Sabtu, 27 Februari 2016

Get Free Ebook Sudan Tales: Reminiscences of Wives in the Sudan Political Service, 1926-56

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Sudan Tales: Reminiscences of Wives in the Sudan Political Service, 1926-56

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Paperback: 174 pages

Publisher: Oleander Press, The (November 7, 2013)

Language: English

ISBN-10: 0906672325

ISBN-13: 978-0906672327

Product Dimensions:

6.1 x 0.4 x 9.2 inches

Shipping Weight: 15.5 ounces (View shipping rates and policies)

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Sabtu, 20 Februari 2016

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The Age of Movies: Selected Writings of Pauline Kael: A Library of America Special Publication, by Pauline Kael

Review

"Pauline Kael was not only one of our greatest film critics, but one of our best nonfiction prose writers. Her range is on brilliant display in this thrilling collection, reminding us what all the excitement was and still is about." — Phillip Lopate

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About the Author

Pauline Kael reached national attention in the 1960s, first in a brief stint as critic for The New Republic, finally as a longtime fixture at The New Yorker (1968-1991). She was considered by many to be the most influential American film critic of the last 50 years. She died in September of 2001.

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Product details

Paperback: 864 pages

Publisher: Library of America; Reprint edition (September 27, 2016)

Language: English

ISBN-10: 1598535080

ISBN-13: 978-1598535082

Product Dimensions:

6.4 x 1.4 x 9.5 inches

Shipping Weight: 1.8 pounds (View shipping rates and policies)

Average Customer Review:

3.9 out of 5 stars

12 customer reviews

Amazon Best Sellers Rank:

#363,314 in Books (See Top 100 in Books)

Like the pop star, Madonna, Pauline Kael has been a big influence on my life, as she has been for everyone who loves movies. In some quarters Kael had a fan base as rapid as Madonna’s. There has never been anyone like either of them. Though there have been plenty of wannabes — in Kael’s case, David Denny, James Wolcott and Carrie Rickey to name a few — and in Madonna’s Cyndi Lauer, Lady GaGa and Gwen Stefani — which is not to say that any of these writers and performers lack talent or ability. Madonna, after all, owes a debt to Deborah Harry. Where would Pauline Kael be without Manny Farmer and the Olympian monarchist, Ayn Rand? The difference between Kael and Rand is that Kael wrote about what she loved and Rand wrote only about what she hated.I once wrote Pauline Kael a letter asking her to read a screenplay of mine, which I wrote as a graduate film student. She responded with the kind of typical Kaelian breeziness which was so characteristic of her work. “Send it Along,” she wrote. (Would make a good song title for Madonna (i.e “ Open Your Heart,” or “True Blue.” Pauline Kael, like Madonna had/has perfect pitch. Who else would have titled an essay on “The Unbearable Lightness of Being” with this demand: “Take Off Your Clothes.” (Another good song title for Madonna.)A year later the verdict came back. “I think this would be a good one to forget about,” Kael wrote. pulling her punches as usual, rather like Madonna did when she delivered a sour opinion of Kevin Costner in “Truth or Dare.”“Your letters have a voice; the script doesen’t. I suspect it is too far away from you.”She got it half right. The script wasn’t too far away from me. I was too far away from it. It was an uneasy mixture of high-mindedness and bile. It was truthful in its way, but it didn’t express what I was trying to say.“Don’t get sore at me,” Kael closed her short note with.At around the same time (1980) a fellow New Yorker critic, Renata Adler, writing in the New York Review of Books, took it upon herself to bring Pauline Kael, one of the most important voices in cultural criticism, ( in jacket copy she had been compared to George Bernard Shaw) to her knees.Adler blew this trumpet several paragraphs into her essay: “The Sad Tale of Pauline Kael.” “When the Lights Go Down,” Kael’s twelfth collection of movie reviews) “is piece by piece, line by line and without interruption worthless.”No kidding?How about the first line of the first essay in “When the Lights Go Down:” “In the Man From Dream City,” Kael opened with “You can be had,” Mae West said to Cary Grant in “She Done Him Wrong.” And that’s what the female stars of the 30’s and 40’s were saying to him for decades, as he backed away, but not too far.”This very astute summary of Cary Grant’s appeal is not only not “worthless,” it is a prime example of Pauline Kael’s ability to capture very quickly an actor’s personality and bearing.In her unprecedented attack on Pauline Kael, Renata Adler ignored most of what is in “When the Lights Go Down,” built herself a sandbag of references to reviews which are not even in the book, (i.e. “Last Tango in Paris,” which is collected in “Reeling,”) Adler’s literary apparatus reduced a great critic’s taste to little more than something she could declare was insignificant and politically correct.In calling Kael a “vulgarian” Adler knew she was on to something — how to spread a little “shame on you” on Kael and her legion of fans. (Adler’s literary persona is sexual repression.) Every line of her critique was accompanied by a “gotcha.” Here’s one: “There are in principle three things that she (Kael) likes: “ fantasies of subjugation by apes, pods and extraterrestrials” (blind references to the remake of “King Kong,” “Invasion of the Body Snatchers,” and Steven Spielberg’s “ET”) — reviews which are at least in the book under so much and so little scrutiny. With the exception of the Dino Delaurentis remake, which I would like to revisit (It was Jessica Lange first movie) all the movies referenced are great, some of them beloved. So what was Adler’s problem with Kael’s raves? There wasn’t one. She had no case.Adler just likes to feel superior to popular culture. Her credentials amounted (and continue to amount) to very little: an occasional piece for The New Yorker, a six month stint as a reviewer for the New York Times, a job she proudly quit,and a handful of short novels. (A typical Kael review is longer than a novel by Adler.)There is something marvelous going on here despite the fact that everything Adler said about Kael was wrong. Her prose is both ridiculously airbrushed and transcendently structured to deceive. Suddenly it becomes immoral and somehow manages the trick of not letting Adler in on her own joke. Try this on: “The sadism in Ms. Kael’s work is unique in expository prose (as opposed to declamatiory prose?) so far as I know.” Let me stop her right there. She doesn’t know enough. The Marquis DeSade? Ann Rice?Let’s cite one more backhanded quote from Pauline Kael, used by Adler. “For Paul Schrader to call himself a whore would be vanity. He doesn’t know how to turn a trick.” Adler calls this statement “a breakthrough in vulgarity and unfairness.”On the quote in question, Adler almost has a point. This sentiment bothered me too, particularly because Shraeder and Kael had once been friends. But Kael loved these kind of wisecracks. She was a bawd, like Chaucer, Shakespeare, the silent film star Fatty Arbuckle, Bob Hope, Mae West and Madonna. Bet Adler doesn’t much care for Madonna.Adler despises pop culture, can’t discern the mix of high and low that Kael spotted so early. Adler basically has nothing to offer anyone except moral superiority and contempt — which are the same thing.Adler claims that this piece, published 25 years ago, and still the most famous thing she has ever done, destroyed her career at the New Yorker. This is a little hard to take seriously, considering that Adler’s opinion of Pauline Kael was shared by William Shawn, the editor of the New Yorker for a storied half century, who had legendary battles with Kael over language and her refusal to reform or even change a line. Adler has republished this essay as an e-book and retitled it “The Story of Pauline Kael.” It comes a lot closer to being “The Story of Renata Adler.”By example, if not by design, Pauline Kael taught readers how to really look at movies; how to think for themselves; and to outgrow her and move on. Her kindness backfired. In her New York Times obituary, the headline, which should have been about a distinguished career, was trumped by the widely-held observation that she had a great deal of influence over other writers. (Why is this bad? Kael complained in an interview.)Kael had many devotees among would-be critics, who were drawn by her funny and trenchant insights and her lollipops and ice cream prose. They sought her out and became successful in their own rights. She was famous for getting the ones she liked movie reviewing gigs. The clan began to be mocked as “the Paulette’s” specifically by James Wolcott in Vanity Fair in a rearguard action intended to insulate him from the obvious fact that he was one too.Adler seized on this as evidence of a conspiracy. In fact, Adler has a law degree but doesn’t practice. What she does instead is to utilize the trial lawyer’s sneering innuendo to work herself into a composed frenzy.Kael was the first critic to declare that the energy in trash had value: that a good movie came from the clash of art and popular ideas. She then reversed herself late in her career when it became obvious that trash had won the day. (One could say that by 2018 it had become a technical knockout.) What would Kael have to say about today’s movies. I don’t think she would like them. The last line of her famous essay, “Trash, Art and the Movies,” was “Trash has given us an appetite for art.” It was a prescient thought for the time — in the late sixties and early seventies — until the advent of “Jaws,” by a director she liked, and then by George Lucas, more of a producer than a director, whom she disliked, changed everything about how movies got made and marketed.Pauline Kael published her first essay, a pan of Charlie Chaplin’s “Limelight, in 1958. Her last review, a lukewarm appreciation of Steve Martin’s “LA Story” ran in the New Yorker in 2001. She died a decade later on September 11, 2011 at the age of 91. Her work is fully deserving of respect and after a period of dormancy is undergoing a revival.

Pauline Kael was one of the few film critics who made a serious effort to place movies their larger cultural context. She suceeded admirably. She was one of the few critics who recognized the importance of ``Bonnie and Clyde'' before it was released; was an early supporter of Martin Scorsese, but was not afraid to criticize him when she thought he overreached; saw through the pretension Kubrick's ``Clockwork Orange'' and ``2001''; and loved Truffaut, whom I had never bothered with until I read Kael, and he is now one of my favorite directors. She also wrote cogently and well about the direction of Hollywood, and while she was looking at film in search of high art, whe was not afraid to admit enjoying films that didn't meet the standards of high art, but were nevertheless enjoyable. Essential reading for film buffs.

She was the best movie critic ever. She loved movies, and even in her most scathing criticism, that love came across.

'The Age of Movies: Selected Writings of Pauline Kael' provides a comprehensive collection of Kael's writing selected from throughout her career. Those familiar with Kael will (most likely) find their favourite pieces and a whole lot more. Those who have not read her before will have a wonderful selection of her fine critical writing.

A good but far from perfect selection

Perhaps the best film critic of all. Not so easy to please but that makes her films analysis even more interesting.

This is a good book if you want a variety of Kael's writings. Nothing new in it.

Xmas gift for my grandson who was very satisfied !

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Download PDF The Truth About Negotiations (2nd Edition)

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From the Back Cover

You Can Become a World-Class Negotiator–and Achieve Consistently Superior Outcomes! • The truth about how to negotiate over the Internet and email successfully • The truth about being ready to negotiate on a moment’s notice • The truth about negotiating with people you dislike or distrust Simply the best thinking the truth and nothing but the truth This book reveals 46 PROVEN NEGOTIATION PRINCIPLES and bite-size, easy-to-use techniques that work.   “Conflict and adversarial situations are unavoidable. Thompson’s lessons offer a roadmap to navigating those interactions successfully. I found myself using her lessons and turning potential conflict into a win/win. You need these tools in your toolbox!” Ben Keller, CPP, Senior Director, Corporate Security Services, Capital One   “Armed with cutting-edge research, Thompson offers up the definitive answers that propel even seasoned negotiators to reach the next level of negotiation success. The return-on-investment is monumental.” Tanios Viviani, President-Americas, Amway Corp.

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About the Author

Leigh Thompson is a Distinguished Professor of Dispute Resolution & Organizations at the Kellogg School of Management at Northwestern University. She directs the Leading High Impact Teams executive program, the Kellogg Team and Group Research Center, and co-directs the Negotiation Strategies for Managers program. An active scholar and researcher, she has published more than 110 research articles and chapters and has authored 9 books, including: Creative Conspiracy: The New Rules of Breakthrough Collaboration, The Mind and Heart of the Negotiator, Making the Team, Organizational Behavior Today, Creativity and Innovation in Organizational Teams, Shared Knowledge in Organizations, Negotiation: Theory and Research, The Social Psychology of Organizational Behavior, and Confl ict in Organizational Groups. Thompson speaks and conducts workshops on negotiation teamwork, collaboration, and creativity skills for large and small organizations across the globe.

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Product details

Series: Truth About

Paperback: 224 pages

Publisher: FT Press; 2 edition (July 8, 2013)

Language: English

ISBN-10: 0133353443

ISBN-13: 978-0133353440

Product Dimensions:

5.4 x 0.8 x 8.4 inches

Shipping Weight: 12.6 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

16 customer reviews

Amazon Best Sellers Rank:

#168,787 in Books (See Top 100 in Books)

Perfect conditions

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Good text that gets right to the point instead of thousands of "fluff" words added. Working on my 2nd masters degree now, and this is one of the few texts that I actually sat down and read every assignment fully rather than just skim through and hit the highlights.If all non technical texts were written like this, they would be much more effective!

I had to buy this for a class, it was a bit boring.

Great product and also shipped fast.

Great book. Very practical. Straight forward. A good reference and refresher for those involve in negotiations professionally.

Great product, fast shipper.

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Sabtu, 13 Februari 2016

Ebook Download Reference Manual for the ADA® Programming Language

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2nd printing, 330 pages., 8-1/2" x 11". ANSI/MIL-STD-1815A-1983, U.S. DOD approved February 17, 1983. American National Standards Institute.

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Paperback: 331 pages

Publisher: Springer; 1983 edition (May 20, 1987)

Language: English

ISBN-10: 0387908870

ISBN-13: 978-0387908878

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Shipping Weight: 1.6 pounds

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Selasa, 09 Februari 2016

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File Size: 41070 KB

Print Length: 336 pages

Publisher: Harvard University Press (October 22, 2018)

Publication Date: October 15, 2018

Sold by: Amazon Digital Services LLC

Language: English

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Amazon Best Sellers Rank:

#515,783 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

I really enjoyed this book for the way it talked about how users--not just inventors, corporations, or the Silicon Valley elite--played a really important role in making computing what it is today. Especially in terms of the internet. The history of networked systems didn't start and end with arpanet and this book shows how a lot of ignored networks in places that weren't considered high tech hotspots were actually a blueprint for the kinds of social information networks we have today. Lots to think about here. Highly recommend.

I am very interested in the history of computing, particularly in education. This book was extraordinarily well researched, clearly presented, and thought provoking. I loved it.

I had to read this book for class, and it provides a unique perspective on the history of computing. A worthwhile read if this sort of stuff interests you.

Silicon Valley looms large in A People's History of Computing in the United States as it so often does when detailing the birth of the computer revolution. So large, in fact, that Dr. Joy Rankin argues the focus on Apple, Stanford, and Xerox PARC has obscured a vibrant computer culture that expanded out of New Hampshire to blanket the rest of the United States and beyond.In A People's History of Computing in the United States, Dr. Rankin argues convincingly that the interactivity and connectivity generally credited to the home computer and Internet revolutions already existed and even thrived in the 1960s and 1970s through time-sharing services promulgated by both academia and corporate America. To advance this thesis, she traces the origins of the DTSS system at Dartmouth and the BASIC programming language paired with it and follows their influence through other projects such as the People's Computer Company, the Huntington Project, the Minnesota Educational Computing Consortium (MECC), and the PLATO System headquartered at the University of Illinois. Through painstaking and thorough archival research, Rankin reveals the myriad ways in which users of these systems interacted with computer terminals and each other to create full-fledged computing communities that were ultimately hindered rather than helped by the coming of the microcomputer. In doing so, Rankin fills a critical hole in the scholarship. If I have one complaint about this aspect of the work, its that I would have liked more insight as to how Hewlett-Packard and Digital Equipment Corporation entered the time-sharing space and what impact they exerted on these nascent communities.Dr. Rankin is also an expert in gender studies and therefore presents portions of her material specifically through that lens. This has, unfortunately, proved more controversial than it should have due to a series of events that I will not dredge up again here. In light of these events, however, I do feel it is important to examine how the work fairs in this regard.For the most part, Dr. Rankin's gender research is cogent and useful. By examining how institutions like Dartmouth presented the advantages of time-sharing networks to the world, Rankin demonstrates how even individuals that probably considered themselves "progressive" on gender issues in the 1960s were still, either consciously or unconsciously, perpetuating Cold War hetero-normative stereotypes that were ultimately confining and often harmful to women. She is less convincing when she attempts to discern the motives behind the specific words or actions of individuals based on broad trends during the era without any supporting evidence of intent derived from primary sources. This approach runs the risk of stereotyping individual behavior rather than illuminating it.Minor quibbles aside, Dr. Rankin's A People's History of Computing in the United States works well as both an exploration of a previously obscure chapter of computing history and an examination of gender issues that continue to remain sadly relevant in STEM fields to this day. I cannot recommend this book enough.

This book does a great job of showing the other lines of computing history that have been largely missing from the existing narratives, and shows us how the earlier days of networking computing contributed to the arc of digital, networked, and social technology. This is especially interesting as it provides a model where participation in networked computing didn't expect or require personal ownership of the hardware.

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Jumat, 05 Februari 2016

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Product details

File Size: 811 KB

Print Length: 158 pages

Page Numbers Source ISBN: 0692568824

Simultaneous Device Usage: Unlimited

Publication Date: January 17, 2016

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B01ASDE5HC

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Amazon Best Sellers Rank:

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Very helpful in explaining a complex process. Clearly stated explanation of the serpentine process of HOW to get to the end goal! Very well written.

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