Sabtu, 18 Mei 2013

[T298.Ebook] Get Free Ebook Programming Massively Parallel Processors: A Hands-on Approach

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Programming Massively Parallel Processors: A Hands-on Approach

Programming Massively Parallel Processors: A Hands-on Approach by David B. Kirk, Wen-mei W. Hwu [Morgan Kaufmann, 2010] (Paperback) [ Paperback ]

  • Binding: Paperback

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Jumat, 17 Mei 2013

[K296.Ebook] Fee Download The Godmakers, by Frank Herbert

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The Godmakers, by Frank Herbert

On the edge of a war-weary and devastated galaxy, charismatic Lewis Orne makes planetfall on Hamal. His assignment: to detect any signs of latent aggression in this planet’s population. To his astonishment, he finds that his own latent extrasensory powers have suddenly blossomed, and he is invited to join the company of “gods” on this planet. And people place certain expectations on their gods….

  • Sales Rank: #1446363 in Books
  • Published on: 2013-04-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .51" w x 5.50" l, .58 pounds
  • Binding: Paperback
  • 204 pages

About the Author
Frank Herbert (1920-1986) created the most beloved novel in the annals of science fiction, "Dune". He was a man of many facets, of countless passageways that ran through an intricate mind. His magnum opus is a reflection of this, a classic work that stands as one of the most complex, multi-layered novels ever written in any genre. Today the novel is more popular than ever, with new readers continually discovering it and telling their friends to pick up a copy. It has been translated into dozens of languages and has sold almost 20 million copies.

As a child growing up in Washington State, Frank Herbert was curious about everything. He carried around a Boy Scout pack with books in it, and he was always reading. He loved Rover Boys adventures, as well as the stories of H.G. Wells, Jules Verne, and the science fiction of Edgar Rice Burroughs. On his eighth birthday, Frank stood on top of the breakfast table at his family home and announced, "I wanna be a author." His maternal grandfather, John McCarthy, said of the boy, "It's frightening. A kid that small shouldn't be so smart." Young Frank was not unlike Alia in "Dune", a person having adult comprehension in a child's body. In grade school he was the acknowledged authority on everything. If his classmates wanted to know the answer to something, such as about sexual functions or how to make a carbide cannon, they would invariably say, "Let's ask Herbert. He'll know."

His curiosity and independent spirit got him into trouble more than once when he was growing up, and caused him difficulties as an adult as well. He did not graduate from college because he refused to take the required courses for a major; he only wanted to study what interested him. For years he had a hard time making a living, bouncing from job to job and from town to town. He was so independent that he refused to write for a particular market; he wrote what he felt like writing. It took him six years of research and writing to complete "Dune", and after all that struggle and sacrifice, 23 publishers rejected it in book form before it was finally accepted. He received an advance of only $7,500.

His loving wife of 37 years, Beverly, was the breadwinner much of the time, as an underpaid advertising writer for department stores. Having been divorced from his first wife, Flora Parkinson, Frank Herbert met Beverly Stuart at a University of Washington creative writing class in 1946. At the time, they were the only students in the class who had sold their work for publication. Frank had sold two pulp adventure stories to magazines, one to "Esquire" and the other to "Doc Savage". Beverly had sold a story to "Modern Romance" magazine. These genres reflected the interests of the two young lovers; he the adventurer, the strong, machismo man, and she the romantic, exceedingly feminine and soft-spoken.

Their marriage would produce two sons, Brian, born in 1947, and Bruce, born in 1951. Frank also had a daughter, Penny, born in 1942 from his first marriage. For more than two decades Frank and Beverly would struggle to make ends meet, and there were many hard times. In order to pay the bills and to allow her husband the freedom he needed in order to create, Beverly gave up her own creative writing career in order to support his. They were in fact a writing team, as he discussed every aspect of his stories with her, and she edited his work. Theirs was a remarkable, though tragic, love story-which Brian would poignantly describe one day in "Dreamer of Dune" (Tor Books; April 2003). After Beverly passed away, Frank married Theresa Shackelford.

In all, Frank Herbert wrote nearly 30 popular books and collections of short stories, including six novels set in the "Dune" universe: "Dune", "Dune Messiah, Children of Dune, God Emperor of Dune", "Heretics of Dune", and "Chapterhouse: Dune". All were international bestsellers, as were a number of his other science fiction novels, which include "The White Plague" and "The Dosadi Experiment". His major novels included "The Dragon in the Sea", "Soul Catcher" (his only non-science fiction novel), "Destination: " "Void", "The Santaroga Barrier", "The Green Brain", "Hellstorm's Hive", "Whipping Star", "The Eyes of" "Heisenberg", "The Godmakers", "Direct Descent", and "The Heaven Makers". He also collaborated with Bill Ransom to write "The Jesus Incident", "The Lazarus Effect", and "The Ascension Factor". Frank Herbert's last published novel, "Man of Two Worlds", was a collaboration with his son, Brian.

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5 of 5 people found the following review helpful.
A psi-fi classic from Frank Herbert. Intellignet and thought provoking.
By albionphoto
Godmakers is a standalone novel written by Frank Herbert. It begins with an attempt by the mystics on the planet Amel to make a god. They succeed but what have they created. Lewis Orne is a man on a mission. He's looking to help lost planets return to the folds of the galactic civilisation. But he doesn't want warlike planets to rejoin. His efforts to resolve various physical and political crises and confront the msteris of psi and AMel are the core of this book. It doesn't deviate from Herbert's concise, clear style and the characters and scenes are drwan well enough to tell the story but allow the reader's imagination to work. If you've only ever heard of Frank Herbert through the poor "Dune" film then this should whet your appetite for his novels. If you've read Herbert before then this won't disappoint. I first read this over 20 years ago and I still come back to it. A sci-fi classic from a master of the art.

2 of 2 people found the following review helpful.
Mixes fantasy and future
By Joanna Daneman
Herbert frequently mixed the a fantasy world, feudal and archaic in nature, with futuristic alien planet scenarios. This book is more slanted to the fantasy, and in my opinion, misses on the sci-fi side by a hair. Orne is being created into a "god" by the mystics on the planet Amel, and he goes through a series of trials to prove his worthiness to lead (ie, be a god.) He searched out the Abbod (who summoned him for the test) but harbors violent thoughts. Will he kill the Abbod? Will the Abbod kill him or is it all an elaborate test? (Shades of Dune's Mother Gaius Helen Mohiam and Paul's test of humanity, and the test of Leto II in the desert to prove he is not possessed.)

Herbert hardly ever had a bad day writing--but this is not to the level of Dune or the non-Dune novels like Santaroga Barrier or The Dosadi Experiment (both of which I love as much as the Dune series.) It is perhaps better than some of his non-Dune novels but I'd place it second-tier, even third-rate, FOR HERBERT. I read it, I was engaged, but I didn't love it.

2 of 2 people found the following review helpful.
A Science Fiction Classic
By the DragonBard
The Godmakers is by Frank Hebert, best known for his Dune series, which is similar in certain elements, but more drawn out.

Godmakers is about a young man who, unknowingly, is the focus of a ritual to create a being of potentially infinite psi power. Known in common terms as a god. But first, he must travel and experience life as he seeks to uncover and prevent aggression and war, in order to prevent the complete destruction of humanity.

As is common for some of the early science fiction, Godmakers is a bit on the dry side. It's good, but the style of the time is a bit more... efficient than more modern fiction. Not as verbose or wordy.

Most of the action in this story occurs offscreen, though there are a few bits there, near the end.

Definitely something any fan of classic scifi would like.

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Senin, 13 Mei 2013

[X345.Ebook] Download PDF Caffeine for the Creative Mind: 250 Exercises To Wake Up Your Brain

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Will be shipped from US. Used books may not include companion materials, may have some shelf wear, may contain highlighting/notes, may not include CDs or access codes. 100% money back guarantee.

  • Sales Rank: #2204408 in Books
  • Published on: 1600
  • Binding: Paperback

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Kamis, 09 Mei 2013

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The Colton Bodyguard (The Coltons of Oklahoma), by Carla Cassidy

The breathtaking finale to The Coltons of Oklahoma saga by New York Times bestselling author Carla Cassidy!�



Wrongly imprisoned for murder, renowned horse trainer Greta Colton gets sprung by Tyler Stanton's falsified alibi. The incredibly handsome oil tycoon's desire has been burning for Greta ever since they met. Now that she's no longer his brother's fianc�e, he wants her in his bed and working in his corral. In that order.�



Throwing caution to the wind, Greta accepts Tyler's brazen invitations. And with danger mounting, they reluctantly risk their hearts. But when a shocking Colton secret surfaces, can Tyler protect Greta from a treacherous family reunion? Someone means to kill her…and take all that's hers!

  • Sales Rank: #1375132 in Books
  • Published on: 2015-11-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.54" h x .79" w x 4.24" l, .15 pounds
  • Binding: Mass Market Paperback
  • 288 pages

About the Author
Carla Cassidy is an award-winning author who has written more than fifty novels for Harlequin Books. In 1995, she won Best Silhouette Romance from RT Book Reviews for Anything for Danny. In 1998, she also won a Career Achievement Award for Best Innovative Series from RT Book Reviews. Carla believes the only thing better than curling up with a good book to read is sitting down at the computer with a good story to write.

Excerpt. � Reprinted by permission. All rights reserved.
The jail-cell door clanked shut behind Greta Colton. She turned and grabbed the bars, staring at her brother on the other side.

"Ryan, you know this is all a mistake. I didn't kill anyone. I'm innocent. I didn't kill Kurt." She watched in horror as Ryan turned his back on her and walked away. How could he believe she was capable of murder?

"Ryan, please." She grasped the cell bars more tightly, frantic for him, for anyone, to believe her. "I'm not a murderer," she screamed, but he didn't stop walking away from her.

Greta sat up and looked around, disoriented as to time and place. Her pounding heart slowed. She was safe in her king-size bed in her bedroom. A glance at the clock on the nightstand told her it was just after four in the afternoon.

She was safe beneath her sky blue comforter with the afternoon sunshine drifting through the lacy white curtains at the window. She released a sigh of relief.

The nightmare she'd just suffered had become a familiar one over the past three weeks, ever since she really had been arrested for the murder of ranch hand Kurt Rodgers.

She'd decided to take a short nap after lunch but had slept longer than she had intended. Lately, sleeping had been far easier than being fully conscious and in the present.

The moments before and since she'd been released from jail had been fraught with anger, sadness, lies and questions. It wasn't just Greta who had been through hell but her family, as well.

She got out of bed and walked to the nearby window. From this vantage point she could see much of the green pastures and impressive outbuildings of the family ranch, the Lucky C.

But ranch business was the last thing on her mind. A lie had got her out of jail, ruined her engagement and destroyed her mother's happiness in planning a wedding. For the past two and a half weeks, Greta had been living like a hermit, trying to cope with everything that had happened to forever change her life.

She left the window and headed for the shower in the luxurious bathroom just off the sitting area in her bedroom. It was time for her to face the man who had lied for her, the man who had sworn that on the night of Kurt's murder he was in a hotel room with her in Oklahoma City.

She had been in a hotel room in Oklahoma City, but she'd been all alone, certainly not with Tyler Stanton, her future brother-in-law. She definitely hadn't been carrying on a torrid affair with Tyler, as he had implied to the police when he'd offered up the alibi that had ultimately released her from jail.

It didn't take her long to shower and dress in a pair of tailored brown slacks and a russet blouse that she knew complemented her slender figure. She pulled on a pair of brown suede dress boots and slipped inside her right boot the knife her father had given her when she'd turned sixteen years old.

Her father had worried about her having the run of the ranch, dealing with ranch hands who appeared to be good guys but might be a danger to her, so he'd gifted her with the knife for self-protection. He'd also told her not to pull it on somebody unless she had the guts to use it.

When closed, it was a beautiful mother-of-pearl palm-size case, but with a click of a button it became a wicked nearly-five-inch-long weapon. Thankfully, she had never had to use it or even take it out of her boot.

She left the Lucky C by one of the back doors, grateful when she didn't encounter anyone. She didn't want anyone knowing where she was going. Thankfully, the only person in the family who knew she'd been alibied with the lie of an affair was her brother Ryan and a couple of the officers who worked for the Tulsa police force. As far as she knew, none of them had shared that information with anyone else.

So far she'd been spared the humiliating experience of trying to explain to her parents and siblings that she wasn't having an affair, no matter what Tyler had told the authorities.

It was almost seven when she pulled her red Jeep just inside the black wrought iron gates at the entrance to Tyler Stanton's estate. It was an hour-and-a-half drive from the Colton ranch in Tulsa to Tyler's home in Oklahoma City.

Throughout the drive, several times she'd considered turning around and heading back to the ranch. But ultimately, she knew she had to confront Tyler and tonight was as good a time as any. She hadn't spoken to or seen him since being released from jail. She needed answers that only he could give her.

She stopped the Jeep when the impressive sprawling ranch house came into view. It was definitely the living space of a successful man and Tyler was definitely successful. As owner and CEO of Stanton Oil, he was ridiculously handsome and socially sought after for various fund-raisers and events. The few times Greta had been around him, she'd always found him slightly cold and very intimidating.

Why would he risk his good reputation and his relationship with his brother, Mark, by implicating himself in an affair with her?

Thankfully, he must've greased some palms to keep her alibi quiet, for there had been no hint of tawdry rumors floating around. Of course, Mark had heard and had ridden into the Colton house a week ago on a self-righteous horse and declared their engagement over.

She'd spent five days in jail, and for the past week she'd been on the phone canceling wedding arrangements that had been made and praying her mother didn't spiral down into one of the deep depressions that had occurred often through most of Greta's life.

Stalling, she now thought. She was stalling by sitting here and staring at Tyler's house. She put the Jeep into Drive and moved forward, swallowing against the swell of anxiety that tried to waltz up the back of her throat.

She didn't have the answers to a lot of things that had been happening at the Colton ranch, but she could at least get an answer from Tyler as to why he had lied for her.

She parked right in front of the house. Light spilled from several windows, breaking through the falling darkness of the early-November night.

Tyler had a reputation as a workaholic. It was possible he wasn't even home yet. If he wasn't, then she'd wait. If his household help didn't want her inside, then she'd wait in her vehicle. She'd already put this conversation off for far too long.

Getting out of her car, she fought against the nervous energy that sizzled through her. She had nothing to be anxious about; after all, he was the one who had told the outrageous lie. But Tyler had always made her nervous with his cold blue eyes and hint of disdain when he looked at her.

She straightened her shoulders resolutely and rang the bell, hearing the musical chimes respond from someplace inside. As she waited, she pulled up the collar of her lightweight beige coat against the chilly evening air.

The door opened and she wasn't sure who was more surprised, she or Tyler. She'd expected a housekeeper, but instead a Tyler Stanton she'd never seen before stood in front of her.

The few times they had ever had any interaction, Tyler had always been impeccably dressed. The Tyler before her was absent his suit coat and tie. His white shirt was half-unbuttoned to reveal just enough bare chest to be distracting and his short light brown hair was slightly mussed. His dark blue eyes appeared to take in the whole sum of her with a quick sweep from head to toe.

"Greta, I was wondering when or if I'd ever hear from you. Please come in." He opened the door wider to allow her into a large foyer. "May I take your coat?"

Before she could reply, he had removed her coat and hung it in the nearby closet. He then smoothly ushered her into the great room and offered her a seat on the plush black leather sofa.

It was as if she'd entered an alternate universe. The Tyler she knew was stiff and formal, but this Tyler appeared casual and surprisingly welcoming. "How about something to drink? Maybe a glass of wine?" he asked.

"That would be nice." She finally found her voice.

"Red or white?" He moved to an elaborate built-in bar on one side of the large room.

"White would be fine," she replied.

"How have you been?" he asked and strode across the expanse of the room to hand her a long-stemmed crystal glass of wine.

He sat next to her and set his own glass of wine on the glass-topped coffee table in front of them.

"I've been better," she replied. He sat so close to her she could smell the scent of his spicy cologne, so different from Mark's woodsy favorite scent. "I guess you heard that Mark broke off our engagement."

His gaze held hers intently. "Are you heartbroken over it?"

She hesitated, wondering if she should lie and make Tyler feel bad. "No, I'm only sorry he beat me to the punch," she replied honestly. "I was behind bars for five long days and nights and he didn't even visit me once. Five days in jail gave me a lot of time to think. In fact, I've heard from a couple of my friends that while I was locked up, Mark was making the rounds of his old girlfriends, so I'd intended to break things off with him anyway. But that's not why I'm here."

She paused and took a sip of her wine and then set the glass down. She eyed the handsome man beside her boldly. "Why, Tyler? Why did you lie for me?"

"Because I knew you were no murderer," he replied easily.

"Didn't you hear that my DNA and fingerprints were all over the crime scene? My own brother arrested me." Pain swept through her as she remembered Ryan placing handcuffs on her and putting her into the back of his patrol car.

"I also know they had a hotel receipt to support the fact that you checked into the Regent Hotel on the night that Kurt was murdered, but since you were alone and had no interaction with the hotel staff, that nobody could substantiate your alibi. Besides, I didn't care what incriminating evidence they had. I knew you didn't have it in you to hurt anyone. I lied because you needed an alibi and I knew nobody would question my word."

It was not arrogance in his tone; it was just a statement of fact that reminded her that Tyler was an important, powerful businessman not just in Oklahoma City but in Tulsa, as well.

"Why on earth would you even involve yourself with my problems?" She knew that he and Mark weren't particularly close, so she couldn't believe he'd intervened for Mark's sake, especially given the alibi he provided of being her lover.

Her cheeks warmed at the thought. She had a feeling when Tyler Stanton made love to a woman, it would be more like a total body-and-soul possession rather than just a pleasant sexual encounter.

Tyler leaned toward her, his nearness seeming to suck all of the oxygen out of the air. His blue eyes were piercing, as if wanting to see something deep inside her. "Do you really want to know why I got you out of jail? Why I involved myself in your life?"

She nodded. She'd never noticed before how easy it would be to fall into the depths of his dark blue eyes and how hypnotic his smooth deep voice could be. She leaned toward him, as if anticipating a secret that might change her life and right her world forever.

"Mark was never supposed to take you for himself. That day in April I sent him to meet with you because I had a troubled horse that I wanted your help with. But I also wanted to get you here and hopefully into my bed."

She reeled back, shocked by his words. "What are you talking about? Mark never mentioned a horse to me that first day he came to the ranch to see me." She didn't even want to address the rest of what he'd said to her. She could scarcely wrap her brain around his bold audacity.

"No, I'm sure he didn't," Tyler replied drily. "He simply set out to win your heart for himself and he accomplished that."

He picked up his wineglass and took a sip and then set the glass back down. "Despite my own desire for you, I was happy for Mark when the two of you got engaged in June. My brother and I see eye to eye on few things, but I wanted him to be happy, and if you were his happiness, then I would have never done or said anything to ruin things for the two of you."

"Mark is happiest when he's the center of attention," she replied. "But he only wants positive attention. I always suspected that when I was at home on the ranch in Tulsa and he was at his town house here in Oklahoma City, he was seeing other women."

Tyler said nothing, but in his silence Greta recognized the truth. Mark had never really loved her. He had been in love with marrying a Colton, with all the society-page tidbits about their romance and upcoming wedding. But he'd never truly loved Greta, the tomboy who was happiest wearing jeans and a sweatshirt and working with and training horses.

"I thought that the relationship with you might make a man out of him," he said. "But I guess I was wrong."

"Do you still have that troubled horse?" she asked, eager to turn the course of the conversation.

"I do. She's a three-year-old filly who has had no training and very little human contact. Are you interested in working with her?"

"I might be," she replied. She needed something to focus on besides the fact that the man she'd nearly married wasn't in love with her and she really hadn't loved him. She needed a challenge to take her mind off all the strange and frightening things that had been happening in her life and around the Colton ranch.

"I still have the horse and I still have an intense desire for you. Would you also be interested in sharing my bed tonight?" he asked.

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2 of 2 people found the following review helpful.
A good end to the series.
By Amazon Customer
I figured out in the firs book Greta wasn't a true Colton. Colton's are known for their green eyes and hers were pointed out right away to be different. It was a matter of time to get the answer why she wasn't a Colton, which we got at the end of the last book.

The Tyler Stanton in this book is not the character introduced in the previous book. In the previous book it was stated/implied he and Greta spent time together. When he stepped forward as her alibi in the last book, it didn't come across as a brother to her fianc� that was cold and distant. So, seeing him portrayed that way out of the gate in this book just didn't gel for me.

I like this Tyler Stanton. Flat out tells her in Chapter 1 that they are going to have sex and sure enough they do. Even though Greta wonders why he'd want to have sex with her when he's so cold and distant (NOT the character from Ryan's story).

Enter evil twin Alice and Tyler instantly turns into protective mode when Greta is attacked in his home. Though how Alice keeps getting into secure areas is beyond me ...

Tyler takes his first vacation in ten years to play bodyguard to Greta at her family ranch as she works to tame an abused horse of Tyler's. Tyler is very confident, especially when it comes to knowing he's going to have sex with Greta. He patiently watches her all day while she does her horse whisperer thing with Sugar.

Tyler is used to coming home to a large, empty home. He finds spending time with Greta refreshing. He can just be himself with her, though it sounds like he doesn't even know who "himself" is until they spend time together. Greta enjoys his company but is leery of anything more with him than sex due to her breaking off her engagement with his brother Mark. Mark is a playboy and simply wanted the status of marrying a Colton. Tyler knows he wants a family one day, but is it now?

When Greta and Alice finally come face to face, it felt a bit rushed. I know due to limits on pages it would go fast. Tyler figuring out Alice was pretending to be Greta took a bit longer than I expected, but the pace really picked up once that happened.

I enjoyed this series. We never did get an answer to the bones found on the Colton property in the first book. Also, the name of Daniel's infant son wasn't what they decided in his story. With different authors, I'd hoped for more consistency than there was.

A good read overall.

0 of 0 people found the following review helpful.
I like all Carla Cassidy's books
By Marcia Hubler
I like all Carla Cassidy's books. I also read all the books regarding the Colton's of Oklahoma. This book was great because it also referred to the other stories. Also, it was a good stand alone book.

0 of 0 people found the following review helpful.
Five Stars
By Patrick
LIKE ALL THE COLTON BOOKS.

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Power System Harmonics (Second Edition), by Jos Arrillaga ?Neville R.Watson BIAN ZHU

  • Published on: 1991
  • Binding: Hardcover

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Selasa, 07 Mei 2013

[A751.Ebook] PDF Download Human Rights as Politics and Idolatry, by Michael Ignatieff

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Human Rights as Politics and Idolatry, by Michael Ignatieff


Michael Ignatieff draws on his extensive experience as a writer and commentator on world affairs to present a penetrating account of the successes, failures, and prospects of the human rights revolution. Since the United Nations adopted the Universal Declaration of Human Rights in 1948, this revolution has brought the world moral progress and broken the nation-state's monopoly on the conduct of international affairs. But it has also faced challenges. Ignatieff argues that human rights activists have rightly drawn criticism from Asia, the Islamic world, and within the West itself for being overambitious and unwilling to accept limits. It is now time, he writes, for activists to embrace a more modest agenda and to reestablish the balance between the rights of states and the rights of citizens.


Ignatieff begins by examining the politics of human rights, assessing when it is appropriate to use the fact of human rights abuse to justify intervention in other countries. He then explores the ideas that underpin human rights, warning that human rights must not become an idolatry. In the spirit of Isaiah Berlin, he argues that human rights can command universal assent only if they are designed to protect and enhance the capacity of individuals to lead the lives they wish. By embracing this approach and recognizing that state sovereignty is the best guarantee against chaos, Ignatieff concludes, Western nations will have a better chance of extending the real progress of the past fifty years. Throughout, Ignatieff balances idealism with a sure sense of practical reality earned from his years of travel in zones of war and political turmoil around the globe.


Based on the Tanner Lectures that Ignatieff delivered at Princeton University's Center for Human Values in 2000, the book includes two chapters by Ignatieff, an introduction by Amy Gutmann, comments by four leading scholars--K. Anthony Appiah, David A. Hollinger, Thomas W. Laqueur, and Diane F. Orentlicher--and a response by Ignatieff.


  • Sales Rank: #1544913 in Books
  • Published on: 2001-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .77" h x 5.84" w x 8.78" l,
  • Binding: Hardcover
  • 208 pages

Amazon.com Review
Human Rights as Politics and Idolatry may raise some hackles for its controversial approach to a sacrosanct subject, but Michael Ignatieff's arguments are carefully wrought and compassionate. Ignatieff is director of the Carr Center for Human Rights Policy at Harvard University, and his work is part history of the evolution of human rights in international politics and part caution that it not become a new religion. He writes, "We need to stop thinking of human rights as trumps and begin thinking of them as a language that creates the basis for deliberation."

The book centers on two essays by Ignatieff. In the second, "Human Rights as Idolatry," he identifies three main challenges to the universality of human rights: Islam, East Asia, and, most interestingly, the West itself. According to Ignatieff, the West is forsaking its political heritage of individualism and thereby eroding the foundations upon which a truly universal system of human rights may be built. In addition to the author's intriguing essays, there is an introduction by Amy Gutmann, as well as comments from K. Anthony Appiah, David A. Hollinger, Thomas W. Laqueur, and Diane F. Orentlicher. The critical reactions to Ignatieff, together with a short response of his own, have the makings of an intelligent and accessible debate. --Eric de Place

From Publishers Weekly
The strength in this sensible, dense collection of essays about the burgeoning human rights movement lies not in the answers it gives but in the questions it raises. Based on lectures Ignatieff delivered at Princeton in 2000, the book opens with two long essays by the historian, journalist and novelist who directs the Carr Center for Human Rights Policy at Harvard, followed by comments from four leading scholars, including K. Anthony Appiah, with a final response from Ignatieff (Virtual War: Kosovo and Beyond). A philosophical liberal and a strong believer in the power of constitutions, Ignatieff boldly confronts difficult issues. He tries, with some success, to balance the often conflicting needs for human rights and for the sovereignty of nation-states: "the problem in Western human rights policy is that by promoting ethnic self-determination, we may actually endanger the stability" necessary for human rights, because "we can be certain that self-determination for some groups will be purchased with the blood of the minorities in their midst." He also laments rhetoric that casts human rights as what Elie Wiesel called a "secular religion," maintaining that this notion alienates cultures wherein religion dictates governmental policy. Only when these trends are tempered, he contends, will human rights make serious inroads throughout the world, which he believes is more ready for these rights than is generally thought. The respondents cordially critique Ignatieff's practical arguments as watered down and morally relativist. Those looking for specific policy proposals for addressing these difficult issues may be unsatisfied. But Ignatieff illuminates complexities likely to make headlines as the call for intervention regarding worldwide human rights continues to grow. This book will undoubtedly provoke controversy within the human rights community.

Copyright 2001 Cahners Business Information, Inc.

Review
"Michael Ignatieff is one of the few people who give political theory a good name. He writes about interesting things in an interesting way, without using jargon and without any attempt to engage in covert practical politics. His essays on human rights display all of these virtues . . . and should be read immediately by anyone who has more than a passing interest in the political landscape of the twenty-first century."--Oliver Letwin, Times Literary Supplement



"Bracing. . . . If anyone is superbly equipped to scrutinize the hybrid of theory and practical exigency at the heart of human-rights thinking, it's this unique, independent veteran of the world's war zones. . . . [This is] the shrewdest, subtlest, most realistic assessment of the logic of human rights in years."--Carlin Romano, Philadelphia Inquirer



"One of the most pleasing aspects of Michael Ignatieff's frequent contributions to the human rights debate is the clarity with which he writes about a subject beset as never before by uncertainty and disagreement. Not least of the achievements of Human Rights as Politics and Idolatry . . . is the simplicity and common sense Ignatieff introduces. And at a time when it has become fashionable to deride the gains made by the human rights movement over the years, his cautious optimism is refreshing."--Caroline Moorehead, The Spectator



"This book . . . confirms Michael Ignatieff's reputation as one of the most interesting commentators on human rights issues. . . . An excellent little book. It deserves to be widely read among all those interested in human rights issues. . . . One finds oneself eagerly anticipating Ignatieff's next contribution."--David Petrasek, Ethics and International Affairs



"This elegant book is a spirited attempt to put flesh on the bones of . . . politics and reunite theoretical questing with real-world situations."--Alex Clark, The Sunday Times (London)


"[A] cogent analysis of the crusade for human rights. . . . The author gives a sympathetic analysis of its problems. . . . His views ring true, and he writes lucidly."--Kirkus Reviews



"A philosophical liberal and a strong believer in the power of constitutions, Ignatieff boldly confronts difficult issues. . . . [He] illuminates complexities likely to make headlines as the call for intervention regarding worldwide human rights continues to grow. This book will undoubtedly provoke controversy within the human rights community."--Publishers Weekly



"Carefully crafted, simple and direct prose working in the service of insightful analysis and passionate yet restrained advocacy . . . presented in a style that will both engage specialists and attract intelligent general readers--by a committed liberal humanist (and sympathetic critic) on the difficulties of the contemporary struggle for human rights. It is a 'must read' for anyone seriously interested in, or desiring a thoughtful general overview of, the struggle for universal human rights in contemporary international society."--Jack Donnelly, International Affairs

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30 of 38 people found the following review helpful.
Excellent, insightful
By Reihan M. Salam
Ignatieff offers a measured, limited, and explicitly political, i.e., dialogic, nondogmatic, nonmetaphysical, pragmatic, approach to human rights advocacy and questions of international jurisdiction. Excellent, compelling, convincing. I can't say I'm entirely convinced, mind you. One surprise is that I found Appiah's essay--I am a great admirer of Appiah and, in my estimation, his reply to Taylor in _Multiculturalism: The Politics of Recognition_ is among the finest essays ever written--unconvincing, particularly with regards to the question of "rights and majorities." On this, see Jeremy Waldron's _Law and Disagreement_.

2 of 2 people found the following review helpful.
Cogent and accessible overview of contemporary human rights issues, with some interesting arguments
By Citizen Michael
Ignatieff presents a broad analysis of human rights, and human rights theory. His first of two essays focuses primarily on the politics and application of human rights, while his second essay engages more deeply into human rights theory. His arguments are generally logical and well thought (I have yet to find a writer whose ideas I agreed with in their entirety). He is a good writer in that he presents his arguments in a manner that is clear, intelligent, and followable. This book seems capable both as serving as an introduction to human rights theory, and as an important next read for the human rights researcher/activist.

13 of 19 people found the following review helpful.
Not Much of Value
By Reader From Aurora
'Human Rights' is a small book that discusses some current issues pertaining to human rights from an idealistic western foreign policy perspective. Ignatieff is a Canadian born foreign policy commentator who has spent the majority of his professional life in the United States and the United Kingdom.

Ignatieff's two opening essays are followed by observations from other commentators; which in-turn are followed by closing remarks from the author. This type of discussion format is normally quite beneficial in helping readers to gain an appreciation of a given subject from a different perspectives. Unfortunately, in this work the additional commentators are to close to the author's ideological view to be of any real value. Dianne Orentlicher's observations were ok, however, the others were weak - characterized by too much flattery and self-aggrandizement.

The opening essays introduce a range of concerns within the contemporary human rights movement. Ignatieff identified relevant concerns such as; the tension between individual and collective rights, the view that the human rights movement is a type of Western imperialism, whether secular human rights is a form of cultural relativism as well as the need to balance rights and security/stability. I have heard the author speak on foreign policy issues and find him to be a generally capable foreign policy commentator.

Overall, there is not much of value in this book. If handled from a broader perspective these issues could be a worthwhile read. In its current form, however, I do not recommend it.

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Minggu, 05 Mei 2013

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The First Collection of Criticism by a Living Female Rock Critic, by Jessica Hopper

Jessica Hopper's music criticism has earned her a reputation as a firebrand, a keen observer and fearless critic not just of music but the culture around it. With this volume spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why The New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful, and humorous writing, this book documents the last 20 years of American music making and the shifting landscape of music consumption. The book journeys through the truths of Riot Grrrl's empowering insurgence, decamps to Gary, IN, on the eve of Michael Jackson's death, explodes the grunge-era mythologies of Nirvana and Courtney Love, and examines emo's rise. Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music. The pieces in The First Collection send us digging deep into our record collections, searching to re-hear what we loved and hated, makes us reconsider the art, trash, and politics Hopper illuminates, helping us to make sense of what matters to us most.

  • Sales Rank: #217467 in Books
  • Published on: 2015-05-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .40" w x 6.00" l, .0 pounds
  • Binding: Paperback
  • 250 pages

Review
"In this crucial book, Hopper schools us all in the art of criticism. You will be reminded, as I was, why you care to read and write about (and listen to!) music to begin with. Hopper's relationship with music is a joy to behold."
—Tavi Gevinson, Editor-in-Chief, Rookie

"Jessica Hopper's criticism is a trenchant and necessary counterpoint not just on music, but on our culture at large."
—Annie Clark, St. Vincent

"Has there ever been a person in your life whose opinion carried colossal weight regardless of the topic being discussed? Someone who changed your mind and pushed your buttons, always ahead of the curve and deeply entrenched in the scene with a scholar's knowledge of the who/what/where. For me that person has always been Jessica Hopper."
—Sara Quin, Tegan & Sara

"I read Hopper's work with a sense of bewildered gratitude. She concedes nothing to the idea that it is dumb to care so much. The excitement in her work comes from her faith that these things are worth scrapping about."
—Rob Sheffield, author of Love is a Mixtape

"Acute cultural zoom-ins, real-time reportage, and frank, funny, feeling dispatches from a woman's life lived in, for and in spite of music: Jessica Hopper serves notice of how much voices like hers have been needed."
—Carl Wilson, author of Let's Talk About Love: Why Other People Have Such Bad Taste

"The First Collection is a game-changer, a godsend, and a Holy Grail for those who have been forced to reside on the fringe of the notoriously "male-dominated sphere" of rock criticism and fandom [...] Hopper's work, influence, and unwavering support for the diversification of voice and perspective within music journalism have altered the landscape of rock criticism for the better. It may be the first collection of criticism written by a female rock critic, but it's definitely not the last."
—The Village Voice

"An airtight case for why the professional critic still matters, and why it is a thrill to spend time in the presence of someone whose job it is to care so much and so intelligently."
—Chicago Tribune

"For music criticism to be effectual, it has to be progressive. Hopper’s been in the game for two decades, but continues to fight for change: particularly for critics and older musicians alike actively to seek out the new."
—The Guardian

"Hopper’s collection explores the spectrum of popular music from garage to rap to Christian rock, transporting readers to basement punk shows where sweat drips from the stage onto concertgoers and Pearl Jam festivals where fans congregate, “numb in Vedder-ticipation.” Her 40-odd essays offer both a sweeping survey of two decades of music and a microscopic examination of artists as familiar as Miley Cyrus and as obscure as the noise punk group Coughs."
—TIME

"Hopper is one of the most vital and prolific music critics around. [...] The title is a mouthful, but the book brims with Hopper’s lean prose and mic-dropping one-liners."
—Newsweek

"Jessica Hopper has become a mandatory name in the world of music criticism, and this latest collection is the icing on the cake. At the book’s heart, you’ll find a funny, thoughtful writer whose extensive journalism career cements her as a lasting voice in the genre."
—Paste

"The pieces in The First Collection of Criticism by a Living Female Rock Critic are diverse and important in their own individual ways—everything from a fascinating look at the synchronicity between indie musicians and advertising, and the (sadly still all-too-relevant) 2003 piece “Emo: Where the Girls Aren’t” to a profile on songwriter David Bazan that explores his complicated relationship with religion and fans, and to a Village Voice discussion with Jim DeRogatis that reexamined (and gave renewed visibility to) the sexual assault allegations against R. Kelly."
—Salon

"A game-changing collection of writing [...] Hopper has created a bible for aspiring writers, not just music critics."
—Huffington Post

"A unique voice among a sea of male rock critics."
—MTV News

"[Hopper's] early essays remain valuable educational resources for anyone wanting to look further into the relationship between music and sexism."
—Meredith Graves, i-D

"[Hopper] seized on this opportunity to plant a flag for the cause and issue a thunderous “Fuck you!” to the embedded misogyny within rock criticism and our culture at large."
—Hazlitt

About the Author
Jessica Hopper is a music and culture critic whose work regularly appears in GQ, Rolling Stone, The Village Voice, and the Chicago Tribune. She is a senior editor at The Pitchfork Review and the music editor at Rookie. Her essays have appeared in Best Music Writing for 2004, 2005, 2007, 2010, and 2011. Hopper was the longtime music consultant for This American Life. Her book, The Girls' Guide to Rocking was named one of 2009's Notable Books For Young Readers by the American Library Association. She lives in Chicago with her husband and young sons.

Most helpful customer reviews

3 of 3 people found the following review helpful.
This book is not only ridiculously great, it is an Important
By J. LeMay
This book is not only ridiculously great, it is an Important, Essential Book for a number of reasons too lengthy to get into in the space of an Amazon review. Incomparable and peerless (although she is a champion of all of her peers, as well as a longtime mentor for scores of writers), Hopper not only gets to the heart of the matter in this collection (whatever that matter may be) right off the bat, she expertly asks the hard questions of the music she's writing about, the fans who love that music, and herself as a life-long music fan and critic. Hopper masters what few critics can do (and what even fewer can do well): digging deep into the anatomy of the magnetic bond (or lack thereof) between music and listener, critically investigating music cultures, and critically investigating her own relationship with it all simultaneously. She takes no prisoners; her voice is singular and essential. Buy this book for yourself, and for anyone you know who loves music. You will laugh, you will cry. Promise.

5 of 6 people found the following review helpful.
Criticism so sharp, this book reads like a brace of daggers
By Rachel E. Pollock
Reading Hopper's essays and reviews and interviews, i found myself on a roller coaster ride, zooming from turns of phrase that made me laugh out loud to high-fivably incisive bits of analysis. I haven’t read an actual book-book that made me think and feel the way this one did since those RE/Search collections from the wayback machine: Angry Women and Incredibly Strange Music and such.

What is it like to read this book if you are someone who never paged through Factsheet Five in the cavedwelling days of the netless 90s, hoping to find somebody writing a zine about things you cared about? Because that’s what this book feels like: my favorite zine’s full print run, a best-of collection of music writing that exactly typifies what fans of rock music need to read from a writer with an encyclopedic knowledge of the oeuvre and an insightful feminist perspective. I’m not twenty years old, looking desperately for smart female voices that spark in the dark and illuminate things i’ve been suspecting about music and art and gender and politics, but if i were, I’d clutch this book close to my heart and thumb all the gold leaf off the edges of its pages by month’s end. As it is though, i speed-read it cover to cover, and sat down to make a list of the friends i plan to loan it to or buy it for.

Some of the pieces in here stand side by side with the literary rock writing of John Jeremiah Sullivan and Steve Almond. Hopper’s not punching above her weight here—she’s in the same class.

1 of 1 people found the following review helpful.
A Refreshing Perspective on my Beloved Rock Music
By Caitlin Leasure
There are many things to love about this collection of essays. The writing is honest and often times witty. As a long-time lover of classic and alt-rock, I can identify so much with Ms. Hopper's conflicted stance on the whole subject. As a genre that has largely been male-dominated and is rife with misogyny, it is only natural for our female population to ask the questions, "Where do we fit?" and "Where is our voice?" Thankfully here is a book that at least furthers the dialogue.

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Rabu, 01 Mei 2013

[B537.Ebook] Ebook Boundaries, by Maya Lin

Ebook Boundaries, by Maya Lin

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Boundaries, by Maya Lin

Boundaries, by Maya Lin



Boundaries, by Maya Lin

Ebook Boundaries, by Maya Lin

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Boundaries, by Maya Lin

Renowned artist and architect Maya Lin's visual and verbal sketchbook—a unique view into her artwork and philosophy.

Walking through this parklike area, the memorial appears as a rift in the earth -- a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole....

So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. -- subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture -- the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field -- her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age.

Boundaries is her first book: an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. Boundaries is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.

  • Sales Rank: #227403 in Books
  • Brand: Lin, Maya Ying
  • Published on: 2006-09-12
  • Released on: 2006-09-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x .70" w x 7.75" l, 1.75 pounds
  • Binding: Paperback
  • 224 pages

Amazon.com Review
After designing the starkly symbolic Vietnam Veterans Memorial in Washington, D.C., when she was still an undergraduate, Maya Lin might have been doomed to spend the rest of her architecture career vainly trying to top herself. But 18 years later, her concerns clearly have nothing to do with self-aggrandizement. In Boundaries, Lin's lucid, soft-spoken collection of writings, she discusses how her work evolves, after a lengthy gestation, as a way of heightening viewers' awareness of a specific environment and perception of the passage of time. This temporal aspect can be a sequence of historical events (as in the Civil Rights Memorial in Montgomery, Alabama) or a purely aesthetic quality, like the shifting play of light over a grassy field of sculpted earth (Wave Field at the University of Michigan, Ann Arbor). "I like to think of my work as creating a private conversation with each person," Lin writes, "no matter how public each work is and no matter how many people are present."

Understandably, Lin writes in greatest detail about the Vietnam memorial, a high-profile commission fraught with controversy because of its unusual form as well as the age, gender, and ethnicity of its American-born architect. But this engrossing, amply illustrated book also details the thinking and experimentation behind myriad other projects, including elemental sculptures, interiors, and furniture designed with an unusual degree of consideration for the user's needs. Influenced by her ceramist father, Lin always gravitated toward working directly with malleable materials--an experience that complements the rational precision of plans and blueprints (the Vietnam memorial first took shape as a mound of mashed potatoes). Boundaries reflects the same blend of close analysis, intuition, and quiet humility that marks Lin's public projects. --Cathy Curtis

Review
"Some people perceive the world visually, like architects and sculptors. And others see the world through the prism of language, like writers. Maya Lin can do both. . . . A writer both concise and graceful on such abstract topics as art, vision, and design, Lin offers unique insights into how artists create." -- USA Today

"Like everything connected with Lin, Boundaries is beautifully designed and beautifully written." -- The Boston Globe

"This lovely book succeeds in two worlds: Lin wants you to read it and yet see it as an art book. . . . Every page in her book is serene, thought-provoking, striking." -- The Arizona Republic

"Her first book, Boundaries, unfolds as an intimate pictorial memoir of Lin's journey in realizing her primary passion: 'sculpting the earth.'" -- Harper's Bazaar

"Is Lin an artist or an architect? Given her ability to maintain her aesthetic integrity in a string of projects that have won over both critics and the public, magician is more like it." -- Newsweek

About the Author
Maya Lin has worked on art and architectural projects throughout the United States. Since setting up her studio in 1987, Lin has created both public and private artworks, including the Vietnam Veterans Memorial (1982) in Washington, D.C.; the Civil Rights Memorial (1989) in Montgomery, Alabama; and the Langston Hughes Library (1999) in Clinton, Tennessee, among others. Her work has been highly acclaimed; a documentary about her work, Maya Lin: A Strong Clear Vision, won an Academy Award for Best Documentary in 1995. Born in Athens, Ohio, and educated at Yale University, she lives with her family in New York City.

Most helpful customer reviews

108 of 108 people found the following review helpful.
A brilliant artist explains her work
By Bruce Trinque
Maya Lin's "Boundaries" is much like her three-dimensional creations - austere, at once both subtle and direct, outwardly detached, and ultimately effective in evoking a deep emotional response from within the beholder rather than imposing an exterior sentiment. Lin, of course, first came to prominence two decades ago when, as an undergraduate architecture student, she won the prestigious design competition for the Vietnam Veterans Memorial on the Mall in Washington, D.C. Her concept, popularly known as "The Wall," was fiercely criticized at that time for its radical departure from traditional memorial designs, yet from its unveiling in 1982 the Vietnam Veterans Memorial has been accorded widespread recognition for its profound aptness and - there is no better word - genius. Although Lin's work since that remarkable debut has been on a smaller physical scale, it continues to follow a line of imaginative external simplicity in use of shape and space, covertly deceptive in masking emotional complexity beneath. The title of the book is meant to express Lin's view that she and her creations inhabit the boundary between distinctly different qualities - architecture-art, natural-urban, inside-outside, Asian-American - simultaneously being neither and both.
"Boundaries" is not an autobiography. Maya Lin speaks through her architecture and her sculptures, and this book unwaveringly focuses upon that work and the creative process behind it. While the photographs in the volume are effective in presenting a broad impression of design and form, the real pictures are those drawn by Lin's words. For a visual artist, she has a rare appreciation of verbal power and substance. In fact, Maya Lin regards words as a vital basis for her designs, the reflection of her own background: her father was a ceramist and her mother a poet. As a physical object, the book itself has purposely been given a unique character to fittingly express Lin's artistic vision, occupying the boundary between "art book" and "reading book". The text literally begins on the inside front cover and spans the entirety of the volume, ending only on the inside back cover. Even the jacket has been incorporated as a harmonious, integral component of the whole. Like Lin's creations erected in public spaces and those fashioned in her studio, "Boundaries" is an exquisite embodiment of a meeting between restraint and stimulation.

0 of 0 people found the following review helpful.
Not really. Too many blank pages. The print ...
By Irene DesGeorges
Not really. Too many blank pages. The print is tiny and minimal. Her work is spectacular. The pictures did not make it justice. It could have been a gem, but it was rather, a simple rock.

Perhaps that was the idea, and I simply missed the point. Who knows?

bailene

0 of 0 people found the following review helpful.
Five Stars
By Celena
Beautifully written and presented. Wonderful insight into Maya Lin and her approach to her work. Love it.

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