Minggu, 20 Juli 2014

> Fee Download Galina: A Russian Story, by Galina Vishnevskaya

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Galina: A Russian Story, by Galina Vishnevskaya

This autobiography is a luminous portrait of a Soviet artist, richly woven against the backdrop of Soviet History. Translated by Guy Daniels.

  • Sales Rank: #852654 in Books
  • Color: Blue
  • Published on: 1985-10-21
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x 1.26" w x 5.98" l, 1.77 pounds
  • Binding: Paperback
  • 416 pages
Features
  • ISBN13: 9780156343206
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Language Notes
Text: English, Russian (translation)

About the Author
Galina Pavlovna Vishnevskaya (born 25 October 1926) is a Russian soprano opera singer and recitalist who was named a People's Artist of the USSR in 1966.

Most helpful customer reviews

38 of 41 people found the following review helpful.
"Everything was backwards..."
By Bob Zeidler
"...We were actors in real life and human beings on the stage."

Thus spake Galina Vishnevskaya, in interviews she and her husband, Mstislav ("Slava") Rostropovich, gave in Paris in 1983, captured in a companion book ("Russia, Music, and Liberty: Conversations with Claude Samuel.") to this one. The quotation barely begins to suggest the Kafkaesque world in which they lived, when they were musical artists of the highest order in the Soviet Union.

Vishnevskaya was a "prima donna assoluta" at the Bolshoi Opera during her prime, arguably the finest Russian soprano of all time. And, as her prime overlapped those of Maria Callas and Renata Tebaldi, one can only wonder what her international reputation might have been had her career been entirely in the west; the first two-thirds (and best) part of it was largely away from the gaze of the international music community.

This is, as she subtitles it, her "Russian story" covering her life up to the final hours in 1976 when she left the Soviet Union, eventually (two years later) as an exile. And it almost ended before it ever started.

Born in poverty to parents who abandoned her to her grandmother, she possessed an incredible voice as a child. Largely self-taught, and then - at age sixteen - improperly taught - she didn't learn proper voice technique until after she had established a beginning career in operetta. Then she contracted TB, and the doctor caring for her offered that the only cure - which she refused - was to collapse the infected lung. It was only by mortgaging her future singing fees for black-market purchase of scarce antibiotics that she recovered.

In 1952, in her mid-twenties, she auditioned for the youth group of the Bolshoi Opera Theater, was instantly accepted, underwent a meteoric rise through the Bolshoi ranks on her voice and talent, and soon became the prima diva of the troupe. In 1955, she met Rostropovich, whose courting of her is one of the few lighthearted sections of an otherwise chilling tale of intrigue, deception and lies in the intelligentsia circles in which the pair of them existed and performed.

The next two decades (1955 - 1975) of this journal focus largely on one person, and the special relationship that they had with him: Dmitri Shostakovich. As artists, it was only natural that their paths would cross and thereafter, for the rest of Shostakovich's life, intertwine. But this was more than acquaintanceship; it was friendship based on trust during Shostakovich's years when it was virtually impossible for him to trust anyone. And Vishnevskaya defended that trust with the ferocity of a tiger. One anecdote of her ferocity will suffice as an example.

In the early 1960's, the poet Yevgeny Yevtushenko was well-published in "accepted" Soviet literature journals despite his "rebelliousness." His famous poem, "Babi Yar" (1961) about the German slaughter of Ukranian Jews during WW II, gained overnight success, and Shostakovich, moved by the poem's message, placed it at the core of his Thirteenth Symphony with Yevtushenko's warm agreement. The work received its Russian premiere "as is" on December 18, 1962, and was tumultuously received by the audience but not by officials of the state, who read into it a message of Russian complicity in the matter of anti-Semitism, a subtext of Yevtushenko's that was undoubtedly accurate, as he revised the text shortly after the premiere without consulting Shostakovich. Some years later, in London where Vishnevskaya and Rostropovich met up with Yevtushenko, Vishnevskaya gave Yevtushenko a tongue-lashing over his "revisionism" that runs several pages.

In an act of supreme political courage involving another Russian writer, Rostropovich provided refuge, for four years in the early '70's, to Alexander Solzhenitsyn, whose writings on conditions in the Soviet Union were officially banned. Solzhenitsyn subsequently went into political exile, but this act of courage was to have its effect on the careers of Vishnevskaya and Rostropovich, particularly the latter, who for all intents and purposes had his abilities to perform and conduct stripped away from him. Only by "pulling in markers" were the two of them able to secure permission from Brezhnev to go abroad on a two-year "artistic leave."

"Galina" ends on a note of uncertainty and apprehension, as Vishnevskaya, in 1976, boards a plane with her two daughters to join Rostropovich in the West, eventually (1978) in exile when their citizenship was revoked for the Solzhenitsyn matter. But this is merely the end of her "first" Russian life and the beginning of another, more international, one. Her own career as a diva continued for nearly another decade; Rostropovich went on to become an internationally-known conductor while continuing his career as a preeminent cellist; with "perestroika," they made an historic return to Moscow in 1990 (after Gorbachev restored their citizenship), at which Rostropovich conducted what is to me the finest performance of Tchaikovsky's "Pathetique" Symphony (immortalized on a Sony CD that also included Sousa's "Stars and Stripes Forever" and William Schuman's orchestral arrangement of Charles Ives's "Variations on America").

Nowadays Vishnevskaya loves to brag about her six thoroughly-Americanized grandchildren. They oversee the Rostropovich-Vishnevskaya Foundation, a charity for immunizing Russian children against disease. She recently founded the Galina Vishnevskaya School of Opera in Moscow, for providing master classes to promising young artists. All in all, a rather remarkable "follow-up" for this peripatetic pair of seemingly perpetually-young 75-year-olds.

But the clock cannot be turned back. "Galina" serves as a gripping reminder of how things were over the fifty years that the two of them spent in the Soviet Union. And, at least as important for me, it serves as one of the most honest and accurate appraisals of Dmitri Shostakovich the person as one is likely to find, from one who knew and loved him as a true friend.

Even in a totalitarian society, supreme artistry can sometimes carry clout. For Vishnevskaya (and Rostropovich), there was enough clout - barely - to get out and "live to tell about it." Thankfully.

Bob Zeidler

25 of 27 people found the following review helpful.
fantastic and very informative
By A Customer
I read this book the first time 10 years ago and recently again. At the time I didn't know too much about russian music or history and I credit this book much of the knowledge I have of these subjects aw well as the russian mentality. I am now a prefessional musician who often has heard and read conflicting ideas about Prokoviev and Shostakovich's political roles. Galina, who knew very well Shostakovich's situation is giving us a first hand testimony.I listen to Shostakovich's music differently now. Her internal conflicts are also vividly but not overly described. Knowing very closely Moscow's intelligentia (Solsjenitsyn, Sacharov a.o.)of the 60's, we can gather extremely interesting facts of these people. Her biography is not too self-centered. What an interesting life she has had as a prima donna opera singer and being Rostopovich's wife. She is also very honest about herself, which I appreciate.

10 of 10 people found the following review helpful.
Perhaps the Best Operatic Autobiography Ever
By G P Padillo
Of all the singer's biographies I've read (which is plenty!) this remains at the top of the heap. It is a journey that could have only come from the pen of Vishnevskaya and, unlike so many autobiographies which eventually turn into a "And then I sang _____, and then I sang at the White House, and then I . . . " Galina reads almost like a novel. Her description of the Soviet Union during the war years is positively chilling. The road she took to success, punctuated by hardships followed by tragedies is never less than enthralling. How many biographies can truly be called "page turners?" Well, this is one!

The insights she gives into the Soviet system, the role and treatment of artists by the government, her personal views on politicians, singers, composers all come off with rare candor that almost caused me to blush.

Feeling mezzo soprano Elena Obratzsova had been been a betrayer, she humiliated the young singer in public shouting out "Judas" writing of Obratzsova's exit, "Like a snake with a broken spine, she crawled past the amazed Americans, who stood aside to let her pass." Ouch!

My favorite passage from the book succinctly, and pointedly paints the most vivid picture of the Soviet system:

In this vast, monstrous theater, with our faces twisted by
underground jargon, we Soviets wriggle and squirm for one
another. We are actors by compulsion, not by calling, in an
amateur theater run by no one. And all our lives we perform our
endless, pathetic comedy. There are no spectators, only
participants. Nor is there a script, only improvisation. And
knowing neither plot nor denoument, we act.

I cannot recommend this book highly enough. Whether or not one is a fan of opera, this will prove to be an enlightening, fascinating read.

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Rabu, 16 Juli 2014

~ Download Black Seconds (Inspector Sejer Mysteries), by Karin Fossum, Random House UK

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Black Seconds (Inspector Sejer Mysteries), by Karin Fossum, Random House UK

Ida Joner gets on her brand-new bike and sets off toward town. A good-natured, happy girl, she is looking forward to her tenth birthday. Thirty-five minutes after Ida should have come home, her mother starts to worry. She phones store owners, Ida’s friends, anyone who could have seen her. But no one has.

Suspicion immediately falls on Emil Mork, a local character who lives alone and hasn’t spoken since childhood. His mother insists on cleaning his house weekly—although she’s sometimes afraid of what she might find there. A mother’s worst nightmare in either case: to lose a child or to think a child capable of murder. As Ida’s relatives reach the breaking point and the media frenzy surrounding the case begins, Inspector Konrad Sejer is his usual calm and reassuring self. But he’s puzzled. And disturbed. This is the strangest case he’s seen in years.

  • Sales Rank: #171621 in Books
  • Brand: Fossum, Karin/ Barslund, Charlotte (TRN)
  • Published on: 2009-08-10
  • Released on: 2009-08-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .73" w x 5.31" l, .55 pounds
  • Binding: Paperback
  • 272 pages

From Publishers Weekly
Gumshoe Award–winner Fossum (When the Devil Holds the Candle) once again wraps a blanket of methodical police work and infectious psychological tension around a relatively quiet crime in her fifth Inspector Sejer mystery to be made available in the U.S. When nine-year-old Ida Joner takes off for town (never named) on her new bike one afternoon and is never seen again, suspicion falls on Emil Johannes Mork, a silent, simple man. Emil, however, doesn't appear to have the heart of a killer. The narrative shifts smoothly among those affected by the tragedy: Emil's beleaguered mother, a good woman with little life of her own; a male cousin of the missing girl who may suffer some secret guilt; and, of course, Insp. Konrad Sejer and his younger colleague, Jacob Skarre. Sejer is a beautifully created character, a thoughtful, lonely man with great empathy. As he investigates Ida's disappearance, it's not so much the facts of the case as the impact of it on the people who surrounded the girl that fuel the story. (July)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Inspector Sejer and his innocent-looking assistant, Jacob Skarre, are back (The Indian Bride, 2007) in another dark, intense, and impossible-to-put-down investigation. Nine-year-old Ida has gone missing, and Sejer and Skarre head up the hunt, even as everyone, including Sejer and his own mother, suspects a local man, Emil, who never speaks. Details of Sejer’s investigation are interspersed with scenes from the lives of Emil and of Ida’s grieving family. Fossum follows her successful formula, providing the reader with insight into the victim’s family as well as the suspected and actual criminals, making the story as much about understanding the various characters as about the investigation. Yet this time, the story lacks some of the punch of her previous novels; the identity of the real killer is so clear early on that having Sejer overlook it comes across as an uncharacteristic mistake. At the same time, Sejer’s interrogation of the mute Emil is one of the most superb scenes in crime fiction. Even at less than her best, Fossum’s work is still outstanding. Essential reading for fans of Scandinavian crime fiction. --Jessica Moyer

Review
Praise for BLACK SECONDS: "It doesn't take a terrorist, a serial killer or some paranormal force to rattle the insular Norwegian communities Karin Fossum writes about in her quietly unnerving thrillers. In BLACK SECONDS, all it takes is the disappearance of a child." -- Marilyn Stasio, New York Times Book Review "What a spare, artful novel this is: how lean, how swift, how bitterly sad." --Washington Post

Most helpful customer reviews

77 of 79 people found the following review helpful.
Compelling
By Androo
Henning Mankell introduced me to the wonders of Scandinavian crime writing, and led me to Karin Fossum, who is even better at it than our venerable Swedish friend. She's a little bit different in approach though: Mankell, who we all know, sticks, in his Wallander books at least, to the police procedural style. Perhaps that's his weakness. Fossum takes some elements of the procedural and mixes them with psychological drama.
For comfort she holds on to a common central character or two; Inspector Sejer is the reassurring anchor-man and his junior, Jacob Skarre, the device through which we learn how clever Sejer is. It all works beautifully.
Often in her books (and 'Black Seconds' is no exception), there is an 'oddity', an outcast in society on whom suspicion naturally falls. Perhaps this method of revealing society's simplistic reactions is overused in her novels, but it is effective, and usually quite creepy.
Here, a middle-aged outcast of childlike intellect is involved in the disapppearance of a child. Fossum once again manages the clever trick of fooling us into believing that what seems obvious isn't. Actually it is.
What's really clever is the way the second plot revolves around the first. In fact it's the second plot (about a teenager who crashes his car) is really the most interesting part of the novel. It throws up all kinds of questions about ideal and actual morality. Nothing is clear cut (another theme of Fossum's).
The way these two strands are pulled together is beautifully done in the author's unpretentious but stylish hand. In a way, not much happens, but the way it happens is absolutely compelling. In just a few well-chosen words, Karin Fossum creates a world you care about, people you can see and feel, and an atmosphere you can touch. I don't know anybody who does this kind of thing better.

0 of 0 people found the following review helpful.
Great read
By Mad keen reader
Fantastic writing great characters enjoy the Inspector Sejer series immensely well rounded characters and interesting plot makes another enjoyable book

12 of 12 people found the following review helpful.
Fossum is Professional but Doesn't Take Chances
By The Big Al
I've been reading Scandinavian and Northern mysteries for several years now: Mankell first, then Indridason (Icelandic), followed by a flood: Larsson, of course, Nesbo (currently my favorite), Nesser, and many others, including Fossum. Though I like Fossum's Inspector Sejer series, I find that she recycles plots - especially one involving abducted or missing children - and themes and stays inside her 250-300 page formula. That was no problem with her earlier books, but this time I wanted more. Police procedurals can be programmatic, that's the nature of the beast, but I've noticed that Mankell, Nesbo, Rankin, Burke (as in James Lee) and others learn their craft and then stretch themselves. Even Mo Hayder, an English writer whom I've just discovered, is much better in Gone, her most recent, also about an abduction of children, than in her earlier books. I can recommend Black Seconds without blinking to readers, both those of you who know her work and those of you who don't. (It's better, of course, to start with the first translation and work your way towards this one if you don't know Inspector Sejer and his partner Skarre.) You'll guess who did it too quickly, perhaps, since it's as much a psychological mystery as a straight who done it, and you'll find the cast of characters suitably complicated and bewildered rather than evil, but things get wrapped up too quickly. I'd like to see Fossum take a few risks in her next book in the series, maybe give us a big, fat read where she explores the world she's created and forces Sejer out of his comfort zone.

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Sabtu, 12 Juli 2014

^^ PDF Ebook Margin Of Hope: An Intellectual Autobiography, by Irving Howe

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Margin Of Hope: An Intellectual Autobiography, by Irving Howe

A leading literary critic-and the author of World of Our Fathers-looks back on his life from the early 1930s through the 1970s. A perceptive account of Howe's intellectual growth. Index.

  • Sales Rank: #2180892 in Books
  • Published on: 1984-04-16
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .95" w x 5.50" l, 1.07 pounds
  • Binding: Paperback
  • 372 pages
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  • ISBN13: 9780156572453
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
Irving Howe (June 11, 1920 – May 5, 1993), was an American literary and social critic. He was born as Irving Horenstein in The Bronx, New York, as a son of immigrants who ran a small grocery store that went out of business during the Great Depression. He never publicly explained his name change from "Horenstein" to "Howe."


Like many New York Intellectuals, Howe attended City College and graduated in 1940, alongside Daniel Bell and Irving Kristol. He served in the U.S. Army during World War II. Upon his return, he began writing literary and cultural criticism for the influential Partisan Review and became a frequent essayist for Commentary, Politics, The Nation, The New Republic, and The New York Review of Books. In 1954, Howe helped found the intellectual quarterly Dissent, which he edited until his death in 1993. In the 1950's Howe taught English and Yiddish literature at Brandeis University in Waltham, MA. He used the Howe and Greenberg Treasury of Yiddish Stories as the text for a course on the Yiddish story at a time when few were spreading knowledge or appreciation of these works in American colleges and universities.

Since his CCNY days, Howe was committed to left-wing politics. He was a member of the Young People's Socialist League and then Max Shachtman's Workers Party, where Shactman made Howe his understudy. After 1948, he joined the Independent Socialist League, where he was a central leader. He left the ISL in the early 1950s. As the request of his friend Michael Harrington, he helped co-found the Democratic Socialist Organizing Committee in the early 1970s. DSOC merged into the Democratic Socialists of America in 1982, with Howe as a vice-chair. He was a vociferous opponent of both Soviet totalitarianism and McCarthyism, called into question standard Marxist doctrine, and came into conflict with the New Left after criticizing their unmitigated radicalism. Later in life, his politics gravitated toward more pragmatic democratic socialism and foreign policy, a position still represented in the idiosyncratic political and social arguments of Dissent.

Known for literary criticism as well social and political activism, Howe wrote seminal studies on Thomas Hardy, William Faulkner, politics and the novel, and a sweeping cultural history of Eastern European Jews in America entitled World of Our Fathers. He also edited and translated many Yiddish stories, and commissioned the first English translation of Isaac Bashevis Singer for the Partisan Review. He also wrote A Margin of Hope, his autobiography, and Socialism and America.

A biography of Howe, entitled Irving Howe: A Life of Passionate Dissent, was published by Gerald Sorin.

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8 of 8 people found the following review helpful.
The most interesting intellectual biography I have read.
By J. N. Marks
This is a superb work examining post-war ideology and political and social thought in the United States. Howe writes with authority as someone who not only watched Socialism evolve and ultimately decline, he also offers a marvellous vantage point for those of us who are fascinated by the rise and fall of American liberalism. You can understand how events both foreign and domestic altered the thinking of so many members of the "New York School" who remain salient and even sagacious voices in modern America: Daniel Bell, Nathan Glazer, Irving Kristol among others. Howe takes you through conversations with Lionel Trilling and Hannah Arendt and you feel as you "listen" that these giants of post-war thought are just a little more human and familiar. In my opinion, that is a gift. There is also a wonderful moment where Howe speaks of discovering the fictional work of Isaac Bashevis Singer while editing a Yiddish literary anthology in the early 1950's. What a discovery! If you have not read either Singer's novels or stories, do!

If you are an aspiring academic or life-long student, Howe's peregrinations through the university environment are thought provoking and his engagement with the New Left vanguard in the 1960's expresses the cultural and intellectual divide between older Leftists (some loyal, some not) and their youthful counterparts. For example, men like Howe found it difficult to relate to the privileged "bourgeoisie" reformism of young lions like Tom Hayden when his own generation had seen first hand the depradations of working poverty. Irving Kristol, notably, has written about how poverty inspired he and his comrades to work harder to pursue and receive the blessings of the system. Kristol has noted, as has Glazer, that their generation saw opportunity in the American business and intellectual communities and pursued it finding redemption in the ability to work toward success. This is borne out by Howe who observes the transition from ther pre-WWII anti-Semitism in higher education toward the more egalitarian epoch that began in the early 1950's.

This is engaging dialogue and I say "dialogue" because Howe has a discursive style prompting you to think out loud and to wish (I did) that the professor was still with us to field questions. I would also add that for liberals like myself, this is an excellent tour of what liberal thought in America was and has become. I have often wished that some scholar would do for the Left what Russell Kirk did for conservatives and that is write an authoritative history making our intellectual "tradition" a heritage waiting to be claimed. As far as I have seen, this is one of the best books we have to do just that.

Whether you are a socialist, liberal, progressive, conservative or none of the above, stumble into this book if you've a moment. It is hardly dry but rather crackles with the wit and avuncularity of its author.

Five stars. This book is a rare breed of intellectual autobiography not to be missed for those who want to become more culturally literate.

7 of 8 people found the following review helpful.
An intellectual odessy
By George P. Shadroui
Though my own inclinations, politically speaking, trend toward the right, I have nevertheless been impressed by the writings of Irving Howe, a socialist who denounced Stalinism, rejected much of the radicalism of the new left, and stayed true to his literary commitments. In short, Howe was a leftist who did not lose his capacity for self criticism. This memoir is a thoughtful look at his life and his relationships with a great many intellectuals of his time, mainly leftists or reformed communists. As the founder of Dissent magazine, Howe is a major force in the history of American letters. And though I still find his ideas on socialism left rather vague (to create a more just society? How, and what, would that be?)he is nevertheless one of the few leftist voices that does not seek to destroy tradition and the past in the name of constructing impossible utopian visions. He also does not have the knee jerk anti-Americanism so prevalent among his successors on the left. His memoir will take readers through his years as a student in New York and an emerging literary power in the world of New York intellectuals. He touches on writers such as Edmund Wilson, Alfred Kazin, Lionel Trilling (and many others), not to mention the editors at Partisan Review, for whom he wrote at one time. An interesting read.

3 of 3 people found the following review helpful.
A man of accomplishments
By Shalom Freedman
Irving Howe was a man of many accomplishments. He is perhaps best known for his political writing, his founding of Dissent magazine his championing of a Socialism which did not degenerate into radical hatred of the West and of America. For close to forty years he was at the intellectual center of American life. He was also a great Yiddishist one of the main people in presenting the Jewish secular writing of Eastern Europe to the world. And he was a skilled literary critic , a man of broad knowledge and careful judgment whose special understanding was the realm where politics and literature interconnected. As a writer he was clear and competent. This autobiography it seems to me has very much the flavor of his general critical writing. It seems to me it lacks a deeper dimension of confessional feeling that the greatest autobiographies have. But it is a very workmanlike, responsible piece of craftsmanship.

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Professor Charles Whitebread teaches students the eight secrets that will add precious points to every exam answer they write.

  • Sales Rank: #222461 in Books
  • Brand: Harcourt Legal & Professional Publications, Inc.
  • Published on: 1997-04-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.44" h x .31" w x 5.88" l,
  • Binding: Paperback
  • 100 pages
Features
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Most helpful customer reviews

21 of 21 people found the following review helpful.
Good book of basic law school test taking advice
By Chitown Reader
This is a good book for pre-law students and 1Ls. It gives some basic advice about how to think about and write law school exams. However, I have one big caveat, there is not a "secret" to law school test taking. The keys are to know the black-letter law cold, and to be precise and concise in your analysis, and to practice taking tests under test conditions as much as possible. This book is a good quick read for those who have never taken a law school test, or who did not perform as well as they would have liked. For those who did do well on tests this book will not provide much, if any, useful information.

23 of 26 people found the following review helpful.
I used this book and have A's to show for it!
By A Customer
This is the most important book you will read in all of law school and I have the stats to prove it. I read this book after three semesters of law school on the recommendation of a friend who said it worked - she was in the top 5% of the class - I in the top 60% YUCK! My GPA to that point was a weak 2.89. For each of the remaining three semesters that I used the techniques from the book I made the deans list and my GPA averege for those semesters was a 3.6. My last semester of law school I got all A's and one B+. Use these techniques and good luck!

18 of 21 people found the following review helpful.
Not Enough!!
By A Customer
Reading this book, I am reminded of the admonition in the Hitchhiker's Guide to the Galaxy: "Don't Panic!" This book is filled with useless to exhortations to "stay calm" and that "panic is your enemy." But while this is all well and good, Whitebread, unfortunately, tells you little that will actually help you remain calm come exam time. Here are the basic flaws: First, this book is way too brief. Seventy pages may be easy to read the week before the exam, but in reality this will do you very little good when you are actually asked to apply these techniques. Second, Whitebread does not stress and restress the fact that it will require much practice to successfully use the techniques he describes. Third, scant attention is paid to atypical types of exams. If you get one of the rare "policy" type exams, you're in trouble! Still, Whitebread does give a lot of tips here and there they may prove useful sometime. Bottom line: Is the book worth 8 bucks? Probably not. And if this is your only guide to writing "top" exams, then you better either be one of those with a knack for writing, or satisfied with a "B". One last thought: should you buy this book, you must practice and practice and practice each of these techniques before you can really count on them.

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Kamis, 10 Juli 2014

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  • Sales Rank: #654849 in Books
  • Published on: 1978-11-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .50" w x 5.25" l, .50 pounds
  • Binding: Paperback
  • 185 pages

From the Back Cover
Legendary figures of Mississippi's colorful past--keel-boatman Mike Fink and the dread Harp brothers--along with characters from Eudora Welty's own delightful imagination people this rollicking fantasy set along the Natchez Trace. Berry-stained bandit Jamie Lockhart steals pioneer wilderness planter Clement Musgrove's beautiful daughter, Rosamond, away from a home dominated by his ugly, evil second wife, Salome. These and other characters are gathered together in a tale at once acid and gentle, wise and lighthearted, woven as much from the rough homespun of American history as the gossamer thread of fairy stories.

About the Author
EUDORA WELTY (1909-2001) was born in Jackson, Mississippi, and attended the Mississippi State College for Women, the University of Wisconsin, and Columbia University (where she studied advertising). In addition to short fiction, Welty wrote novels, novellas, essays, and reviews, and was the winner of both the National Book Award and the Pulitzer Prize.

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6 of 6 people found the following review helpful.
Troll Lovers and Talking Ravens
By Gio
He has long blond hair, carries a talking raven on his shoulder, and both outwits and outfights stupid but wily giants. Who is he? If you guessed "Odin", you've been reading the same sagas and folk tales I have -- and specifically the Twice-Told Tales of Nathaniel Hawthorne -- but the answer this time is Jamie Lockhart the Robber Bridegroom, the abductor of Rosamond, beautiful princess-like daughter of the rich planter Clement Musgrove, hated by her wicked-witch step-mother Salome. Others have recognized the folk-tale roots of Eudora Welty's first published novel, most recently the voracious reader and reviewer Herr Schneider; whether those roots are German or Norse makes little difference, though I'd argue that the secondary characters in this narrative - Little Harp, Goat, and Mike Fink - are trolls pure and simple. Younger readers, if there are any, might put the cart before the horse and compare this 1942 fantasy with the Coen Brothers Southern Gothic film "Oh Brother, Where Art Thou?" In fact, there are plenty of homegrown 19th C American antecedents for The Robber Bridegroom, especially the almost-forgotten "Flush Times in Alabama and Mississippi" by Baldwin.

This is a rollickingly funny book, no matter what else one might claim to find in it. It's a comic antidote to all the dead-serious mythification of William Faulkner, an intentional (I think) counterweight to the exaggerated self-reverence of Southern culture. And it's short! About the length of a good viking romance.

Clement Musgrove, the planter father, is a curiously honorable man in a world where the only dishonor is getting thwarted in your rascality. Near the end of the tale, when everything has gone from worse to worst, Clement sets himself in the middle of a circle of stones and delivers a three-page monologue of runic wisdom. Here's an excerpt:

""What exactly is this now?... What is the place and time? Here are all possible trees in a forest, and they grow as tall and as great and as close to one another as they could ever grow in the world. Upon each limb is a singing bird, and across this floor, slowly and softly and forever moving in profile, is always a beast, one of a procession, weighted low with his burning coat, looking from the yellow eye set in his head.... But the time of cunning has come, and my time is over for cunning is of a world I will have no part in. ... Men are following men down the Misssissippi, hoarse and arrogant by day, wakeful and dreamless by night at the unknown landings. A trail leads like a tunnel under the roof of this wilderness. Everywhere the traps are set. Why? And what kind of time is this, when all ids first given, then stolen away?"" Snorri Sturlison couldn't have said it better. And no sooner is Clement's monologue spoken than he is snatched by Indians, vengeful spirits as silent as the trees such planters as Clement have been despoiling for cotton lands.

Like all good folk tales, The Robber Bridegroom comes with a stinger, a grim Grimm moral.

6 of 6 people found the following review helpful.
Cupid and Psyche meets the American Tall Tale
By Gypsi Phillips Bates
Welty's first published novel is a retelling of Psyche and Cupid, with a decidedly American twist. Instead of turning the Greek myth into a fairy tale, she's created a delightfully unbelievable, far-fetched and bizarre "tall tale".
Many of the elements of a fairy tale are there--the wicked stepmother, the beautiful heroine, the naive and loving father, the handsome hero--but these are overshadowed by tall tale traits such as the superb stretching-of-the-truth skills by nearly everyone encountered from the mail rider who was swallowed by a crocodile to our heroine, Rosamond, who can't tell a truth to save her life.
The story takes place along the Natchez Trace in Mississippi with "Red Indians", robbers and a few famous American tall tale characters filling up the bad guy roster--with the hero, Jamie, switching sides regularly. Rosamond's father Clement Musgrove is a wealthy planter who meets Jamie at an inn and unwittingly brings his disruptive presence into Musgrove family.
Many deaths, lies, misunderstandings and berry stains later, Rosamond and Jamie do live happily ever after. . . and Rosamond even starts telling the truth. . . well mostly the truth, "it was all true but the blue canopy".
This fanciful tale is a well-executed, superbly written, pleasant read and it's only afterwards that one realizes that Welty added a bit of acid to this pleasurable brew.

11 of 13 people found the following review helpful.
A warped fairy tale
By Jeronimo
Eudora Welty borrowed from the old Brothers Grimm fairy tale 'The Robber Bridegroom' to create this story that is part fairy tale, part historical fantasy, and very strange. Instead of old Europe, the action takes place in the southern United States. The old characters are all there: the innocent daughter, the merchant father, the irascible thief who becomes the 'bridegroom', and some new people have been added. A wicked stepmother, a boy named Goat, and an Indian tribe are just a few of the extras.
Apparently some of the characters, like Mike Fink and the Harp brothers, were real people, or at least were part of American folklore. Welty combines old world and new world fairy tales to create something completely unique. If you know the story of the Robber Bridgroom, you'll see how Welty has slyly snuck in very subtle similarities (the bird in the cage), and you'll be astonished at how much the ending was changed from the original story.
The book moves with rapid speed through larger than life situations. The Indians cooked and ate the merchant's family and he and his daughter escaped, THEN he married the evil Salome, THEN some guy tried to kill him while he slept with his bag of gold, THEN Lockhart carried his daughter away naked, THEN... It becomes almost too frantic, and you might need to go back a few pages now and again to make sure you didn't miss something. It's probably not the best introduction to Welty, but it's one of her most colorful works. For an elegantly written, surrealist fairy tale, you can't do much better than this.

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Rabu, 09 Juli 2014

> Free PDF Theory Of Literature: New Revised Edition, by Rene Wellek, Austin Warren

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Theory Of Literature: New Revised Edition, by Rene Wellek, Austin Warren

A classic of criticism that examines the nature, function, form, and contents of literature. "The most ordered, ranging and purposeful attempt...toward keeping the study of literature at once intelligent and liberal" (New York Times). Index.

  • Sales Rank: #605671 in Books
  • Published on: 1984
  • Original language: English
  • Number of items: 1
  • Dimensions: .91" h x 5.34" w x 7.93" l,
  • Binding: Paperback
  • 375 pages

About the Author
No Bio

Austin Warren is a contributor for the following Houghton Mifflin Company Title: Theory of Literature

Most helpful customer reviews

32 of 33 people found the following review helpful.
A brilliant achievement
By Rafe Champion
This is a truly remarkable book. The authors sought to unite poetics (literary theory) with criticism (evaluation of literature) with scholarship (research) and literary history (the dynamics of literature in contrast with the statics of theory and criticism). This had to be done in a book of reasonable size, without being eclectic or doctrinaire.
The authors succeeded in their aim and the book achieved a vast and somewhat unexpected popularity, especially as a grad student text. It has been in print forever and has been translated into many languages.
Much of the burden of writing fell on Rene Wellek because Austin Warren (not to be confused with another friend of Wellek, the poet and novelist Robert Penn Warren) was seriously distracted during the project by the protracted illness and death of his wife. Fortunately the job was in good hands because there is not much doubt that Wellek is the premier scholar of literature in modern times. He combined all-round mastery of many of the specialisms that constitute modern literary studies, encyclopaedic reading in several languages, a humane vision and commitment to reason.
The book has four parts, first Definitions and Distinctions; with five chapters including 'The Nature of Literature' and 'Literary Theory, Criticism and History'. The second part, Preliminary Operations has a chapter on the ordering and establishment of evidence. Part three The Extrinsic Approach to the Study of Literature, has five chapters including 'Literature and Biography', 'Literature and Psychology' and 'Literature and Society'. Part four, The Intrinsic Study of Literature, contains
eight chapters including 'Style and Stylistics', 'Literary Genres', 'Evaluation' and 'Literary History'.
The chapter titled "The Mode of Existence of a Literary Work of Art" is especially interesting because it gives the lie to the claim that modern literary theory and criticism (exemplified by the deconstructionists) have achieved an unprecedented level of philosophical sophistication. They worked through five possibilities, referring to "the poem" as shorthand for any sort of literature, or perhaps any cultural artefact.
1. The poem is a physical artefact consisting of marks on paper, or the grooves on a Babylonian tablet.
2. The poem is the sequence of sounds uttered by a speaker, reading aloud.
3. The poem is the experience of the reader.
4. The poem is an expression of the experience of the author.
5. The poem is a stratified complex of values, which cannot be reduced to any of the previous four theories.
They rejected (1) because a poem can be preserved in a purely oral tradition. Also the precise physical form of the work is not crucial. Hamlet is the same regardless of the size of the pages or the typeface or errors in typesetting or translation of particular editions.
They dismissed (2) because we do not read for the sounds alone, we read for plot and character and much more besides. As for (3) they argued that readers are influenced by all manner of personal circumstances ranging from their own theories of poetry and value to momentary conditions such as fatigue, worry or distraction.
The fourth type of theory takes two broad forms; in one the poem represents the intentions of the writer, in the other it reflects in some sense the totality of experience of the author, conscious and unconscious. The first of these views has little credibility because the so-called Intentional Fallacy has taken a severe beating in modern times. The second splits in half again, yielding deep psychological accounts of the work on one hand, and on the other, theories that account for the work as the outcome of large-scale historical and social influences bearing on the writer.
Wellek and Warren reject all the foregoing (while allowing some scope for investigations along those lines). They favour (5), a combination of phenomenology and modern linguistics.
"The work of art, then, appears as an object of knowledge sui generis which has a special ontological status. It is neither real (like a statue) nor mental (like the experience of light or pain) nor ideal (like a triangle). It is a system of norms of ideal concepts, which are intersubjective. They must be assumed to exist in collective ideology, changing with it, accessible only through individual mental experiences based on the sound-structure of its sentences."
This perspective clearly has many points of contact with Popper's three world theory of material bodies, subjective minds and objective ideas. The poem is more than a physical (world 1) object because is partly a subjective (world 2) event, and there is even more than that because it has some form of intersubjective existence. Wellek and Warren address this aspect in terms of collective ideology, while Popper speaks of the partial autonomy of the contents. Each formulation calls for a theory about emergent possibilities, sui generis qualities that cannot be reduced, without loss, to the more basic physical and subjective aspects of the poem, in the same way that the higher functions of language cannot be fully reduced to the lower functions.

0 of 0 people found the following review helpful.
Five Stars
By Jessé Rebello
Classic, well worth studying.

0 of 0 people found the following review helpful.
Great book for introductory literary class on theory of literature)
By Nicolau Nkiawete Manuel
This is classic,

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