Sabtu, 30 Januari 2010

[K919.Ebook] Ebook Quiet, Please, by Eve Merriam

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Quiet, Please, by Eve Merriam

Peaceful poetry accompanied by elegant paintings capture life's quiet moments and serene pleasures, such as a starfish spreading its arms or moonlight making a checkerboard on a brick wall.

  • Sales Rank: #1342989 in Books
  • Brand: Brand: Simon n Schuster (Juv)
  • Published on: 1993-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 11.00" w x .50" l,
  • Binding: Library Binding
  • 1 pages
Features
  • Used Book in Good Condition

From Booklist
Ages 5-8. With an evocative text and dreamy paintings, this captures the pleasures of quietude. "Invisible writing of butterflies" and "Buttermilk clouds scudding across the horizon" are two of the images Merriam uses to describe the peacefulness one can find in nature. Though young children may not be familiar with every image ("pale gray lichen making hieroglyphic marks on a dark gray stone"), they will respond to the gentleness of the words and the soft art. The more relevant bits (one to a page) could be used in story hours, after which kids could offer up their own calming influences. Ilene Cooper

From Kirkus Reviews
The late poet lists quiet things--``Invisible writing of butterflies''; ``Bare feet on the dewy grass at dawn''; ``Moonlight making a checkerboard on a brick wall''; etc.--more like notes for a poem than a finished work, since the language isn't especially evocative and choices such as stars, snow, milkweed, or giraffes aren't particularly unusual. Still, this small addition to a distinguished oeuvre can be used as a concept-extender or as inspiration for similar lists, while the words benefit from Hamanaka's visualization: spare, boldly rendered compositions, glowing with luminosity and richly saturated color. (Picture book. 4-8) -- Copyright �1993, Kirkus Associates, LP. All rights reserved.

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Jumat, 29 Januari 2010

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Sexual Exploitation: Rape, Child Sexual Abuse, and Workplace Harassment (SAGE Library of Social Research), by Diana E. H. Russell

Diana Russell analyses and compares the prevalence and causes of three forms of sexual exploitation -- rape, child sexual abuse, and sexual harassment in the workplace. Although public awareness of sexual and non-sexual abuse of adults and children has grown steadily over the past few years, the three categories have been analysed and treated as separate issues. Diana Russell uses an original analytical framework to integrate extensive literature on these topics, revealing numerous links between issues that are often considered separate and distinct.

  • Sales Rank: #2807261 in Books
  • Color: White
  • Brand: Brand: SAGE Publications, Inc
  • Published on: 1984-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .72" w x 5.51" l, 1.00 pounds
  • Binding: Paperback
  • 303 pages
Features
  • Used Book in Good Condition

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  • Sales Rank: #8445969 in Books
  • Published on: 1964-01-03
  • Binding: Paperback

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Sabtu, 23 Januari 2010

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Loving John: The Untold Story, by May Pang, Henry Edwards

  • Sales Rank: #1712863 in Books
  • Published on: 1983-01-01
  • Binding: Hardcover
  • 336 pages

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1 of 1 people found the following review helpful.
Loving John
By PNW Raven
I read this some years ago. Pang's book gives an interesting insight into a period of John's life that most fans had little knowledge about. While she gives an intimate and seemingly accurate account of their time together, for me the book suffers from an overly glorified portrait of Lennon's character, frequently painting Ono as the villain in the relationship while glossing over and making excuses for the darker side of John's nature that often resulted in his destructive and violent behavior with his out-of-control drinking. I'm no Ono fan, and I will always love the Beatles and John Lennon, but John was far from perfect, and I doubt Ono ever tried to strangle anyone in a drunken stupor as John did with Pang (Harry Nilson had to pull him off her).

0 of 0 people found the following review helpful.
you can tell that John and may really loved each other
By fashinsmashin
If you idolized john Lennon, this is real eye opener. The story May gives a LOT more than I've ever read. and I've read a lot. Now I know that Yoko Ono is a cruel and controlling. feigning weirdo. In this book, you can tell that John and may really loved each other. It's a must read or collection for your own. I may sell this book. Send reply to my review.

0 of 0 people found the following review helpful.
Couldn't put it down.
By Michael D. Brown
Everything you heard about Yoko Ono appears to be true, and much more. This first-hand account makes that clear. This book is as much about her, as it is about John and May. Fascinating.

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Minggu, 17 Januari 2010

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(Violin Play-Along). The Violin Play-Along series will help you play your favorite songs quickly and easily. Just follow the music, listen to the demonstration tracks to hear how the violin should sound, and then play along using the separate backing tracks. The purchase price includes online access to audio for download or streaming. This volume features seven songs from the Disney blockbuster film: Do You Want to Build a Snowman? * Fixer Upper * For the First Time in Forever * In Summer * Let It Go * Love Is an Open Door * Reindeer(s) Are Better Than People. Online audio is accessed at halleonard.com/mylibrary

  • Sales Rank: #587237 in Books
  • Model: HL00126478
  • Published on: 2014-03-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 12.00" h x .8" w x 9.00" l, .1 pounds
  • Binding: Paperback
  • 16 pages

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25 of 25 people found the following review helpful.
Absolutely No Problem.
By Romulus
I'm having difficulty sympathizing with other reviewers. This Hal Leonard publication doesn't pull any punches. It doesn't say it's a "kid version" or an "easy version" and there's even a sample of one of the songs in which you can clearly see that it is in Eb major which although not impossible, is a sure warning sign that other sharp and flat stuffed keys are on their way although the passage it shows is in comfortable first position. It delivers what it advertises: 7 selections for the violin and digital accompaniment (like Hal Leonard always does) with the same syncopation from the melodies that every kid and his mother have been belting out since whenever the film came out. It has a nicely authentic quality I craved in the 90's when aside from the occasional great arrangement, it was just dull dumbing down that didn't sound like anything, much less the tune I was trying to play. I just don't understand the low ratings of other users. It's as if it is thought that Hal Leonard intentionally decided to thwart a beginning violinist's chance at playing the signature Frozen tunes. When I first started out on the violin and the Disney/Broadway Musical/Studio Ghibli music I had was too hard, I practiced my butt off until I was able to play it. Having the pieces in the original key means you can play along with the dvd as well which would have been a dream come true when I was a kid. The only thing I was surprised about with this collection was rather than an included CD for demo and play along recordings, there is an online code from which you can download the files. I live in Japan and still there was no problem accessing the files. I'll have to burn my own CD but it is easy enough to transfer to an mp3 player or smartphone as is.
Here's a guide to which piece is in which so no one has any more surprises.

1.Do You Want to Build a Snowman? Eb Major Possible beginner difficulties: Gb on the E string and a high Eb above the staff at the end.

2. For the First Time in Forever F major-F# major-Eb major-G major PBD: The syncopated rhythm in the F major part unless you know the song, of course or have listened to the demo track. The F# part is a bit tricky for those not used to the E# and A#'s. However, the rhythmic part is all in first position (with one fourth finger stretch for the C#. When it reaches the slower main melody, it is in third position and the notes are all pretty reachable, just keep an eye out for the A# and the high D# and you'll be fine. The rest of the piece is pretty basic third position with a Db on the A string to a Gb on the E string at one point.

3.Love is an Open Door D major to E major. PBD: No real problems in the Dmajor part. The E major part is pretty playable up until the "dreaded 6th-7th position" parts which can [gasp!] just taken down an octave if they're that "impossible." It's (above the staff) E F# G# E is easily found as it is a harmonic (it helps that the note before is/can be an open E) with the 2nd finger (6th position) hitting the high G# with the 4th finger. E major is one of the most playable violinist's scales. It's right up there with the other Open String Scales.

4. Reindeer(s) are Better than People G major. Easy as pie save for C/C# above the staff at one point. Short too.

5.Let it Go Ab major PBD: Well, it's in Ab which means, boys and girls that there is a scary Db which, interestingly enough is barely ever used. It starts in comfortable First Position with only the Ab on the D string to worry about. It's not until 3/4's of the page down when it even gets into 3rd Position and the dreaded high Db is nestled close to the C right below it so, no problem. The high Eb C Bb ("Here I stand") melody can easily be taken down an octave if needed. In the second half of the second page, there's a seemingly crazy passage starting in eighth notes and then escalating into sixteenths which scary-looking notes like Cb and Fb. It can rewritten (or rethought, rather) as so:C# F# G# F# B A#G# F# E...B C which then repeats twice in sixteenths. Not so hard now I hope? After that is basically a syncopated scale Gb major which isn't easy but it is slow enough that with enough practice, can be done as it is all in First Position. After that is just a reprisal of the melody and you're set. You've played Let it Go.

6.Fixer Upper A major-C major PBD: It's pretty rhythmic but listening to the demo track a few times or watching the movie should solve that pretty quickly. There's a tricky sixteenth note triplet scale from E on the D string to A# on the E. I would slur it or just stay in third position. Third position in A major isn't much fun so jumping to First position and then doing the last notes of the scale in half position should do it. The Cmajor section consists of you just playing C a lot (above the staff) with occasional high D and a Bb thrown in for good measure.

7. In Summer E major -F major. All in First Position. PBD. Nothing to fear but eighth note triplets.

Have fun playing! Practice makes Perfect.

1 of 1 people found the following review helpful.
One of the best movie soundtrack violin books I have ever purchased!
By K Anders
I LOVE this book. I am always disappointed by movie music for violin since they are almost always over simplified and the backtracks are usually a disappointment.
However, this book AND the backtracks are exactly what I wanted! I also was pleasantly surprised that the pieces are in the same key as the original versions, making it possible to also play along with the karaoke tracks on the actual Frozen soundtrack whenever I feel so inclined.

This is not a beginner book and that is not the publisher's fault in any way so I don't understand the one star reviews. Nowhere on the cover does it say that the level is easy or that it is beginner level. To be fair, since it is movie music it is typically safe to assume that the music will be easy, but as it as the level is not explicitly stated either way, there is no false advertising here. While it would be nice if Hal Leonard could start printing the difficulty level on the cover of their books, a one star review for a well produced book seems somewhat uncalled for.

It is good to write reviews to inform other potential buyers that if they are looking for an easy book, this is not for them, but a one star review should be reserved for something that is of poor quality and this book most certainly does not fall into that category.

2 of 2 people found the following review helpful.
What I like is that the piano score is the in the ...
By rach
Music is more for advanced students. What I like is that the piano score is the in the same key as the violin book so that the teacher can accompany the student.

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Sabtu, 16 Januari 2010

[T500.Ebook] Get Free Ebook Memory of Fire: Vol 1-Genesis, by Eduardo Galeano

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Memory of Fire: Vol 1-Genesis, by Eduardo Galeano

A re-creation of the conquest of the Americas and Latin America, divided into 2 parts. In the first are the myths of pre-Columbian America; in the other, the history of America unfolds from the 15th century to 1700.

  • Sales Rank: #1868421 in Books
  • Published on: 1985-09-12
  • Released on: 1985-09-12
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 293 pages

Language Notes
Text: English, Spanish (translation)

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0 of 0 people found the following review helpful.
Good clean condition and a must read
By Diana Bermudez
No complaints about buying this product. It is a riveting and enlightening book about the exploration, colonization of and diaspora to the Americas, unlike any other on the subject.

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Jumat, 15 Januari 2010

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The Bill of Rights (Oliver Wendell Holmes Lectures, 1958), by Learned Hand

  • Sales Rank: #3406903 in Books
  • Published on: 1958
  • Binding: Hardcover
  • 82 pages

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0 of 0 people found the following review helpful.
How Prescient He Was: Learned Hand, The Paradigmatic Philosopher-Judge
By B. P. Hayek
Billings Learned Hand was born in 1872 destined to follow his father and grandfather not just into the law, but to the bench. He majored in Philosophy at Harvard, graduating summa cum laude, he earned the M.A. in Philosophy at Harvard, graduated with honors from Harvard Law School, and then entered the private practice of law. Hand is said to have remarked that he “was not very successful as a young lawyer” and “never was too happy at the bar,” finding much of it “dull,” “petty,” and unduly “formal.” Fortunately, he was rescued from the drudgery of law practice when appointed as a Federal District Court Judge by William Howard Taft – at the ripe old age of 37 – where he served for 15 years until being elevated to the Second Circuit by Calvin Coolidge. He took senior status in 1951, and in 1958 gave the Harvard Law School’s Oliver Wendell Holmes Lectures. He is widely considered to be the greatest jurist never to be appointed to the Supreme Court, and has been quoted more often by legal scholars and the High Court itself more than any other judge never to be so elevated. Learned Hand died in 1961.

It has been said that Hand’s study of philosophy left a permanent residue on his thought generally and his jurisprudence in particular. I find this claim true beyond all reasonable doubt, for the study of philosophy, insofar as one genuinely pursues it, induces an enormous respect for both intellectual humility and an ironic brand of skepticism. It is no coincidence that Hand is claimed to have once described himself as “a conservative among liberals, and a liberal among conservatives” when it came to politics; for him, a devotion to the truth and the rule of law were paramount, meaning that he sacrificed neither to curry favor from any faction or for any gain of public popularity. Hand was, in other words, the paradigmatic philosopher-judge.

Hand’s 1958 Holmes Lectures are three in number. In Lecture I. “When a Court Should Intervene,” Hand presents his view of the implied authority for, and wisdom of, judicial review. During the discussion, however, he makes several other insightful remarks on the limited nature of the law’s generality as applied to future cases; he remarks on the primacy of the text of the law (as the words were publicly understood at the time of enactment) in relation to the problematic nature of ascertaining “legislative intent”); and he expresses deep reservations about the impropriety of the Court going anywhere near political questions.

In Lecture II. “The Fifth and Fourteenth Amendments,” Hand confesses that, in his view, judicial review regarding either “due process” is confined to the examination of the abuse of constitutional authority, period. If a legislature enacts a new law, one must assume that it did so in the face of an occasion causing discontent with the status quo and the belief that the law will be beneficial to society. That belief involves a choice involving an appraisal (balancing) of values and sacrifices anticipated as a result of the law. But values and sacrifices are “incommensurables” that, under our American Constitution, it is every American must evaluate or “weigh” on his or her own when making choices. For a Court to step in and “decide” such matters “impartially” is impossible, for those sorts of choices are those that are, as a matter of logic in relation to the incommensurable nature of value, for the people themselves to make; moreover, it by definition impedes upon the people’s sovereignty to think and choose freely, rendering it conceptually impossible as a matter of constitutional law. Any other conclusion renders the Court a third legislative chamber. It is, for Hand, a simple “question of power,” concluding that “I cannot frame any definition that will [accurately predict] when the Court will [improperly] assume the role of a third legislative chamber and when it will [properly] limit [itself] to keeping Congress and the states within their accredited authority.”

In Lecture III., “The Guardians,” Hand considers the First Amendment in relation to the arguments made thus far. He repeats his admonition that expanding the constitutional meanings of the other amendments “beyond their historical meaning” is a violation of the judicial function, which in his view lies in policing legislatures to make sure their value choices are honestly made and perceived sacrifices honestly appraised: “The statute may be far from the best solution of the conflicts with which it deals; but if it is the result of an honest effort to embody that compromise,” the “due process” inquiry ends. (He makes the same point regarding Equal Protection, “between which I [Hand] do not distinguish.”) Hand then criticizes the Court for its continuing usurpation of the people, which he worries will someday be viewed as commonplace. Then Hand reminds us that there are other checks, other safety mechanisms, in place to guard against “public hysteria, panic, greed,” and “sudden swings of popular obsession” made manifest in laws (coming out of the House of Representatives), as the Senate and a Presidential veto. Hand also remarks on the “permanent” nature of Court rulings, the Court’s capacity to do “serious damage” that “cannot be undone.” He then warns of the impending disaster that will become of the judicial appointment process should Americans continue to tolerate the Court’s continued encroachment, as well as the inevitable political “splits” that will become commonplace in all the appellate courts, which will in turn wreck the people’s confidence that what judges are doing is “really” law at all.

Hand concludes by assuring us that he is more than aware of the deeper “ever present problem in all popular government: how far the will of immediate majorities should prevail.” To this he replies that: “Each one of us must in the end choose for himself how far he would like to leave our collective fate to the wayward vagaries of popular assemblies. No one can fail to recognize the perils to which the last forty years have exposed such governments. We are not indeed forced to choose between absolutism and the kind of democracy that so often prevailed in Greek cities during the sixth to fourth centuries before our era. The Founding Fathers were acutely, perhaps overacutely, aware of the dangers that had followed that sort of rule, though, as you all know, they differed widely as to what curbs to impose. For myself it would be most irksome to be ruled by a bevy of Platonic Guardians, even if I know how to choose them, which I assuredly do not. If they were in charge, I should miss the stimulus of living in a society where I have, at least theoretically, some part in the direction of public affairs. Of course I know how illusory would be the belief that my vote determined anything; but nevertheless when I go to the polls I have a satisfaction in the sense that we are all engaged in a common venture.”

In 1952, for the Introduction of Hand’s The Spirit of Liberty, Irving Dillard wrote that “Learned Hand has sought to see as far as he could.”

How prescient he was.

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