many supporters, in part because of weaknesses with Goodman's account. On Images shows that a properly crafted structural account of pictures has many advantages over the perceptual accounts that dominate the literature on this topic. In particular, it explains the close relationship between pictures, diagrams, graphs and other kinds of non-linguistic representation. Kulvicki undermines the claim that pictures are essentially visual by showing how many kinds of non-visual representations, including audio recordings and tactile line drawings, are genuinely pictorial. Part Two shows that the structural account of depiction can help to explain why pictures seem so perceptually special, rather than taking that fact for granted. Based on these results, Part Three provides a new account of pictorial realism.

  • Sales Rank: #3133960 in Books
  • Published on: 2009-02-28
  • Released on: 2009-02-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 5.40" h x .70" w x 8.40" l, .75 pounds
  • Binding: Paperback
  • 272 pages

Review

"On Images is an important book on the topic of pictorial representation that will, no doubt, contribute significantly to our understanding of many aspects of this phenomenon, even some of the most perplexing ones...one of the most valuable and important contributions to the topic."--Mind


"Innovative and well-written. A great contribution to one of the most popular topics in aesthetics. I strongly recommend this book . One of the best on the topic."--British Journal of Aesthetics


"From start to finish, it is original, beautifully argued, and just brimming with useful ideas. It is written in clear, crisp prose and unfolds in a logical manner. I learned something from almost every sentence in this book. I predict that it will enter the ranks of the classics in the philosophy of pictures."--Dominic McIver Lopes, University of British Columbia


"[A] provocative book...more than amply illustrates his capacity for genuinely original philosophical thought.... In the breadth and depth of his coverage of this literature, his discussion is unparalleled. The account that results from this investigation is an unprecedented synthesis of the merits of these otherwise divergent views. For this reason alone, any subsequent work on pictorial representation will have to take his account into consideration. It may not be the last word on pictorial representation, but it will certainly remain a centerpiece of philosophical discussions of this topic for quite some time."--Zed Adams, The Journal of Aesthetics and Art Criticism"


About the Author

John V. Kulvicki is Assistant Professor of Philosophy at Dartmouth College, New Hampshire

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