> Free PDF Till We Have Faces: A Myth Retold, by C.S. Lewis

Free PDF Till We Have Faces: A Myth Retold, by C.S. Lewis

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Till We Have Faces: A Myth Retold, by C.S. Lewis

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“I saw well why the gods do not speak to us openly, nor let us answer . . . Why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?”

Haunted by the myth of Cupid and Psyche throughout his life, C.S. Lewis wrote this, his last, extraordinary novel, to retell their story through the gaze of Psyche’s sister, Orual. Disfigured and embittered, Orual loves her younger sister to a fault and suffers deeply when she is sent away to Cupid, the God of the Mountain. Psyche is forbidden to look upon the god’s face, but is persuaded by her sister to do so; she is banished for her betrayal. Orual is left alone to grow in power but never in love, to wonder at the silence of the gods. Only at the end of her life, in visions of her lost beloved sister, will she hear an answer.

"Till We Have Faces succeeds in presenting with imaginative directness what its author has described elsewhere as ‘the divine, magical, terrifying and ecstatic reality in which we all live’ . . . [It] deepens for adults that sense of wonder and strange truth which delights children in The Lion, the Witch and the Wardrobe, Prince Caspian, and other legends of Narnia." —New York Times

"The most significant and triumphant work that Lewis has . . . produced." —New York Herald Tribune

• Sales Rank: #5976 in Books
• Brand: Houghton Mifflin Harcourt
• Published on: 1980-07-09
• Released on: 1980-07-09
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .86" w x 5.31" l, .70 pounds
• Binding: Paperback
• 324 pages

Amazon.com Review
At once more human and more mythic than his Perelandra trilogy, Lewis's short novel of love, faith, and transformation (both good and ill) offers the reader much food for thought in a compact, impressively rich story. Less heavy-handedly Christian-allegorical than Narnia, Till We Have Faces gives us characters who remind us of people we know facing choices and difficulties we recognize. This deceptively simple book takes on new depth with each rereading.

Review
''He always tells a good story, and this is a splendid, vehement one, full of stone and wind and spears in an old country, wet mist on the hills. ... seems to sum up most of what Dr. Lewis has been telling us for years.'' --The Tablet

''One of the most eminently readable pieces of fiction that has come my way for a long time.'' --Yorkshire Post

From the Back Cover
“I saw well why the gods do not speak to us openly, nor let us answer . . . Why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?”

Haunted by the myth of Cupid and Psyche throughout his life, C.S. Lewis wrote this, his last, extraordinary novel, to retell their story through the gaze of Psyche’s sister, Orual. Disfigured and embittered, Orual loves her younger sister to a fault and suffers deeply when she is sent away to Cupid, the God of the Mountain. Psyche is forbidden to look upon the god’s face, but is persuaded by her sister to do so; she is banished for her betrayal. Orual is left alone to grow in power but never in love, to wonder at the silence of the gods. Only at the end of her life, in visions of her lost beloved sister, will she hear an answer.

"Till We Have Faces succeeds in presenting with imaginative directness what its author has described elsewhere as ‘the divine, magical, terrifying and ecstatic reality in which we all live’ . . . [It] deepens for adults that sense of wonder and strange truth which delights children in The Lion, the Witch and the Wardrobe, Prince Caspian, and other legends of Narnia." —New York Times

"The most significant and triumphant work that Lewis has . . . produced." —New York Herald Tribune

C. S. (Clive Staples) Lewis (1898–1963), one of the great writers of the twentieth century, also continues to be one of our most influential Christian thinkers. He wrote more than thirty books, both popular and scholarly, including The Chronicles of Narnia series, The Screwtape Letters, The Four Loves, Mere Christianity, and Surprised by Joy.

Most helpful customer reviews

492 of 503 people found the following review helpful.
C.S. Lewis' best work of fiction
By Snickerdoodle
C.S. Lewis used fiction to lay bare the soul in ways his more apologetic work could not. The cast of characters in The Great Divorce, for example, or in the "Space Trilogy" invariably remind us of people we know - and give us insights into what makes them tick. Nowhere in Lewis' works is the soul explored better than in Till We Have Faces, Lewis' masterwork of fiction and a stunning psychological and spiritual odyssey.
TWHF retells and enriches the myth of Cupid and Psyche, although a lack of familiarity with the myth in no way diminishes from the enjoyment of the book. In Lewis' hands, the story sorts through issues of family, jealousy, gender, faith, and ultimate meaning, culminating with a frightening and yet wonderful 'face to face' scene that gives rise to, and explains, the book's title.
Readers who are looking for the kind of in-your-face Christian symbolism that characterized the Chronicles of Narnia will be disappointed with TWHF. Although I appreciate and am nourished by Lewis' Christian parables and apologetics, the theology in TWHF is pagan, at least on its surface. Underneath the surface, however, Lewis does a masterful job of intertwining the traditional beliefs of the main characters - including a stand-in for Greek rationalism - with rumors of a much more intimate and beautiful way of knowing the gods. The climactic scene itself plays off the biblical phrase, "Now we see in a glass dimly, but then face to face" - a phrase that comes, in fact, from I Corinthians 13, the famous chapter on Love in the New Testament. So Lewis does indeed lead the reader toward the One who is love, but he uses the carrot of intrigue and spiritual longing rather than the steamroller (if you will pardon the mixed metaphor) of too-obvious symbolism.
This is my favorite of Lewis' works of fiction and was, reportedly, Lewis' favorite as well. Few books can nourish the soul the way Till We Have Faces can. Just one caveat: you really will need to read it twice ... and you will understand why once you have read it through the first time.

280 of 289 people found the following review helpful.
a good slap across the face
By NotATameLion
Besides containing one of the greatest lines about being an author ever written: "I was with book, as a woman is with child", C.S. Lewis's "Till We Have Faces" also did me the service of giving me a good slap across my metaphorical face. How wrapped up we all become in our own little lives. How one-sided and self-favoring is our vision.
Though a book about many things--holiness, love, and philosophy to name a few--"Till We Have Faces" is mainly about how our perceptions can fail us. How in the name of doing what we think is right, we can do horrible things.
Orual, the protagonist of the story, spends an entire life learning what the apostle Paul meant when he said "Now we see but a poor reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known." The real twist in "Till We Have Faces" is that the reader, more likely than not, learns the same lesson (I know I did).
C.S. Lewis is one of my favorite authors for many reasons. This book is definitely one of them. Lewis considered "Till We Have Faces" to be his best book. I do not know if I agree, but it is certainly a great story.
I give "Till We Have Faces" a very high recommendation.

193 of 202 people found the following review helpful.
Till We Have Faces is a psychological masterpiece
By A Customer
C.S. Lewis's novel Till We Have Faces is based on the classical myth of Cupid and Psyche, however Lewis chooses to tel the story through Orual, Psyche's older sister. While Lewis does retell the well-known story of Psyche and Cupid, that is only a tiny piece of the story he creates. Till We Have Faces is actually the story of Orual's struggle to find love, and to discover her own identity. The actual setting of the story is unclear-it takes place in a country north of Greece, in a time long past, but Lewis does not choose to elaborate on that. In fact throughout the entire book, he focuses very little on sensory details; it is a story of emotion and psychology rather than action and physical description. Orual writes her own story, beginning at her childhood in her father's castle. There she leads an isolated life, surrounded only by her fathers servants, advisors, and her sisters, Redival and Psyche. Redival, with her golden curls and curvy figure, is superficially pretty, but Psyche is the embodiment of perfect and natural beauty. She is not only outwardly beautiful, she is also pure, unselfish, and loving. Orual, though, is neither pretty nor beautiful. She is, as she is constantly reminded by her father (the king), indescribably ugly. Orual never feels that she is loved by anyone, that is, until Psyche enters her life. Psyche's mother dies giving birth to her, and Orual takes it upon herself to become Psyche's guardian and to raise her. Orual loves Psyche more than anything else, but her love is selfishly and fiercely possessive. Orual is tormented by the thought of having to release Psyche from her suffocating grasp, and she does everything in her power to prevent it. After being separated from Psyche, Orual gradually comes to the realization that she (Psyche) is like the goddess Ungit-greedy, jealous, blood-gorged, and ugly of soul as well as body. She also compares herself to her father, the violent, selfish, cowardly, and dishonest king. Orual recoils from this realization, and as queen, she tries to be everything that her father, and Ungit, are not. While she is described by her subjects as "the most wise, just, valiant, fortunate and merciful" of all rulers, Orual feels that her actions are only a mask of her inner ugliness. She despairs of ever overcoming her hideousness inside. She says, "I would set out boldly each morning to be just and calm and wise in all my thoughts and acts, but before they had finished dressing me I would find that I was back in some old rage, resentment, gnawing fantasy, or sullen bitterness. I could not hold out half an hour . . . I could mend my soul no more than my face." Like the veil she wears to hide her ugly face, she feels that her good actions only conceal the hideousness of her true self. C.S. Lewis felt that we, as humans, are like rough blocks of marble. He said that suffering is the tool God uses to carve away our rough edges and to refine our souls. As Orual experiences suffering, she doesn't realize it, but she is actually coming closer and closer to becoming the perfected statue. Each trial chips away another piece of the marble that conceals the perfect form within. The title, Till We Have Faces, may refer to the process of refinement and self-realization. Till We Have Faces is a captivating book from beginning to end. As the reader, I could not only identify with Orual's struggles, I felt as though I was Orual, going through the same turmoil and inner-conflict. It is a book that I can read over and over again, each time experiencing new epiphanies and gaining deeper insight. It is impossible to adequately describe, even to a small degree, this fascinating and complex novel; it must be read and read again.

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!! Get Free Ebook The Three Billy Goats Gruff, by P.C. Asbjornsen, J. E. Moe

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A favorite with storytellers because of the rich, descriptive language of the retelling, this is a reissue of the classic edition of the famous Scandinavian tale. Marcia Brown’s stylized illustrations capture the personalities of the clever goats and the horrible troll, making this book a feast for the eyes as well as the ears.

• Sales Rank: #189070 in Books
• Brand: Sandpiper
• Published on: 1991-02-21
• Released on: 1991-02-21
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .18" w x 8.00" l, .27 pounds
• Binding: Paperback
• 32 pages

Review
"The large, lively, double-page spreads are sure to win a responsive audience at story hour." (School Library Journal )

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

About the Author
No Bio

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Most helpful customer reviews

33 of 33 people found the following review helpful.
The scary version
By Judy K. Polhemus
"The Three Billy Goats Gruff 1957" by P.C. Asbjornsen and J.E. Moe (the Grimm Brothers of Norway) and illustrated by Marcia Brown is what I call the scary version of this Norwegian folk tale. My library (I am a school librarian) has three other versions, all pretty and not scary at all. What good is a fairy tale if it doesn't make the little ones hug their neighbors in delicious fright.

Least you think I am a troll myself, I would like to remind you of that word the French gave us--frisson--that delicious scary feeling when we're safe. Thus, when I show the various book covers of "The Three Billy Goats Gruff" and ask which version they want me to read: the nice one, the pretty one, or the scary one, the children all hug each other and say without doubt--"the SCARY one!!"

I might add that it is Marcia Brown's illustrations (yes, THAT Marcia Brown) that make this version the scary one. She smears on color, uses lots of black and reddish-browns, uses bold gashes of colors. Just the coloring technique lends itself toward that frisson. The introduction of the troll is a mudpit of fierce, scary browns and blacks with a hint of red in those browns--a pit of anger and hatred. The troll's huge eyes, long nose, and jagged, broken teeth add to the frisson.

Listen to the word pattern: "On the way up was a bridge over a river they had to cross, and under the bridge lived a great ugly troll with eyes as big as saucers and a nose as long as a poker."

When the troll comes out, the viewer sees him in his full scariness because he is right there "in our face," large as life. Then he says that scary line: "Who's that tripping over my bridge?" You know, any reader worth her salt is going to read it in a fierce voice, and adds: "Now, I'm coming to gobble you up!"

Truly, this is some scary artwork, almost beyond frisson. "'It's I! the BIG BILLY GOAT GRUFF!' said the billy goat, who had an ugly hoarse voice of his own." And you should see THIS scary drawing of the BIG goat! When the third Billy Goat Gruff does battle with the bad ol' troll, body parts fly. Really! In a children's book! That's why some people disapprove of this version.

It's a matter of taste. I always let students who seem fearful to go into the other room until I finish reading this version--the scary one! Afterword, everyone wants to check out this book. Oh, the other childen? If any went into the other room, they always return to hear the story.

Books are magic.

0 of 0 people found the following review helpful.
Enjoyed this story
By Ladona Schuler
Enjoyed this story, just as I did when I was a child. I bought it or a friend who built a bridge for her yard.

0 of 0 people found the following review helpful.
love this story
By Karen Snizek
classic!

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~~ Download PDF Selected Prose of T.S. Eliot, by T. S. Eliot

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Thirty-one essays-categorized as “essays in generalization,” “appreciations of individual authors,” and “social and religious criticism”- written over a half century. This volume reveals Eliot’s original ideas, cogent conclusions, and skill and grace in language. Edited and with an Introduction by Frank Kermode; Index. Published jointly with Farrar, Straus & Giroux.

• Sales Rank: #103683 in Books
• Brand: Harvest Books
• Published on: 1975-11-10
• Released on: 1975-11-10
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .81" w x 5.25" l, .85 pounds
• Binding: Paperback
• 320 pages

Features

• Great product!

About the Author

Thomas Stearns Eliot was born in St Louis, Missouri, in 1888. He moved to England in 1914 and published his first book of poems in 1917. He received the Nobel Prize in Literature in 1948. Eliot died in 1965.

Most helpful customer reviews

29 of 29 people found the following review helpful.
Ascerbic, crisp and correct-- brilliant essays.
By frumiousb
An excellent selection of essays by Eliot. He is at his best in many of these-- ascerbic, crisp and correct. I am constantly amazed by the number of people who have opinions about the ideas and theories of Eliot, but who have never read his essays themselves. I suggest that before taking umbrage at what he is supposed to have said, a student of the modernists should at least read a bit of what he did say.

This selection is broken into two categories: Literary Criticism and Social and Religious Criticism. Essays such as "Tradition and the Individual Talent" and "What is a Classic?" (compare and contrast with G. Stein in "What are Masterpieces?") are particularly worth the time to read.

I wish that Kermode had included more of the social and religious essays and that he had not excerpted as heavily as he did throughout the book. I would personally rather read a longer book consisting of complete essays than having such a high percentage of the selection consisting of excerpts. Of the meagre three essays in the social and religious section, two were excerpted rather than being published in their entirety. Too bad.

13 of 14 people found the following review helpful.
Worthy collection
By jtbran@earthlink.net
I found this book to be a useful compendium of essays that are usually scattered or incompletely represented in anthologies. It's an excellent supplement for a course on Eliot's work or to learn more about his critical perspectives and how they shifted over time. Very worthwhile.

16 of 18 people found the following review helpful.
What criticism should be.
By T. Baughman
Eliot's reputation has taken a beating in the last 20 years. He has been charged with anti-semitism, racism, elitism, and even misogyny. All of these charges are basically true. Nevertheless, as a critic his judgements are sound and dead-on. Read either "Traditon and the individual Talent" or "Dante" from this book and tell me if you think I am wrong. The book is worth the price for these two essays alone.

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Chrysalis: Maria Sibylla Merian and the Secrets of Metamorphosis, by Kim Todd

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Today, an entomologist in a laboratory can gaze at a butterfly pupa with a microscope so powerful that the swirling cells on the pupa’s skin look like a galaxy. She can activate a single gene or knock it out. What she can’t do is discover how the insect behaves in its natural habitat—which means she doesn’t know what steps to take to preserve it from extinction, nor how any particular gene may interact with the environment. Four hundred years ago, a fifty-year-old Dutch woman set sail on a solo scientific expedition to study insect metamorphosis. She could not have imagined the routine magic that scientists perform today—but her absolute insistence on studying insects in their natural habitats was so far ahead of its time that it is only now coming back into favor. Chrysalis restores Maria Sibylla Merian to her rightful place in the history of science, taking us from golden-age Amsterdam to the Surinam tropics to modern laboratories where Merian’s insights fuel new approaches to both ecology and genetics.

• Sales Rank: #387797 in Books
• Brand: Todd, Kim
• Published on: 2007-12-03
• Released on: 2007-12-03
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .86" w x 5.31" l, .78 pounds
• Binding: Paperback
• 352 pages

From Publishers Weekly
Metamorphosis has long fascinated humankind, but few people more than Maria Sibylla Merian (1647–1717), who spent her life illustrating this mysterious process in insects. Merian grew up in Germany, married, had two daughters, left her husband to join a Labadist (pietist) community in West Friesland, moved to Amsterdam and, at age 52, traveled to Surinam to search for insects. Beyond that, little is known about this remarkable woman except for a few letters and her beautiful engravings and watercolors, most of them published in her books on insect metamorphosis. Todd (Tinkering with Eden) fleshes out her biography with colorful descriptions of Merian's world and the people she knew, emphasizing that she was as exceptional in her art as in her life. Unlike other naturalists at the time, she depicted insects together with their host plants, an innovation that influenced many later 18th-century students of insect life. Merian fell out of favor in the 19th century, but today, when scientists have come to appreciate the importance of environment to insect development, her star is rising again. Todd's vivid account should do much to further the renewed interest in this unusual woman and her pioneering approach to insect illustration. 8-page color insert not seen by PW. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Few phenomena are as compelling as metamorphosis, and few have dedicated themselves to its study as passionately as Maria Sibylla Merian (1647-1717). Fascinated by the transformation of caterpillars into butterflies as a girl, Merian became a renowned naturalist and artist specializing in insect life. Gifted with an innate "sense of ecology," she depicted insects within their habitats a century ahead of Audubon, who did the same for birds. Todd (Tinkering with Eden, 2001) emulates Merian's richly contextual approach in her vivid descriptions of every facet of her subject's vibrant world as she insightfully chronicles Merian's extraordinary life as the daughter of a prominent Frankfurt publisher, an artist's wife in Nuremberg, a member of an isolated religious community, a renowned scientist and artist in progressive Amsterdam, and the practitioner of pioneering fieldwork in the rain forest of Surinam. In the face of systematic misogyny, Merian made invaluable discoveries in sync with Leeuwenhoek's development of the microscope and Linnaeus' grand classification scheme, yet was soon forgotten. Todd's discerning analysis and deep appreciation resurrect Merian and reclaim her still vital achievements, ensuring that Merian will stand as the resourceful and courageous visionary she truly was. Donna Seaman
Copyright © American Library Association. All rights reserved

Review
PRAISE FOR CHRYSALIS

"Todd's book is a portrait of the metamorphosis of an age, a society, and a woman whose passion to see the world through the metaphor of moths and butterflies would not abate. The illustrations reproduced in this fine biography affirm Merian's vision; the range of Todd's research and the eloquence of her writing give that vision voice."--Maurice Manning, BookForum

"In this spellbinding biography, Todd interweaves the life of Maria Sibylla Merian, a German artist and naturalist who became famous in the seventeenth century for her engravings of caterpillars, with the intellectual and scientific history of metamorphosis."--The New Yorker

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38 of 40 people found the following review helpful.
A Forgotten Ecologist Getting Her Due
By Rob Hardy
You may have seen the artwork of Maria Sibylla Merian, as it is a staple for pretty but accurate pictures of butterflies, caterpillars, moths, and flowers, and can be found on china or stationery. She was more than a painter or engraver, though. Her life was unique. She had artistic talent, but she was also a keen scientific observer, who advanced the study of insects immeasurably. She was a teenaged bride who left her husband who divorced her, and she had to care for their two children. She was so enthralled with the study of moths and butterflies that at age 52 she traveled to a mysterious and largely unknown land to see more of them, and to bring back pictures and scientific descriptions of their behavior. And she did this more than three centuries ago. _Chrysalis: Maria Sibylla Merian and the Secrets of Metamorphosis_ (Harcourt) by Kim Todd is a thoughtful examination of what we can know about Merian's life from the few personal documents that remain about her, and a proper reevaluation of her place in the world's scientific effort. It also is a fine resource about the biological controversies that were brewing in the seventeenth century, controversies that had to be settled in order for a basic understanding of insect life to take hold.

Merian was born in Frankfurt, Germany, in 1647. She could not have a formal apprenticeship like a male artist in training, and she could not even paint in oils, because the rules of the guild forbade women from doing so. She was, however, able to use watercolors and engraving with beauty and utility to bring her objects of study almost to life upon the page. When Merian studied or painted insects, she included what foods they ate, and how they proceeded from egg to larva to pupa and to the adult, and it was all part of her contribution to science and to the branch that later was to be known as ecology. In doing so, she was working against scientific currents of the time, since it was held that insects could spontaneously generate from rotting meat, dew, or wool. She also was taking a risk in showing interest in possibly satanic insects, especially since she kept them alive, fed them, and kept their cocoons in her kitchen. Women were accused of witchcraft for less. Dutch curiosity cabinets did contain spectacular specimens from the colony of Surinam, but Merian wanted to see the insects as they lived, and used the money she made from her books and her paintings to finance her two-year trip there. She relied on the natives to tell her about the plants and their uses, and she got the first rudimentary understandings of the rainforest as a complex ecosystem; she observed, for instance, that butterflies at the tops of the trees were different from the ones nearer the ground.

Merian left Surinam after only two years because of illness, probably malaria. After she returned to the Netherlands, she published _Metamorphosis Insectorum Surinamensium_ in 1705, full of pictures and descriptions of the colorful insects she had seen on her travel. The beauty of the pictures was praised, but only succeeding generations could appreciate the ecological innovations of her insect portraits. Her reputation suffered after her death; if she were discussed at all, it was to ridicule her picture of a spider capturing a hummingbird. After all, she had no formal education, she accepted the reports of natives who lived among the insects she depicted, and she was a woman. It was only in the twentieth century that her reputation was restored, not just as an artist but as a scientist who insisted on direct observation of the insects she described, and who realized how their cycles linked within a larger natural system. Todd's book has to have a great deal of speculation in it; she includes many sentences beginning with "perhaps" or "probably". This is because the sources are scant. There are Merian's books and paintings, of course, but beyond that are a couple of her legal documents and less than twenty letters she wrote. Nonetheless, Merian's contributions to biology were considerable, and Todd's well-illustrated and thoughtful book helps in the restoration of her reputation.

0 of 0 people found the following review helpful.
Wonderfully written. Some nice image inserts
By Angela Boyle
Wonderfully written. Some nice image inserts, but mostly the author explores the time period and how Maria was a fore runner for her time.

15 of 15 people found the following review helpful.
Fascinating new book
By John Taylor
Ever since "Tinkering with Eden," I have been eagerly awaiting Kim Todd's next book, and, with "Chrysalis," she does not disappoint. Anyone who enjoys a good biography should read this book - and for that reason, it's a great book to give as a gift. The topic sounds obscure, but Todd's vivid prose brings her remarkable subject to life. Highly recommended!

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? Free Ebook Meaning Of Meaning, by C. K. Ogden, I. A. Richards

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Language is the most important of all the instruments of civilization. This is the premise of a work whose significance to the study of language, literature, and philosophy has remained undiminished since its original publication in 1923. New Introduction by Umberto Eco; Indices.

• Sales Rank: #904195 in Books
• Color: White
• Published on: 1989-06-26
• Released on: 1989-06-26
• Original language: English
• Number of items: 1
• Dimensions: 8.30" h x .99" w x 5.50" l, 1.13 pounds
• Binding: Paperback
• 396 pages

Features

• ISBN13: 9780156584463
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From the Back Cover
"Language is the most important of all the instruments of civilization." The authors state this premise boldly in their preface to "The Meaning of Meaning," a classic work whose significance--and challenge--to the study of language, literature, and philosophy has remained undiminished since its original publication.

Much about language continues to be only hazily understood, distorted by our habitual attitude--often one of indifference--toward words, or by lingering assumptions based on discredited theories. What IS the relationship between words and what the words refer to? Between words and the way we think? Can understanding such matters lead to greater precision in communication? Readers considering these questions find themselves at the crossroads of linguistics and communications theory, of literary criticism and philosophy--an interdisciplinary nexus claimed by the increasingly influential field of semiotics--and "The Meaning of Meaning" will prove, as it has over the last six decades, an essential resource.

In his introduction Umberto Eco, emininent novelist and, not coincidentally, semiotician, provides a fascinating perspective on this pioneering work that continues to disturb intellectual complacency and provoke thought and discussion.

About the Author

I. A. Richards taught at Cambridge and Harvard universities. Among his many books are "Foundations of Aesthetics, The Meaning of Meaning, Basic English and Its Uses", and "Internal Colloquies: Poems and Plays."

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24 of 34 people found the following review helpful.
Dated but still very relevant
By Dan McCreary
I first encountered reference to this book when reading about the semantic web. The key innovation was the "semiotic triangle" where we are encouraged to think of things, thoughts and symbols in separate and distinct domains. I now use the "semantic triangle" (a more approachable name) in many of my semantic web training classes. The key concept to get across to students is that when computers need to communicate, there are many limitations when using symbols alone, which can have many different meaning within different contexts. For example the word "run" has over 50 different meanings according to WordNet. A more robust way to exchange information between computers is to associate data elements with concepts. This books was one of the first books to build these models of communication.

9 of 14 people found the following review helpful.
Provocative study of language
By David W. Drake
I read this book years ago when I was really into this area. Very good and thought provoking discussion of ideas and problem we rarely think about, although we use language every day.

0 of 0 people found the following review helpful.
Four Stars
By robert, balthazar
an ingenious resumé of "meaning" in the different disciplines. a must

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workbook for the Mastery of Your Anxiety adn Worry Series

• Sales Rank: #620237 in Health and Beauty
• Published on: 1992
• Ingredients: Example Ingredients
• Number of items: 1

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## PDF Ebook The City in History: Its Origins, Its Transformations, and Its Prospects, by Lewis Mumford

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The city’s development from ancient times to the modern age. Winner of the National Book Award. “One of the major works of scholarship of the twentieth century” (Christian Science Monitor). Index; illustrations.

• Sales Rank: #59103 in Books
• Published on: 1968-10-23
• Released on: 1968-10-23
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x 1.92" w x 5.25" l, 1.41 pounds
• Binding: Paperback
• 657 pages

Amazon.com Review
Lewis Mumford's massive historical study brings together a wide array of evidence--from the earliest group habitats to medieval towns to the modern centers of commerce (as well as dozens of black-and-white illustrations)--to show how the urban form has changed throughout human civilization. His tone is ultimately somewhat pessimistic: Mumford was deeply concerned with what he viewed as the dehumanizing aspects of the metropolitan trend, which he deemed "a world of professional illusionists and their credulous victims." (In another typically unrestrained criticism, he dubbed the Pentagon a Bronze Age monument to humanity's basest impulses, as well as an "effete and worthless baroque conceit.") Mumford hoped for a rediscovery of urban principles that emphasized humanity's organic relationship to its environment. The City in History remains a powerfully influential work, one that has shaped the agendas of urban planners, sociologists, and social critics since its publication in the 1960s.

Review
Lewis Mumford was the author of some 30 influential books, many of which expounded his views on the perils of urban sprawl and a society obsessed with "technics." In this classic text first published in 1952, Mumford contends that an overemphasis on technics has contributed to the depersonalization and emptiness of 20th-century life. He issues a call for a renewed respect for artistic impulses and achievements. This edition contains a new introduction by Casey Nelson Blake, professor of history at Columbia University. Annotation c. Book News, Inc., Portland, OR (booknews.com) (Booknews )

Lewis Mumford's massive historical study brings together a wide array of evidence--from the earliest group habitats to medieval towns to the modern centers of commerce (as well as dozens of black-and-white illustrations)--to show how the urban form has changed throughout human civilization. His tone is ultimately somewhat pessimistic: Mumford was deeply concerned with what he viewed as the dehumanizing aspects of the metropolitan trend, which he deemed "a world of professional illusionists and their credulous victims." (In another typically unrestrained criticism, he dubbed the Pentagon a Bronze Age monument to humanity's basest impulses, as well as an "effete and worthless baroque conceit.") Mumford hoped for a rediscovery of urban principles that emphasized humanity's organic relationship to its environment. The City in History remains a powerfully influential work, one that has shaped the agendas of urban planners, sociologists, and social critics since its publication in the 1960s. (Amazon.com Review )

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Most helpful customer reviews

61 of 63 people found the following review helpful.
A comparative analysis of cities
By James Ferguson
Lewis Mumford deftly explores the formation and development of the city from its early Mesopotamian and Egyptian roots to its modern day manifestations. It is the logical extension of his earlier works on the subject, in particular "The Culture of Cities," which has been partially absorbed into this volume. Of particular interest to meis his analysis of the walled versus open cities, and the sharply opposing world views of the progenitors of these cities.
Mumford was particularly drawn to the early Hellenic and later medieval town planning ideals. He noted how the early cities knew their limits, and established satellite communities, rather than continually extend their boundaries. Loose-knit federations were formed, which were much more democratic than were the Roman and Baroque regimental cities.
He charts the evolution of modern city planning ideals, very critical of Le Corbusier's "Radiant City" and other megalomaniac ideas which arose in the 20th century. Mumford favored the "garden city" ideals of Ebeneezer Howard, which recognized the destructive impact of industrialization on urban centers; rather than those schemes which extolled the industrial city as the city of the future.
Mumford is careful not to over reach, or at least let you know when he is forming suppositions. His annotated bibliography is immense, and probably the single most compelling aspect of this book for those who want to read more on the subject. The new Harcourt paperback edition, which came when I ordered this volume, has a more handsome cover than that shown in this listing.

25 of 26 people found the following review helpful.
Thorough Analysis of the City Across Time
By E. White
Things Lewis Mumford likes: medieval towns and "garden city" ideals. Things Lewis Mumford does not like: Roman cities and capitalism. If you can make it through this dense, comprehensive work you will have a much better understanding of the history of cities. You will learn how they came into existence, what functions they performed, and what purposed they filled throughout time.

Mumford asserts that "human life swings between two poles: movement and settlement." To illustrate this, he takes readers from the earliest cave dwellings up to the modern era. Well, the modern era of the 1960s, when The City in History was written. Though he has been criticized for veering off-point with his anti-capitalist sentiments and his fears about the future, as well as his failure to acknowledge any contributions made by certain periods (i.e. Roman), this is still a book to be reckoned with.

The City in History is still referenced by urban planners, sociologists, etc. today and really makes you think about cities in a whole new way. This may not be the book you take with you to the beach, but it is still one of the best starting point for those who want to better understand how the urban form has evolved (you should also check out Cities Perceived: Urban Society in European and American Thought, 1820-1940). The style may be dry at times (with so much information to touch on, this is difficult to avoid), but Mumford presents things in an interesting way. Like his point that the dead were the first in history to have permanent dwellings! Graveyard - I never thought of that, but it's true!

47 of 53 people found the following review helpful.
Good Until the Last Hundred or So Pages
By S. Pactor
After two hundred pages I wanted to give this book five stars, but after finishing it, I was almost ready to give it three stars.
This book is what it says it is, "The City in History". Starting in the neolithic era, Mumford marches through all of recorded time and place (place being limited to the Near East, Greece, Rome, Europe and America) to bring, you, the reader, his thoughts on the role and "prospects" of the city.
In the beginning, it's an exhilerating ride. Mumford is not shy about advancing bold arguments. Although the book starts with sections on the city in Ancient Mesopotamia and Egypt, he doesn't really get excited until he gets to Ancient Greece. I'd say it's clear from the text that Mumford is a fan of Ancient Greece, particularly Athens between the 7th and 6th century B.C.
Then it's off to Rome. Mumford is a harsh critic of Roman culture. His critique of the Roman method of burial (take bodies just outside city limits, dump, bury) contrains so much righteous indigination you might think the Romans were still pottering around when he wrote this book.
After Rome, we get an equally stirring defense of the Middle (don't call them "Dark" around Mumford) Ages. Mumford is a big fan of the city in the late middle ages. As an example, Mumford uses Amsterdam. Specifically, what Mumford likes about this time period is the community involvement by the ruling elites.
Like many other social critics, Mumford is not a huge fan of the impact that capitalism and industrialization have had on the modern city. Unlike some of the other reveiwers below, I don't really hold that against him. He was writing in the sixties, people!!!
However, I do admit that by the last hundred or so pages, when Mumford starts despairing of the future of the city, the whole tirade started to get tired.
I'm not sure I would recommend this for a general reader.

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