Sabtu, 28 Februari 2015

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Islamic Gunpowder Empires: Ottomans, Safavids, and Mughals (Essays in World History), by Douglas E. Streusand

A comparative introduction to the three great Islamic empires — the Ottomans, Safavids, and Mughals — illuminating their unique characters as well as their shared experiences of rise to power, expansion, transformation, and decline.

  • Sales Rank: #92977 in Books
  • Brand: Brand: Westview Press
  • Published on: 2010-10-05
  • Released on: 2010-10-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .92" w x 6.00" l, 1.05 pounds
  • Binding: Paperback
  • 408 pages
Features
  • Used Book in Good Condition

Review
"With Islamic Gunpowder Empires, Douglas Streusand has contributed a masterful comparative analysis and an up-to-date reinterpretation of the significance of the early modern Islamic empires. This book makes profound scholarly insights readily accessible to undergraduate students and will be useful in world history surveys as well as more advanced courses.”
—Hope Benne, Salem State College

“Streusand creatively reexamines the military and political history and structures of the Ottoman, Safavid, and Mughal empires. He breaks down the process of transformation and makes their divergent outcomes comprehensible, not only to an audience of specialists, but also to undergraduates and general readers. Appropriate for courses in world, early modern, or Middle Eastern history as well as the political sociology of empires.”
—Linda T. Darling, University of Arizona

“Streusand does a very good job of narrating and describing these three empires, despite their unique sets of conditions and characteristics. He is to be commended for navigating these hearty and substantial historiographies to pull together an analytical textbook which will be both informative and thought provoking for the undergraduate university audience.”
—Colin Mitchell, Dalhousie University

“Douglas Streusand has brilliantly complemented, filled out, and updated Marshall Hodgson's pioneering study of the Islamic gunpowder empires of the early modern era. This is an absolute ‘must’ for students of early modern world history, especially those who focus on political and military structures.”
—Alfred J. Andrea, Professor Emeritus of Medieval History, University of Vermont; Past-President, World History Association

“Islamic Gunpowder Empires is a significant contribution. We now have a scholarly, but concise, history filling what is usually a gap in World, Eurasian, and Middle-Eastern texts for middle and upper level undergraduate courses … [Douglas E. Streusand] restores action and reaction to the imperial and provincial leaders, who emerge as anything but the doctrinaire, ‘lock-step’ authorities presiding over inevitably expanding states, which many histories portray… I recommend the book highly.”
—Ray Zirblis, Norwich University

“In each chapter Streusand sensitively handles the loaded question of decline and … brings historiography into the discussion, providing the reader with notice of where scholars disagree, why previously prevailing views have in some cases been discarded, and the reasons for the persistent disparity of research on the three empires … An eminently usable, logically organized book.”
—Comparative Studies in Society and History

“Douglas Streusand has produced a work that is carefully researched and well-written. The determined general reader and the advanced student will find this thoughtful account very rewarding.”
—Technology and Culture

“This book is the best account of the Islamic gunpowder empires yet produced, and will probably retain this accolade for a long time. It is by far the most successful of the attempts to survey the Islamic empires of the post-Mongol era, providing outlines of political and military history in a manner that is comprehensible and readable. There is no question that Streusand’s book is worth the twenty years he spent on it.”
—Journal of Central Eurasian Studies

From the Inside Flap
Islamic Gunpowder Empires provides readers with a history of Islamic civilization in the early modern world through a comparative examination of Islam’s three greatest empires—the Ottomans (centered in what is now Turkey), the Safavids (in modern Iran), and the Mughals (ruling the Indian subcontinent). Author Douglas Streusand explains the origins of the three empires; compares the ideological, institutional, military, and economic contributors to their success; and analyzes the causes of their decline. Streusand depicts the three empires as a part of an integrated international system extending from the Atlantic to the Straits of Malacca and emphasizes both the connections and the conflicts within that system. He presents the empires as complex polities in which Islam is one political and cultural component among many. The treatment of the Ottoman, Safavid, and Mughal empires incorporates contemporary scholarship, dispels common misconceptions, and provides an excellent platform for further study.

About the Author
Douglas E. Streusand has studied Islamic civilization for thirty years. He is professor of international relations at the US Marine Corps Command & Staff College and adjunct professor at the Institute of World Politics. He has previously taught at the University of Maryland College Park, University of Maryland University College, and The Johns Hopkins University School of Continuing Studies. His publications include The Formation of the Mughal Empire in addition to numerous articles and reviews. He earned his PhD from the University of Chicago.

Most helpful customer reviews

9 of 9 people found the following review helpful.
A very useful, largely structural comparative history.
By greg taylor
I know of one other book, The Muslim Empires of the Ottomans, Safavids, and Mughals that covers the same territory. I mention that only to state that I am not familiar with that book by Stephen Dale and you may want to look at it before you decide which to buy.
I used the Kindle version of Streusand's book. It is pretty well Kindlized. The footnotes work as they should; taking you effortlessly back and forth to the text. The publisher has not taken the time to paginate the electronic version so you have to find your way around with the Kindle numbers.
There are several useful scholarly apparatus some of which need to be better Kindlized. There is a very useful glossary indicated by the use of italics in the text but you have to jump back and forth from the glossary via the Kindle numbers.
There is a good chronology and a dynastic table for each empire which was helpful to refer to now and then. Streusand includes a bibliographic essay which is an excellent guide to further books to read/study.
The work itself is straight forward. Each empire is introduced with a brief narrative of the main political and military events. Then each empire is examined for ideology, for military strategy and organization, for economy, for religion and for the ways that all these facets of each empire responded to the stresses of their competition among themselves or with various European powers.
I am currently reading a narrative history of the Ottomans by Finkel. She is a wonderful, lucid writer but I found that I understood her much better having come to her book fresh from Streusand's.
I knew very little about any of these empires. I now feel like I can begin to study all three. All-in-all, a quick and very useful read.
I would be curious to hear from someone who has read both this books and Dale's as to their relative merits.

7 of 7 people found the following review helpful.
A Comprehensive, Detailed, and Informative Overview
By Akhilesh Pillalamarri
The term "gunpowder empires" to describe the three Islamic empires of early modernity is rather frequently used, even in High School textbooks. However, there are few books that actually give meaning to this term, and this is one of them. There are also not that many books that deal with the three empires, in comparison with each other, viewing them- as they were- as part of an integrated system and civilization. It highlights their similarities- Turkic elite, Irano-Islamic bureaucratic practices, a founding elite that was universal and almost messianic in nature, etc. while also highlighting their differences- the Mughal and Ottoman empires were much more agrarian and much less tribal than the Safavids, while the Ottoman administration was the most developed and most able to collect revenue in contrast to the Safavids and Mughals while often had to rely on intermediaries. These and numerous other details are why this is a book worth reading.

As the author points out, the historiography of the three empires is different in detail and focus. The Ottoman Empire is the best documented owing to a variety of factors such as survival of records, and proximity to Europe. Fortunately, there are many works on the Ottoman Empire and this book is essentially a review of much of it. Readers familiar with its history might not find much new material here although there is more focus on its internal developments. One advantage this book has is this focus on the Ottoman Empire as a Muslim state with attention to its legal, religious, and provincial aspects. Many histories on the Ottoman Empire focus on its foreign policy, its relation to Europe, and the Balkans, and sometimes one feels as though Egypt and Iraq vanish from history for 300 years when reading about the Ottomans.

The Safavid Empire's section is the most interesting, unique, and useful. Shockingly, there are few works in English on this Empire despite the fact is it not very obscure. In fact, the Safavid Empire ought to be studied more not only because it is interesting in and of itself but because it transformed Iran into a Shi'a state, which is of great import and impact to the present geopolitical situation in the Middle East. Some figures from the Safavid Empire, such as its founder Ismail I have fascinating biographies that are little heard (he won battles and was crowned Shah at the age of 14). In short, the study of Iran in this period is an interesting case of a state that was halfway between a tribal confederation, like among Central Asian tribes and a settled state, like among the Ottomans, Mughals, Europeans, or Chinese.

The Mughals, like the Ottomans are relatively more well known than other Islamic states of the period. Some of these Islamic states are completely left out, such as the Uzbek Khanate of Bukhara which was the main power in Central Asia during this period, though fortunately it gets more mention in this book than most other books. As for the Mughals, they have a rich and colorful history which is often told in the form of stories, narratives, and tales in other sources. The Baburnama, the diary/autobiography of the founder of the Mughal Empire Babur is one such read, vivid in its details and frankness. There are also numerous excellent Bollywood movies, relatively easy to access on the Mughal period and they convey a sense or window into the Mughal world. I mention these in order to point out that there is actually quite a lot story telling and pop culture availability on the Mughal Empire which is quite scarce for the Safavid Empire and not as prolific for the Ottoman Empire. A book like this is a good complement to the movies, shows, and books on the Mughals while rectifying some of the problems this proliferation creates by dealing with real history and the economic and social development of the Mughals. Additionally, since the Mughal period is often viewed through post-Mughal ideological lenses, such as the colonial or anti-colonial narrative or Hindu-Muslim relations, this book provides a more objective and neutral overview of this period.

To conclude, this book is an excellent resource and overview of these three empires. It is good for anyone who wants to gain a general understanding of these empires or for anyone looking for a starting point for further research on any of the aspects of these empires. It could be used as a textbook for undergraduates and is in fact an excellent choice for such a purpose but it does not read like a textbook and is informative for people from any background.

9 of 11 people found the following review helpful.
A 'must' for any serious about the foundations of the modern Middle East
By Midwest Book Review
Islamic Gunpowder Empires: Ottomans, Safavids, and Mughals is a recommended pick primarily for college-level Middle East history collections but also for any library strong in Islamic history and culture. Chapters exploring the history of three empires emphasize that they were connected within a world system and were not isolated entities, with chapters offering important overviews of social, military and political ideas and practices common to all three. From society and culture to expansion practices, this covers all aspects of these Islamic empires and is a 'must' for any serious about the foundations of the modern Middle East.

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Jumat, 27 Februari 2015

[G971.Ebook] PDF Ebook Louis I. Kahn in Conversation: Interviews with John W. Cook and Heinrich Klotz, 1969–70 (Yale Center for British Art), by Jules Davi

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Louis I. Kahn in Conversation: Interviews with John W. Cook and Heinrich Klotz, 1969–70 (Yale Center for British Art), by Jules Davi

In 1969 and 1970, Louis I. Kahn (1901–1974)—one of America’s greatest 20th-century architects—participated in a series of interviews with a young German architectural historian, Heinrich Klotz, then a visiting professor at Yale University, and John W. Cook, who was teaching architecture at the Yale Divinity School. Louis I. Kahn in Conversation provides the first full edited transcript of these candid, illuminating interviews, which provide remarkable insights into Kahn’s philosophy of architecture.  The conversations touch on many of his iconic works, including the unbuilt City Tower Project for Philadelphia, the Yale University Art Gallery, the First Unitarian Church in Rochester, and major international projects then under construction, as well as the Yale Center for British Art, Kahn’s final building, on which he was beginning work at the time. Illustrated with dozens of plans, drawings, and photographs, the book also features an introduction by Jules David Prown, the first director of the Yale Center for British Art, who recommended Kahn as its architect.
 

  • Sales Rank: #1496335 in Books
  • Published on: 2015-05-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.20" h x 1.20" w x 7.70" l, .0 pounds
  • Binding: Hardcover
  • 288 pages

About the Author
Jules David Prown is the Paul Mellon Professor Emeritus of the History of Art at Yale University. Karen E. Denavit is information analyst at the Yale Center for British Art.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By elisabetta barizza
Louis Kahn's words are extremely precious and unique

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Minggu, 22 Februari 2015

[Z328.Ebook] Free PDF Frantumaglia: A Writer's Journey, by Elena Ferrante

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Frantumaglia: A Writer's Journey, by Elena Ferrante

From the author of My Brilliant Friend

This book invites readers into Elena Ferrante’s workshop. It offers a glimpse into the drawers of her writing desk, those drawers from which emerged her three early standalone novels and the four installments of My Brilliant Friend, known in English as the Neapolitan Quartet. Consisting of over 20 years of letters, essays, reflections, and interviews, it is a unique depiction of an author who embodies a consummate passion for writing.
 
In these pages Ferrante answers many of her readers’ questions. She addresses her choice to stand aside and let her books live autonomous lives. She discusses her thoughts and concerns as her novels are being adapted into films. She talks about the challenge of finding concise answers to interview questions. She explains the joys and the struggles of writing, the anguish of composing a story only to discover that that story isn’t good enough. She contemplates her relationship with psychoanalysis, with the cities she has lived in, with motherhood, with feminism, and with her childhood as a storehouse for memories, impressions, and fantasies. The result is a vibrant and intimate self-portrait of a writer at work.

  • Sales Rank: #5752 in Books
  • Published on: 2016-11-01
  • Released on: 2016-11-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.60" h x 1.40" w x 5.70" l, .0 pounds
  • Binding: Hardcover
  • 400 pages

Review
Praise for Frantumaglia

“Frantumaglia [may be] her most experimental text yet, a massive prank on criticism and the media: all of it done to show us how badly we read what we read, how badly women writers are treated, and how badly the press operates.”
—Alexander Chee, New Republic 

"Elena Ferrante (for that is her real name, regardless of the private identity of the woman who uses it in public) has created a body of work that stands alone. This represents an entire world, made up of language, family, gesture, emotions, politics and culture."
—Roxana Robinson, The Washington Post

"Frantumaglia offers a chance to consider [Ferrante's] strange, spectral presence in the world of letters."
—Elaine Blair, The New York Times Book Review

"Now, American readers hungry for every Ferrante sentence they can get will find many here in which she lowers her knife through the bread of life with the same startling force as she does in her novels.”
—The Los Angeles Times

“In Ferrante’s invention, experience is fluid, not limited to the border of any particular self...Her world, as far as any reader should be concerned, easily maintains its integrity.”
—Los Angeles Review of Books

"Ferrante's work is not about women or friendship or abandonment: It is, rather, about a sense of the deep-down rawness of life itself—which runs like an electrical current beneath the prose—and it is responsible for the thousands of pages of writing she has sent out into a world of readers hungry to feel alive to their own perilous condition."
—Vivian Gornick, The Nation

"It is an addictive, powerful, and disquieting miscellany of piercing intelligence, restless questioning, compulsive rumination, equable uncertainty, courteous self-possession, quiet generosity."
—The National

“While this collection will be most enticing to those already reading Ferrante, it’s also a feast for writers, lovers of literature, and creators of all kinds.”
—Booklist

“I must confess that the words of Ferrante that have captivated me the most are included in Frantumaglia—something she wrote about writing.” 
—Asymptote

"This is a fascinating volume, as ever beautifully translated by Ann Goldstein. At times, it is as absorbing as Ferrante's extraordinary fictions and touches on troubling unconscious matter with the same visceral intensity."
—The Guardian

"In Frantumaglia there are some outstanding passages of literary criticism, feminist theory, film studies, sociology and philosophy. As a reader one longs to forget the gossip about her identity and just appreciate her as a critical thinker."
—The Sunday Times

"Never less than compelling...As a book of fragments, the title refers to the nature of the contents. But it also speaks to a vision of the self that is communicated throughout the material: human identity as something partial, fragmented, conflicted and heterogeneous."
—The Australian

"[Frantumaglia is] a magnificent jumble of insights, reactions, and philosophical play."
—Lili Loufbourow, The Week Magazine

"We learn plenty about Ferrante in the pages of Frantumaglia...Ferrante has long maintained that everything we need to know about her is in her novels. Frantumaglia rounds out this picture."
—Toronto Star


Praise for Elena Ferrante

“Elena Ferrante’s decision to remain biographically unavailable is her greatest gift to readers, and maybe her boldest creative gesture.”
—David Kurnick, Public Books
 
“Everyone should read anything with Ferrante’s name on it.”
—Eugenia Williamson, The Boston Globe
 
“Ferrante has written about female identity with a heft and sharpness unmatched by anyone since Doris Lessing.”
—Elizabeth Lowry, The Wall Street Journal
 
“Ferrante has become Italy’s best known writer. In our era of social media accessibility, shameless self-promotion, and hot young celebrity culture, this is nothing short of astounding.”
—Gina Frangello, Electric Literature
 
“Ferrante’s writing seems to say something that hasn’t been said before—it isn’t easy to specify what this is—in a way so compelling its readers forget where they are, abandon friends and disdain sleep.”
—Joanna Biggs, The London Review of Books
 
“To disagree over the quality of a Ferrante passage is often to run up against what you cannot answer or digest.”
—Jedediah Purdy, The Los Angeles Review of Books
 
“Who, in American literature today, deals with the subtleties of class difference in such a painful and sensitive way, while achieving even a fraction of Ferrante’s massive popularity? . . .  We must go to the fictionalized Naples of Ferrante to read the story we want to believe can happen again in our country.”
—Alissa Quart, BuzzFeed

About the Author
Elena Ferrante is the author of The Days of Abandonment (Europa, 2005), Troubling Love (Europa, 2006), The Lost Daughter (Europa, 2008) and the Neapolitan Quartet (Europa 2012-2015). She is also the author of a children’s picture book illustrated by Mara Cerri, The Beach at Night.

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2 of 2 people found the following review helpful.
Even without having read Ferrante’s oeuvre, a reader will thrill to learn in more depth of certain themes that haunt her.
By Bookreporter
I devoured the first three installments of Elena Ferrante’s Neapolitan series in early 2015, soon after the publication of the third book’s English translation, and awaited the last with baited breath. Like many, I was swept up in the passion described in and elicited by the series --- a story in four parts that follows the lives of two friends from girlhood to late middle age. The enthusiasm surrounding the books stemmed from disparate sources: some admired Ferrante’s intensely affecting and insightful account of women’s interior lives and friendships, others were drawn to the vivacious energy spilling off each page, while others were more captivated by the mystery surrounding the author’s identity.

Although she still has not disclosed her real name, the author reveals as much of herself as we are likely to ever know in FRANTUMAGLIA, a collection of letters and interviews done over nearly 15 years. With her signature verve, Ferrante discusses the cotton wool of an author’s life: her writing habits, habitual struggles as a writer, mother and woman, how stories develop over time. The letters also include guidance to directors undertaking her books’ transformations into movies, conversations with publishers and editors about current and future work, and relevant unpublished snippets.

Even without having read the entirety of Ferrante’s oeuvre, a reader will thrill to learn in more depth of certain themes that haunt her. The close observation of the way material comes together to form clothing, its transformation from a piece of lifeless cloth to something that speaks volumes. The relationship between dear friends who vacillate between crushing and supporting one another. The deep ambivalence of a woman losing her individual identity to motherhood and the realization to which a daughter comes as she crosses the same bridge.

Perhaps unsurprisingly, many variations of the same questions come up again and again regarding Ferrante as a female and feminist author and her stance on maintaining personal distance from her work. Both subjects are intensely personal for Ferrante the writer, and one must assume for whoever she is off the page as well. She decries the difficulty female authors have breaking from the modifier, eloquently describing how the media and literary world compare women only to each other, denying them their rightful places within the greater canon. Her thoughts on the decision to maintain a separate identity as a writer indicate an unusual and easy-to-admire perspective: that of a person who believes that what the reader needs to know about an author is already present in her work. If anything, her staunchness in this belief suggests that she has taken care to imbue her books with the power to stand on their own. From personal experience, I believe this to be true.

FRANTUMAGLIA comes at a particularly interesting time for English-speaking audiences. Elena Ferrante has served as the author’s pen name for decades in Italy, and her refusal to be unveiled continued even after she achieved international renown. Recently, a sleuthing journalist pinpointed the Italian woman who is most likely Ferrante. An uproar around the author’s privacy and frequently expressed intentions ensued, with most readers reacting with disgust and anger to her outing and refusing to acknowledge or change their relationship with the incognito author. FRANTUMAGLIA indicates that the author would surely gracefully accept the display of fierce loyalty on the part of her readers, but that she is someone who can defend herself. The pen, as they say…

Reviewed by Rebecca Kilberg

1 of 64 people found the following review helpful.
Helena Ferrante novels
By Joyce Mary Zurcher Blen
A simplist view of life in Italy at the beginning of post wars.

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Jumat, 20 Februari 2015

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COMMUNICATION MOSAICS: AN INTRODUCTION TO THE FIELD OF COMMUNICATION, Seventh Edition, combines the author's signature first-person narrative style and popular student commentaries with thoroughly up-to-date research, theories, and technological information to provide both an overview of the field and a practical guide you can immediately use to improve your personal, professional, and public communication skills. By beginning with introductions to the basic processes and skills central to all communication contexts and then moving on to how we apply these aspects of communication in specific contexts such as interpersonal and public speaking, the text shows you the importance of developing your communication skills and gives you the hands-on tools you need to become a more effective communicator. Jump into the dynamic world of communication in the twenty-first century with COMMUNICATION MOSAICS: AN INTRODUCTION TO THE FIELD OF COMMUNICATION, Seventh Edition!

  • Sales Rank: #11591 in Books
  • Published on: 2013-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .50" h x 8.00" w x 9.90" l, 1.50 pounds
  • Binding: Paperback
  • 400 pages

Review
"It is a high-quality survey of the field of communication with a more theoretical approach than performance-based. It is well-written, interesting, and covers the field thoroughly and effectively."

"There is no book that compares to the hard work and effort Dr. Wood has put into writing this text. This book is simple to understand and covers a wide breadth of territory within the communication field."

About the Author
Julia Wood joined the faculty at the University of North Carolina at Chapel Hill when she was 24. During her 37 years on the faculty, she taught classes and conducted research on personal relationships as well as gender, communication, and culture. She was named the Lineberger Distinguished Professor of Humanities and the Caroline H. and Thomas S. Royster Distinguished Professor of Graduate Education. In addition to publishing 25 books and 100 articles and book chapters, she has presented more than 100 papers at professional conferences and campuses around the country. Her accolades include 14 awards honoring her teaching and 16 awards recognizing her scholarship. She received her B.A. from North Carolina State University, her M.A. from the University of North Carolina at Chapel Hill, and her Ph.D. from The Pennsylvania State University.

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2 of 2 people found the following review helpful.
thanks
By christina meadows
I like the way the author used various people to make comments about being from different backgrounds and or cultures. Also the first page of each chapter has focus questions that are a usefull learning tool to prepare for the context that follows. The key concepts with page numbers in the summary provide for a map or outline that can simplify remembering all that you read.

2 of 2 people found the following review helpful.
Great Flowing Read
By Lawrence
Just awesome and interesting, nice examples... Easy flow and Read, how almost any book should be. Just Awesome you guys.

0 of 0 people found the following review helpful.
Easy Return.
By kipgon
I am finally over this class. wahoo. Great shipping and returning the product was very easy and simple. Honestly i would not rent/buy this book if i didn't have to but the book is actually really good it is less of a textbook and more of a story telling but overall no complains.
One more thing it was used previously with indentations and writing but that was perfectly fine with me.

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Rabu, 18 Februari 2015

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  • Sales Rank: #2618054 in Books
  • Published on: 1973
  • Format: Import
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 544 pages

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Deluxe Accordion Method, by Frank Zucco

Based on 50 years of teaching and performing on the accordion, Mr. Zucco has provided us with a complete and thorough accordion method for children. In this single volume, three levels of clear, easy-to-understand instruction teach music reading and playing from the very beginning, supplemented by original solos and arrangements. Students learn to play by feel and touch rather than depending on sight. Helpful illustrations and photographs are also provided. This method mentions the 120-bass accordion, but focuses on the 12-bass instrument. One of the finest accordion methods available. DVD included.

  • Sales Rank: #2839629 in Books
  • Published on: 2007-08-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.74" h x .23" w x 8.71" l, .68 pounds
  • Binding: Paperback
  • 100 pages

About the Author
Frank Zucco is an accomplished violinist and accordionist who has spent a career performing and teaching in the St. Louis area. He is retired now but gained a tremendous reputation as a teacher. For decades he taught 75 to 100 students a week! Many of his students are now fine professionals. His books for violin and accordion continue, year after year, to be among the best selling books in their respective categories with Mel Bay Publications.

Most helpful customer reviews

23 of 24 people found the following review helpful.
Good book to get started with the accordion.
By Ric Trexell
I don't claim to be an expert on accordion instruction books but this book seems to be a good starter book. I has a lot of photos and drawings to explain things and has a system of easy to harder concepts to get you going. I suppose nothing beats either an instructor taught or at least video taught program but I think this will help you get going on the accordion. From here you will know if you are a player or just playing around. I like the spiral binding. All music books should be in that format so you can play from it with out it deciding to close up on you. I only give it 4 stars rather than five because I had some questions that were not answered but I suppose that would be true of any book. I think you would be safe to buy this book. Hope that helps. Ric.

2 of 2 people found the following review helpful.
Great book for beginners
By Orange County
This is a great book for beginners starting to learn the accordian. It is very instructive, basic yet has a lot of good songs to start out with that cover a wide range of skill technique. You can definitely start out with this book... no need to buy anything simpler the way I did.

1 of 2 people found the following review helpful.
Beginner's book. Very basic. Not spiral bound as seen in photo.
By BassMan
This book is very basic and is intended for people who have no experience with written music. None. That's okay, I guess, though for a Deluxe offering I was expecting something more substantial, even if only in the later chapters. Also, the photo shows what to me looks like a spiral bound book. I prefer spiral and comb books since they fit nicely on a music stand without the book closing when you take your hand away. This book is not spiral bound; the description doesn't say it is offered as spiral so I guess some of the error is mine based on what I think I saw in the photo.

Of course, Amazon shipped promptly as usual. The book I received is absolutely brand new as expected. And for some this may be the perfect starter book. If you know anything about reading music you can learn how to operate the bellows by watching online videos and you can find bass (left hand) fingerings online and skip this book. I haven't viewed the DVD. Perhaps it's fabulous.

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Minggu, 15 Februari 2015

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The publisher of this book is IAP, 2nd edition.

  • Sales Rank: #2593157 in Books
  • Brand: Brand: Iap
  • Published on: 1992-02
  • Number of items: 1
  • Dimensions: 11.00" h x 8.75" w x 1.25" l,
  • Binding: Paperback
Features
  • Used Book in Good Condition

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0 of 0 people found the following review helpful.
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Fantastic source of knowledge on ACFT components. Short easy to understand component theory of operation.
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1992 A&P Airframe Textbook
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This 1992 copy is a well presented version of the Airframe textbook. It has some information not included in the current 2003 version which is why I purchased it.

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BRAND NEW FIRST EDITION 1987 softcover, clean text NO remainders NOT ex-library; lacks obi; slight crease to first page; slight shelfwear; WE SHIP FAST. Carefully packed and quickly sent in rugged shipping box (or Priority Envelope). 201503825 We recommend selecting Priority Mail wherever available; $3.99 Standard /Media Mail can take up to 3 weeks.

  • Sales Rank: #2166135 in Books
  • Published on: 2005
  • Binding: Paperback Bunko
  • 165 pages

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8 of 8 people found the following review helpful.
Where it all begins
By C. E. Stevens
I first read Hear the Wind Sing a good number of years ago; however, like many others reviewing this book, I did not "discover" it until after reading (or should I say "falling in love with") several other works by Murakami: A Wild Sheep Chase (which happens to be the final book of the "Trilogy of the Rat", of which Hear the Wind Sing is the first novel; although, to be perfectly honest, I think Sheep Chase works just fine as a standalone novel), Dance Dance Dance (a sequel to Sheep Chase, although again it works as a standalone), Hard Boiled Wonderland (my favorite Murakami novel), Norwegian Wood, Wind-Up Bird (this seems to be Murakami's most popular in the US, although not in Japan), at least one or two short story collections ... in other words, I was a pretty experienced Murakami hand before coming across his first novel. At the time, I remember enjoying it but thinking that it did not stack up to these later works I had already read and been blown away by ... if anything it felt a bit like a poor man's version of Norwegian Wood, Murakami's best-selling work that also deals with similar themes and is notable for also being relatively light on the "magical realism" which is now Murakami's hallmark. However, still not bad as a first novel by the author that at that time I would've called one of my favorite authors (perhaps even my favorite author).

Over time, however, I became a bit disillusioned with Murakami's recent offerings. Kafka still entertained, but seemed to be missing a bit of the mojo and originality that characterized his earlier works. After Dark was shockingly bad. Reading the first two volumes of 1Q84 was laborious work, and until volume 3 came out a year later I was honestly unsure whether the book was complete after those first two volumes or after three (and indeed, there are rumors--fanned by Murakami himself--that there might even be a *fourth* volume at some point). These recent works were still receiving remarkable critical praise, but it felt like reviewers were reading a different book than I was; I hadn't felt truly gripped or moved since reading Wind-Up Bird (which isn't even my favorite Murakami work, in large part due to the large amount of unfinished and unconnected story lines). Reading the most recent work, 1Q84, didn't leave me hungry for what was next; it rather left me nostalgic for Murakami's earlier works: less polished, but more profound, more compelling ... more fun. I started to worry a bit whether it was Murakami who was slipping, or whether I had simply fallen out of love with the unique world and words of Murakami Haruki. So, in that frame of mind, I picked up Hear the Wind Sing this past weekend to see if the old Murakami magic could be rekindled.

I was pleased to find out that yes indeed it could be. Hear the Wind Sing is clearly unpolished and rough around the edges, but it still has that Murakami mojo and clearly foreshadows the wonderful works that would follow it. Although the "magical realism" aspect is much more limited than in most of Murakami's subsequent works, it is still there (most memorable for me was the excerpt from the made-up Derek Heartfield story about the wells of Mars). Honestly, the seed of just about every theme and motif Murakami would eventually nurture into maturity in later works appears in this novel: wells, enigmatic women (who are often "missing" something), drinking, loveless sex, disillusionment, detachment, the passive Boku narrator, Western music, music stores, death, World War II, China, mistrust of corporations, the moon, nighttime, water (be it the rain or the ocean), elephants, alienation ... I could go on and on (even the seeds of Murakami's short-comings as an author are in here, including his maddening tendency to start but often not resolve disparate story lines, which works in smaller doses such as here in Hear the Wind Sing but is a detraction, for me at least, in some of his longer works where the threads seem to fray and unravel a bit by the end). Even in this short work, one could literally open any page and find at least one notable "Murakami motif". Despite its unpolished nature--or perhaps because of it--it made me hungry to go on and re-read some of Murakami's other (and even better) works that followed it. It also left me a bit bittersweet as well--despite critical acclaim that works such as 1Q84 are Murakami's magnum opus, I can't help but think that when all is said and done, we will look back on Murakami's works from the decade or so spanning the mid-80s to the mid-90s (roughly from A Wild Sheep Case through Wind-Up Bird, including his excellent short stories during that time) as the height of Murakami's creativity and talent.

In the end, although not his best work by any means, Hear the Wind Sing is still the departure point for what would become the literary phenomenon that is Murakami Haruki. I think it is too bad that Murakami has fought to keep this work (and Pinball, 1973) all but impossible to find for the English speaking audience, but I have the feeling that at some point these works will see the light of day again, even if it is not until after Murakami passes away (the potential for profit will be too unavoidable for the publishers, I believe). Personally, I hope that the Murakami fan does not have to wait until his passing for that day to come, however. Rather than try to hide these early works, I wish Murakami would actually embrace them and even re-read and learn from them. I hope my prognostication about Murakami's golden age being long past is incorrect, but after reading every work since Wind-Up Bird thinking "is *this* the one?" (with the nuance changing from "is this the one that will be remembered as Murakami's greatest work?" to the more despairing "is this the one where Murakami finally gets his mojo back?") with the answer being "no" each time, I worry my fears may be true. If so, that makes his earlier works all the more precious. If you are a Murakami fan, do yourself a favor and track down this book to see where Murakami started; it is a short read that will be well worth your time.

0 of 0 people found the following review helpful.
The work of a young writer
By Joe Da Rold
Although readable, this is not an accomplished work. It feels very much like what it is: the work of a young writer. Few of his novels are truly linear, but this is more stream-of-consciousness in approach. One can see the seeds of the mature Murakami, though to read this, one would not guess at the illustrious career to come. Typical of his later work, the main character is an unnamed young man, and various people come in and out of his life. His bar-buddy “Rat” will appear in several of his major novels to come. The narrator and Rat become writers, and the most interesting part of the "Wind/Pinball" edition is Murakami’s preface about how he became a writer. Although this is often referred to as the first in the "Rat Trilogy," it is not essential to the enjoyment of his tour-de-force, "A Wild Sheep Chase." The short episode of the Martian Wells is a glimpse of his future writing.

0 of 0 people found the following review helpful.
For fans of 'A Wild Sheep Chase' and 'Dance, Dance, Dance'
By Jon Selbert
It's shorter than I expected, (the book itself is about 5 x 3 inches, so good for a pocket, I suppose), but it's good Murakami. Offers some back-story on characters from Sheep Chase and Dance, and while nothing really mystical or surprising happens it's interesting to read through earlier work by the author. It struck me that his protagonist, who is the same as in Sheep Chase and Dance, is, like the author, much younger and with very different priorities than in the later works. He also has a different outlook, seems more human and vulnerable (not quite as Sam Spade as the author's later characters) which again gives the reader an interesting glimpse of the author as a younger, less experienced author. The translation's not as great as his newer stuff, which I've read he translates himself, but hey, it's "new-to-me" Murakami, so who the hell's complaining?

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Sabtu, 14 Februari 2015

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  • Sales Rank: #1775075 in Books
  • Published on: 2008
  • Binding: Paperback

Most helpful customer reviews

5 of 6 people found the following review helpful.
Unbiased prospective at its best...
By Mmart6545
This book fairly cut and dry, which is exactly what I like in sociology textbooks. Beeghley takes an unbiased view on social stratification and inequalities in contemporary society. He uses cross national and longitudinal data to effectively emphasize his points, which are valid and thought provoking. The book is well written and worth enough to keep on my bookshelf. Do you happen to be taking Beeghleys class? Do yourself the favor and buy this book!

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