Minggu, 30 Maret 2014

>> Ebook Fear of Judging: Sentencing Guidelines in the Federal Courts (Chicago Series on Sexuality, History), by Kate Stith, Jose A. Cabranes

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Fear of Judging: Sentencing Guidelines in the Federal Courts (Chicago Series on Sexuality, History), by Kate Stith, Jose A. Cabranes

For two centuries, federal judges exercised wide discretion in criminal sentencing. This changed in 1987, when a hopelessly complex bureaucratic apparatus was imposed on the federal courts. Though termed Sentencing "Guidelines," the new sentencing rules are mandatory. Reformers hoped that the Sentencing Guidelines would address inequities in sentencing. The Guidelines have failed to achieve this goal, according to Kate Stith and José Cabranes, and they have sacrificed comprehensibility and common sense.

Fear of Judging is the first full-scale history, analysis, and critique of the new sentencing regime. The authors show that the present system has burdened the courts, dehumanized the sentencing process, and, by repressing judicial discretion, eroded the constitutional balance of powers. Eschewing ideological or politically oriented critiques of the Guidelines and offering alternatives to the current system, Stith and Cabranes defend a vision of justice that requires judges to perform what has traditionally been considered their central task—exercising judgment.

  • Sales Rank: #1156100 in Books
  • Published on: 1998-10-01
  • Released on: 1998-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .90" w x 6.00" l, .88 pounds
  • Binding: Paperback
  • 290 pages

From Library Journal
At first glance, one is tempted to conclude that this rather imposing work is some kind of manual for judicial policy wonks, with the literary quality of a metropolitan phone book. On the contrary, it is actually an impressive illustration of public policy analysis at its finest. As they weave their tale of how our society still struggles with the fear of unbridled discretion on the part of federal judges, Stith (Yale Law Sch.) and Cabranes (U.S. Court of Appeals, Second Circuit, NY) scrutinize the power and discretion of federal courts and federal judges; the public's concern with law and order; separation of powers; the impact, intended and otherwise, of legal reforms; and more. Of special significance is the authors' analysis of the impact of mandatory sentencing guidelines on the role of the judge and on the law itself. Highly recommended for all academic libraries and specialized collections in law and public policy.?Stephen Shaw, Northwest Nazarene Coll., Nampa, ID
Copyright 1998 Reed Business Information, Inc.

Review
They provide a straightforward, accessible explanation of how federal sentencing works and then argue that judges should be freed from such rigid constraints.... To be sure, a common law of sentencing would be simpler than codified guidelines that, like the tax code, must cover all contingencies. But simplicity risks disparity, as different judges could impose different sentences for identical crimes. Ms. Stith and Mr. Cabranes duck the hard tradeoffs lurking here by appealing vaguely to the common-law tradition of "the judge's application of general principles to specific facts." -- The Wall Street Journal, Paul G. Cassell

About the Author
Stith, a former federal prosecutor in New York City and Washington, D.C., is the Lafayette S. Foster Professor of Law at Yale Law School.

Cabranes serves on the United States Supreme Court of Appeals for the Second Circuit in New York.

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0 of 0 people found the following review helpful.
A neglected topic subjected to incisive scrutiny
By On the Road Again
Kate Stith's and Jose Cabrane's Fear of Judging addresses an undertreated topic regarding how we the public set the standard for what is appropriate punishment for criminal offenders. The book examines the bipartisan politics that led to the establishment of the Sentencing Commission and the Commission's overreaching zeal to raise criminal incarceration penalties under the unachievable guise of making punishment equal to all criminals with matching degrees of culpability. The book demonstrates how parity of sentencing remains as elusive as ever while the net effect of the Sentencing Commission guidelines has been to merely augment the amount of time criminals serve and to hinder involved judges from making responsible additions or subtractions in sentencing decisions that would be in the best interests of all. Sentencing commissions guidelines attempt to reduce the judicial process to mathematical abstractions and yet the abstractions remain far too vague and abstruse to allow for any degree of equitable judgment. The book reduces the Sentencing Commission's pronouncements as severely interfering with the process of the fair establishment of criminal sentences.

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Rabu, 26 Maret 2014

^^ Free Ebook Music in German Philosophy: An IntroductionFrom University Of Chicago Press

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Music in German Philosophy: An IntroductionFrom University Of Chicago Press

Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. Stefan Lorenz Sorgner, a philosopher, and Oliver Fürbeth, a musicologist, here fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno.

Music in German Philosophy includes contributions from a renowned group of ten scholars, including some of today’s most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music. The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and foreword to this English-language addition, which places contemplations on music by these German philosophers within a broader intellectual climate.

  • Sales Rank: #1110232 in Books
  • Published on: 2011-01-30
  • Released on: 2011-01-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .70" w x 6.00" l, .95 pounds
  • Binding: Paperback
  • 312 pages

Review
“A handy reference for those seeking a reliable introduction to what German yphilosophers have thought about music.”

(Choice)

About the Author

Stefan Lorenz Sorgner teaches philosophy at the University of Erfurt. Oliver Fürbeth is a lecturer in musicology and music theory at the Music Academy Kassel. Susan H. Gillespie is founding director of the Institute for International Liberal Education at Bard College and the translator of several previous books.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Great overview!
By Christian Vassilev
It gives a great overview of a very important subject in German philosophy - music. Although it is not sufficient for an in depth view of this major topic, it is perfect as a guideline for students in university who are interested in the subject. Lots of references and books for further reading, too, which is also great! One of few such books translated into English.

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Senin, 24 Maret 2014

## Fee Download Gone Primitive: Savage Intellects, Modern Lives, by Marianna Torgovnick

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In this acclaimed book, Torgovnick explores the obsessions,
fears, and longings that have produced Western views of the
primitive. Crossing an extraordinary range of fields
(anthropology, psychology, literature, art, and popular
culture), Gone Primitive will engage not just
specialists but anyone who has ever worn Native American
jewelry, thrilled to Indiana Jones, or considered buying an
African mask.

"A superb book; and—in a way that goes beyond what
being good as a book usually implies—it is a kind of gift to
its own culture, a guide to the perplexed. It is lucid,
usually fair, laced with a certain feminist mockery and
animated by some surprising sympathies."—Arthur C. Danto,
New York Times Book Review

"An impassioned exploration of the deep waters beneath Western primitivism. . . . Torgovnick's readings are deliberately, rewardingly provocative."—Scott L. Malcomson, Voice Literary Supplement

  • Sales Rank: #1114578 in Books
  • Brand: University Of Chicago Press
  • Published on: 1991-08-13
  • Released on: 1991-08-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .80" w x 6.00" l, 1.23 pounds
  • Binding: Paperback
  • 335 pages
Features
  • Great product!

From Library Journal
In this interesting and unique study, the author looks at the West's appropriation of the images, styles, and ideas of primitive cultures for its own--and, she asserts, miscalculated--benefit. Examining the West's concept of the primitive as understood through such sources as Edgar Rice Burroughs's Tarzan , the writings of Conrad and Lawrence, the theoretical work of Freud and Levi-Strauss, and the studies of a number of ethnographers/anthropologists, including Margaret Mead, she discovers an inaccurate, romanticized, often racist and sexist, and ultimately damaging series of ideas that have served to inform the West's concept of the primitive and to form the basis of its fascination. Although most of the author's suggestions for improving what she claims to be an unacceptable situation are so general and wide-ranging that they are practically cliches, the book provides a refreshing look at a topic that has not been previously examined in light of recent Western trends in art and culture.
- Jessica Grim, Univ. of California Lib., Berkeley
Copyright 1990 Reed Business Information, Inc.

From the Back Cover
In this acclaimed book, Marianna Torgovnick explores the obsessions, fears, and longings that have produced Western views of the primitive. Crossing an extraordinary range of fields (anthropology, psychology, literature, art, and popular culture), 'Gone Primitive' will engage not just specialists but anyone who has ever worn Native American jewelry, thrilled to Indiana Jones, or considered buying an African mask.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Gone Primitive
By Chaichapz
A fascinating foray into the many representations of the primitive in
Western culture, from the perpetual Tarzan image to African masks to
D.H. Lawrence, Marianna Torgovnick moves effortlessly through
psychoanalysis, anthropology, popular culture, pornography and high
literary moments in history on a dazzling quest to explain the desires
and fears that fuel Western consumption of the idea "primitive."
I found this to be a highly readable and accessible book, particularly
the second essay "Taking Tarzan Seriously," which demands that we
understand the strategies and politics behind the Tarzan image. Part
feminist theory, part cultural archaeology, Gone Primitive is an
important read for anyone investigating issues that surround the
highly politicized act of "othering" and "consuming" minorities.

5 of 8 people found the following review helpful.
a reflexive analysis of Western society
By A Customer
This is a great book and a fascinating topic -- the way that Western peoples react to "the other," from rejection to outright cultural theft. Content deals with everything from art and design to popular media portrayals of the "primitive," to scholarly works such as Margaret Mead's Samoan study.

0 of 1 people found the following review helpful.
A horribly dry book written for the torture of college students
By Mrs. Z
A horribly dry book written for the torture of college students. You may find a use for this if you have trouble sleeping or actually enjoy the subject matter.

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  • Sales Rank: #507773 in Books
  • Published on: 1996-05-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .94" w x 6.00" l, 1.09 pounds
  • Binding: Paperback
  • 364 pages

From the Back Cover
In a highly original study of women, race, and class, Stephanie J. Shaw takes us into the inner world of black professional women during the Jim Crow era. This is a story of struggle and empowerment, of the strength of a group of women who worked against daunting odds to improve the world for themselves and their people. Shaw's remarkable research into the lives of social workers, librarians, nurses, and teachers from the 1870s through the 1950s allows us to hear these women's voices for the first time. The women tell us, in their own words, about their families, their values, their expectations. We learn of the forces and factors that made them exceptional, and of the choices and commitments that made them leaders in their communities. What a Woman Ought to Be and to Do brings to life a world in which African-American families, communities, and schools worked to encourage the self-confidence, individual initiative, and social responsibility of girls. Shaw shows us how, in a society that denied black women full professional status, these girls embraced and in turn defined an ideal of "socially responsible individualism" that balanced private and public sphere responsibilities. A collective portrait of character shaped in the toughest circumstances, this book is more than a study of the socialization of these women as children and the organization of their work as adults. It is also a study of leadership - of how African American communities gave their daughters the power to succeed in and change a hostile world.

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0 of 1 people found the following review helpful.
Five Stars
By Bennie
I am pleased with this purchase and look forward to reading it.

3 of 4 people found the following review helpful.
take a peek
By Joe
I had to read this book for a history project I was working on, but came to enjoy the book. I picked up a lot of insight into these women's lives and made me realize their impact and their struggles.

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Minggu, 23 Maret 2014

^ Download Ebook Bodies in the Bog and the Archaeological Imagination, by Karin Sanders

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Bodies in the Bog and the Archaeological Imagination, by Karin Sanders

Over the past few centuries, northern Europe’s bogs have yielded mummified men, women, and children who were deposited there as sacrifices in the early Iron Age and kept startlingly intact by the chemical properties of peat. In this remarkable account of their modern afterlives, Karin Sanders argues that the discovery of bog bodies began an extraordinary—and ongoing—cultural journey.            Throughout the nineteenth and twentieth centuries, Sanders shows, these eerily preserved remains came alive in art and science as material metaphors for such concepts as trauma, nostalgia, and identity. Sigmund Freud, Joseph Beuys, Seamus Heaney, and other major figures have used them to reconsider fundamental philosophical, literary, aesthetic, and scientific concerns. Exploring this intellectual spectrum, Sanders contends that the power of bog bodies to provoke such a wide range of responses is rooted in their unique status as both archeological artifacts and human beings. They emerge as corporeal time capsules that transcend archaeology to challenge our assumptions about what we can know about the past. By restoring them to the roster of cultural phenomena that force us to confront our ethical and aesthetic boundaries, Bodies in the Bog excavates anew the question of what it means to be human.

  • Sales Rank: #2675154 in Books
  • Published on: 2009-12-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.10" w x 6.00" l, 1.40 pounds
  • Binding: Hardcover
  • 344 pages

Review
“A rare conjunction of brilliant research with lyrical feeling. At once gripping, enlightening, and deeply moving, this stunning book offers a mind-boggling trek across space and time, life and death, torment and ecstasy. By turns ventriloquist and taxidermist, Karin Sanders resurrects bog beings from the limbo of their burial. They are reborn through the curious eyes and creative hands of poets and painters, sculptors and scholars, as both saints and ghosts—like saints miraculously indestructible, like ghosts haunting us with eerie memories. And her fabulous bog bodies at length mirror ourselves. They are our own doppelgängers, doubles displaced from time immemorial.”

(David Lowenthal, University College London)

“What a wonderful, wonderful book this is. I absolutely loved Bodies in the Bog and everything about it, from the thoughtful approach and beautiful writing to the well-contextualized discussions of bog bodies in psychology, poetry, art, museum display, and facial reconstruction. A truly interdisciplinary study clearly based on years of passionate research, it offers a rich and nuanced explanation of what makes these bodies so fascinating, appealing, and troubling.”

(Stephanie Moser, University of Southampton)

“For me, archaeology has its muses; in Karin Sanders’s hands, these muses are very much with us, for she understands archaeology in relation to the literature, the poetry, the historical trajectories of each and every find. In her study of bog people, Sanders has brought together many voices that are not usually in conversation, presenting a dramatically new set of interlocking perspectives—a new kaleidoscopic pattern. This book is a delight to read, a skillful and ingenious accomplishment, a dexterous weaving of new ideas about a much-debated phenomenon that has long sparked our imaginations.  What Sanders has done here makes me rejoice in what a creative mind can do, and in how readers will inevitably come away with all sorts of new understandings. Brava!”

(Margaret Conkey, University of California, Berkeley)

"I found this book a joy to read because, unlike most archaeological studies, it combines scholarship with superb literary style, the whole salted by the provision of numerous imaginative pathways. I, for one, will never study or write about bog bodies in the same way again and I will try to ensure that the same is true of my students. Despite the few caveats mentioned above, it is a work of true originality that lifts bog victims out of their purely archaeological dimension and travels with them on a journey towards enlightenment. Early on in the study, the author speaks of bog bodies being embalmed with words. That is nowhere more true than in this book."

(Miranda Aldhouse-Green Australian Archaeological Association)

"[Sanders] deftly teases out the paradoxes: born of neither land nor water but something in between: the bodies are the uncanny link between the pagan belief that prompted their death and our own prejudices. . . . Equally entertaining is Sanders' commentary on Freud and Jung, describing how the famous schism between the two psychologists was prompted by their disagreement over the meaning of the bog bodies."—Philip Hoare, Sunday Telegraph  (Sunday Telegraph)

"Sanders has uncovered a fascinated range of examples of literature and art which has responded to the peaty mummies. . . . Sanders's  reading, research and reflection has resulted in a rich and suggestive study."—Jennifer Wallace, Times Literary Supplement (Times Literary Supplement)

About the Author

Karin Sanders is professor of Scandinavian studies at the University of California, Berkeley.

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13 of 15 people found the following review helpful.
Bog bodies unmasked
By Harriet Nethery
This is such a good book. I cannot recommend it highly enough. Karin Sanders examines those mysterious archaeological artifacts known as "bog bodies," corpses found long-buried in the peat fields of Ireland, Britain, and northern Europe. Unlike mummies, bog bodies retain soft tissue while their bones deteriorate, turning them into "sacks of flesh." Because of the soft tissue, they appear quite life-life, even though they may be 1000 years old or more: their faces are largely intact, and may even possess stubble from a day-old beard, and they are often fully clothed. Sanders explains who these mysterious people were, how they died, and how they have come to occupy an important place in the imaginations of historians, poets, artists, philosophers, and ordinary people. A gifted writer, Sanders has penned a book that is at once highly informed and is a work of genuine literary merit.

1 of 9 people found the following review helpful.
YAWN. YAWN. YAWN.
By Richard K. Edwards
So many references to Danish literature. So many references to obscure authors I'd never heard of. This book reads like a Ph.D. dissertation that probably bored the review committee into submission. If you're just starting out on reading about bog bodies, you should avoid this book becsue it will kill any interest you have in the subject.

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Jumat, 21 Maret 2014

** Free PDF After God (Religion and Postmodernism), by Mark C. Taylor

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After God (Religion and Postmodernism), by Mark C. Taylor

Religion, Mark C. Taylor argues in After God, is more complicated than either its defenders or critics think and, indeed, is much more influential than any of us realize. Our world, Taylor maintains, is shaped by religion even when it is least obvious. Faith and value, he insists, are unavoidable and inextricably interrelated for believers and nonbelievers alike.

The first comprehensive theology of culture since the pioneering work of Paul Tillich, After God redefines religion for our contemporary age. This volumeis a radical reconceptualization of religion and Taylor's most pathbreaking work yet, bringing together various strands of theological argument and cultural analysis four decades in the making.

Praise for Mark C. Taylor
"The distinguishing feature of Taylor's career is a fearless, or perhaps reckless, orientation to the new and to whatever challenges orthodoxy. . . . Taylor's work is playful, perverse, rarefied, ingenious, and often brilliant."-New York Times Magazine

  • Sales Rank: #382724 in Books
  • Published on: 2009-03-01
  • Released on: 2007-10-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.40 pounds
  • Binding: Paperback
  • 504 pages

Review
"The distinguishing feature of Taylor's career is a fearless, or perhaps reckless, orientation to the new and to whatever challenges orthodoxy.... Taylor's work is playful, perverse, rarefied, ingenious, and often brilliant." - New York Times Magazine"

About the Author
Mark C. Taylor is professor of religion and chair of the Department of Religion at Columbia University. He is the author of more than a dozen books, including Hiding and Disfiguring: Art, Architecture, Religion, both published by the University of Chicago Press.

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30 of 33 people found the following review helpful.
Religion, secularism and a new theology of culture
By Lynn Paluga
Complexity theory permeates many facets of life: social, biological, evolutionary, economic, artistic, political and religious, to name a few. Taylor uses the scientific theory of dynamic complex adaptive systems (CAS) to explain and reframe these issues with historical and contemporary relevancy. Using Luther's Protestant Reformation as a springboard, Taylor genealogically interprets religiosity and secularism as parallel vectors, each informing the other, demonstrating that there is codependency and interrelationship in and between religious and secular beliefs and practices. By clearly explaining the process of CAS, Taylor negotiates his notions of religion, language, art, market economies, evolution and global climate change as he uniquely integrates elements of "ethics without absolutes".
Taylor explores the binary opposition between the diachronic and synchronic origins of religion and frames these different but corresponding aspects as inseparable. Taylor compares and contrasts the philosophies of Hegel, Kierkegaard, Kant, and Marx et al. and rejects absolutist views of religion in favor of a relational framework for spontaneous organization in open systems. He holds that what is most important lies not at the center or in the extremes; rather, life develops and expresses itself at the edge of chaos, where creativity emerges over time. He studies the organization and constituents of CAS - recognizing patterns, feedback, adaptation, anticipation, and internal and external competition and cooperation - and in doing so, defines emergent creativity and life-sustaining processes.
He refigures the dialectics of opposition: either/or dualism and both/and monism, and instead endorses the need for an ascendancy of neither/nor thinking - the simultaneous possibilities that complexity entails - to usher in a new global ethic based on cooperation, negotiation and progressive adaptation. Ultimately, the trajectory of Taylor's argument results in the definition of life's richness and rhythm as a sublime state of interconnectedness. If substantial changes in our ethos and behavior are made, we stand to establish a constructive, agreeable, valuable and inclusive system rather than a destructive, divisive obsolescence that effectively subverts change and progress.
Taylor's book is well researched and eloquently written; he has succeeded in creating a book that forwards a unique theology of culture and philosophy of science, and elucidates new perspectives on the complexities of contemporary life systems, technology and models of creative insight into our changing world.

15 of 16 people found the following review helpful.
Dangerous Territory
By Steven G. Ogden
Taylor's "After God" is a daring yet irresistible and rewarding read. From a Christian perspective, it takes the reader into dangerous territory; dangerous but important, because it is only 'on the edge' that theologians make new discoveries. From an atheistic perspective, it gives pause for thought for those people who think they are immune to the influence of religion in general and Christianity in particular. For Taylor, "religion and secularity are not opposites; to the contrary Western secularity is a religious phenomenon" (p. xiii). To develop this, Taylor focuses on the idea "relationality". This means that the world cannot be understood in terms of divisions, dualisms or oppositions, but rather in terms of connections so that "After God, the divine is not elsewhere but is the emergent creativity that figures, disfigures, and refigures the infinite fabric of life" (p. xvii). Unless I missed something here, however, it was surprising that he did not refer to process theology. Nevertheless, it is a great read, brilliantly written, challenging and enticing. And along the way, there are some gems like his analysis of why religious liberals have gone quiet (p. 26) and Ratzinger's assault on John Kerry's presidential campaign (p. 287).

11 of 14 people found the following review helpful.
The best "chew" around at the moment
By Rex Styzens
Lynn Paluga's review here presents the framework and the vocabulary that Taylor uses. In that guise, ostensibly it is new. To translate it into theology, however, Taylor resorts to explanations where a mere historical similarity of terminology about the death of God leaves more unsaid than said. The gaps he tries to fill remain yawning.

This review is critical, but it does not deny the worthwhile effort of Taylor's work. Furthermore, Taylor's heart is in the right place, and his head deals wonderfully with some consequences of the most difficult 20th Century erudition. I encourage a wide reading and study of the work, if only because it is one of the most readable and reputable efforts at synthesizing a view of where we have come from and where we are now and avoids the run-of-the-mill vagaries.

When you set yourself the task of showing how religion stands behind everything shaping contemporary culture, then you'd best not alert your readers with such familiar philosophical rules of thumb as "explaining all explains nothing." That images the very resistance that Hegel, Taylor's choice as his primary intellectual guide, met from logical positivists who had their fill, beyond capacity, of words. True, logical positivism has now faded from view as its self-contradictions have appeared. So it is to be expected that some, like Taylor, will sift through the old embers of totalistic systems like Hegel's, attempting to account for everything so far.

(However, one usually reads Hegel for ethics and Kant for epistemology and ontology. On the topic of imagination, I recommend Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment (Modern European Philosophy). Taylor cites the 1970s lectures by Dieter Henrich Between Kant and Hegel: Lectures on German Idealism who argues that Hegel resolves Kant's phenomenal/noumenal split. Taylor continues to wrestle with that issue by proposing "the virtual as immanent transcendence." This reader requires a comparison of that view with Kant's "synthetic apriori." Perhaps it appears in Henrich's "key" to Hegel, which also supports Taylor's suggestion that Emerson be read via Hegel. Emerson's "polarities" suffer and benefit from Hegel's key that "self-reference and determinateness as direct implications of one elementary, independent, and autonomous term: negation" in application. Hegel's ontology founded in his logic of being, essence, and notion ties it all together with its unique semantics. Yet that only resembles advanced math systems that are coherent and so far irrelevant. Such as those make Wittgenstein's plea to *show me what you mean by doing something* a life preserver amid the roaring winds.)

Academic religion (in contrast with the practice of religion, which cannot be taught in public universities) resorts to comprehensive generalizations for good reasons. First, it is long assumed that religion's job is to explain everything. Secondly, abstractions allow one to evade the accusation of proselytizing. Sometimes such abstracting gets too vast to do much good. I ended my read still holding my breath.(Update, please see my review of Merleau-Ponty's Philosophy of Nature (SPEP) by Ted Toadvine, where additional philosophical justification for Taylor's affirmations is available.)

Yet I know of no one else, so far, who has tried to pull all the bits and pieces of legitimate religious critique together in one place and in such a readable form. Taylor gives us more bones to chew on while we wait expectantly. The worst mistake would be to bury the bone prematurely rather than draw such nourishment from it as it offers. It's a good gnaw.

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Senin, 17 Maret 2014

! Download PDF Blessings for the Hands (Phoenix Poets), by Matthew Schwartz

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Blessings for the Hands (Phoenix Poets), by Matthew Schwartz

From The Sky Inside the Shaking Tree

What you feel
reveals you.
 
Watch
for the sustenance
inclined to a source,
 
enamored of singularity,
quickly here and quickly
 
gone, shadow from which
the body's courage comes.
 
Fireflies
apparently stumbling.
 
I slapped one on my leg.
Its blood glowed.
 
Blessings for the Hands follows various speakers—often disabled speakers, who never once figure themselves as objects of complaint or self-pity—through the haunted dreamscape of “normalcy.” Indeed, dreams are continuous presences in this unusually subtle and elegant debut collection that juxtaposes physical circumstances with the vast interior life of the imagination. The subjects of Blessings for the Hands are real and imagined confrontations—and reconciliations—between family members, friends, strangers, and animals. Matthew Schwartz’s quasi-autobiographical verse complicates and clarifies the emotions waiting just underneath the patterns and expectations of the speakers’ daylight lives, where anger, joy, corporeality, and mortality all seem to collide. For Schwartz, poetry is a sleight of hand that keeps the reader guessing through nearly imperceptible shifts between present vision and absent reality. Blessings for the Hands is a lyric reckoning of the tension between the life we are given and the life we are determined to lead.
 
“Blessings for the Hands is emotionally strong and imaginatively wild, distinctive, deeply moving, without an ort of self-pity, and pervaded by ‘compassion down to your fingertips’ (which Chekhov said is ‘the only method’ both to write and to live). This angle of vision is sharp enough to unify much disparate material. The poems are clear and musical and consequently a pleasure to read and reread despite their gravity. I think this may be lasting work.”—Michael Ryan  

  • Sales Rank: #6037883 in Books
  • Published on: 2008-03-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .30" w x 6.13" l, .28 pounds
  • Binding: Paperback
  • 72 pages

Review
"The Phoenix Poets list contains a number of poets currently on my list of favorites. This is a strong, vital series that has given voice to some of the best voices in American poetry today." - Billy Collins "Blessings for the Hands is emotionally strong and imaginatively wild, distinctive, deeply moving, without an ort of self-pity, and pervaded by 'compassion down to your fingertips' (which Chekhov said is 'the only method' both to write and to live). This angle of vision is sharp enough to unify much disparate material. The poems are clear and musical and consequently a pleasure to read and reread despite their gravity. I think this may be lasting work." - Michael Ryan"

About the Author
Matthew Schwartz is a writer and editor living in Brooklyn, New York. He is the recipient of awards from the Academy of American Poets and the International Institute of Modern Letters.  

Most helpful customer reviews

3 of 3 people found the following review helpful.
An incredibly thoughtful read
By D. Hicks
I am usually a bit of a jerk about poetry, not very content to read anything that has not been approved by some reputable source. But my wife picked up a copy of this recently and asked me to look through it when I got a chance. My first reading was on the subway to and from work, and in this distracting time, was lulled by the remarkable rhythms of Mr. Schwartz's poetry. When our vacation arrived, I packed it with me to really attempt to internalize what I'd read.

This book is beautiful. I rarely reread a book, but this one was well worth it. I was able to find subtleties within it that I hadn't noticed upon the first read. And despite its amazing complexities, it is still very accessible for a reader (like myself) who didn't go to college or has not dedicated themself lifelong to the pursuit of poetry (as my wife has). I highly recommend this book to anyone looking for a bit of poetry that is not heavy handed, nor full of so much of the overly-wrought conceit I seem to feel from so much of the poetry that people try to push on me. It is crisp, it is open, and it is thoughtful.

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Minggu, 16 Maret 2014

! PDF Ebook The Hunter: A Parker Novel (Parker Novels), by Richard Stark

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The Hunter: A Parker Novel (Parker Novels), by Richard Stark



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The Hunter: A Parker Novel (Parker Novels), by Richard Stark

You probably haven’t ever noticed them. But they’ve noticed you. They notice everything. That’s their job. Sitting quietly in a nondescript car outside a bank making note of the tellers’ work habits, the positions of the security guards. Lagging a few car lengths behind the Brinks truck on its daily rounds. Surreptitiously jiggling the handle of an unmarked service door at the racetrack.
They’re thieves. Heisters, to be precise. They’re pros, and Parker is far and away the best of them. If you’re planning a job, you want him in. Tough, smart, hardworking, and relentlessly focused on his trade, he is the heister’s heister, the robber’s robber, the heavy’s heavy. You don’t want to cross him, and you don’t want to get in his way, because he’ll stop at nothing to get what he’s after.
Parker, the ruthless antihero of Richard Stark’s eponymous mystery novels, is one of the most unforgettable characters in hardboiled noir.  Lauded by critics for his taut realism, unapologetic amorality, and razor-sharp prose-style—and adored by fans who turn each intoxicating page with increasing urgency—Stark is a master of crime writing, his books as influential as any in the genre. The University of Chicago Press has embarked on a project to return the early volumes of this series to print for a new generation of readers to discover—and become addicted to.
In The Hunter, the first volume in the series, Parker roars into New York City, seeking revenge on the woman who betrayed him and on the man who took his money, stealing and scamming his way to redemption.
 
“Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible.”—Washington Post Book World
 
“Elmore Leonard wouldn’t write what he does if Stark hadn’t been there before. And Quentin Tarantino wouldn’t write what he does without Leonard. . . . Old master that he is, Stark does all of them one better.”—Los Angeles Times
 
“Donald Westlake’s Parker novels are among the small number of books I read over and over. Forget all that crap you’ve been telling yourself about War and Peace and Proust—these are the books you’ll want on that desert island.”—Lawrence Block 

  • Sales Rank: #104680 in Books
  • Brand: Stark, Richard
  • Published on: 2008-09-01
  • Released on: 2008-09-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 1.00" w x 5.25" l, .50 pounds
  • Binding: Paperback
  • 198 pages

From Booklist
*Starred Review* It’s been 50 years since the first, furious appearance of Parker as he walked across the George Washington Bridge into Manhattan—after trudging all the way across the country, hell-bent on revenge. Written pseudonymously by Donald E. Westlake, a pro’s pro well known for his later, lighter fare, this series about a tough, pent-up professional thief, a “bastard” who slaps women and makes them like it, is, on the one hand, unreconstructed, unrepentant, hard-boiled tough-guy pulp. On the other hand, it’s terrific. It may be a period piece to some, but it’s also been hugely influential, impressing writers from Elmore Leonard to John Banville, and Max Allan Collins to Dan Simmons. Hollywood has taken note, too: filmed versions include Point Blank (1967) and Payback (1999). And Darwyn Cooke’s magnificent graphic-novel adaptations (beginning with Richard Stark’s Parker: The Hunter, 2009) have brought the series to a whole new audience. But whether you find Parker’s approach to relationships infuriating or amusing, the author’s way with words is always powerful. As Parker relentlessly slaps, punches, glowers, and kills his way to the mobster who betrayed him and stole his woman, the prose hits as hard as two huge, bare-knuckled fists. And the structure throws a left hook, too. Halfway through the book, with Parker closing the room on his prey, Stark detours back to the beginning of the story. Still, when revenge has finally been served, it’s not enough. Not satisfied with killing one mobster, Parker declares war on the entire Mob, setting the stage for two dozen novels over the next four decades. (Westlake died in 2008, at the age of 75.) University of Chicago Press, an unlikely publisher, has done crime-fiction fans a great service by returning the first 20 Parker novels to print. The covers should be better, but it’s the pages inside that count. --Keir Graff

Review
“Parker represents the antihero with dubious morals. Stark’s clever plot structure, moving back and forth in time, is totally engrossing.”--Library Journal (Library Journal 2008-10-05)

“Writing a couple of years ago . . . John Banville reckoned the Parker novels to be 'among the most poised and polished fictions of their time and, in fact, any time.' That's high praise from an impeccable source, and Banville is right to single out the technical excellence of these books. The Parkers read with the speed of pulp while unfolding with an almost Nabokovian wit and flair. . . . Original editions of these books, and even later reprints, change hands for scores or hundreds of dollars on the Net, and it’s excellent to have them readily available again—not so much masterpieces of the genre, just masterpieces, period. . . . . The Hunter glitters with seemingly effortless intricacy, being aimed at one episode—a stunner, the kind of moment in fiction that really does have you leaping from your chair and exclaiming in surprise and glee.”

(Richard Rayner Los Angeles Times 2008-09-14)

“Parker is refreshingly amoral, a thief who always gets away with the swag.”

(Stephen King Entertainment Weekly 2008-09-12)

“Parker . . . lumbers through the pages of Richard Stark’s noir novels scattering dead bodies like peanut shells. . . . In a complex world [he] makes things simple.”

(William Grimes New York Times 2008-08-28)

“Whatever Stark writes, I read. He’s a stylist, a pro, and I thoroughly enjoy his attitude.” (Elmore Leonard)

“Richard Stark’s Parker novels . . . are among the most poised and polished fictions of their time and, in fact, of any time.” (John Banville Bookforum)

“Parker is a true treasure. . . . The master thief is back, along with Richard Stark.” (Marilyn Stasio New York Times Book Review)

“Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible.” (Washington Post Book World)

“Elmore Leonard wouldn’t write what he does if Stark hadn’t been there before. And Quentin Tarantino wouldn’t write what he does without Leonard. . . . Old master that he is, Stark does all of them one better.” (Los Angeles Times)

“Donald Westlake’s Parker novels are among the small number of books I read over and over. Forget all that crap you’ve been telling yourself about War and Peace and Proust—these are the books you’ll want on that desert island.” (Lawrence Block)

“If you’re looking for crime novels with a lot of punch, try the very, very tough novels featuring Parker. . . . The Hunter, The Outfit, The Mourner, and The Man with the Getaway Face are all beautifully paced, tautly composed, and originally published in the early 1960s."

(Christian Science Monitor)

“Richard Stark writes a harsh and frightening story of criminal warfare and vengeance with economy, understatement and a deadly amoral objectivity—a remarkable addition to the list of the shockers that the French call romans noirs.” (Anthony Boucher New York Times Book Review)

"Parker is a brilliant invention. . . . What chiefly distinguishes Westlake, under whatever name, is his passion for process and mechanics. . . . Parker appears to have eliminated everything from his program but machine logic, but this is merely protective coloration. He is a romantic vestige, a free-market anarchist whose independent status is becoming a thing of the past." (Luc Sante New York Review of Books)

"I wouldn't care to speculate about what it is in Westlake's psyche that makes him so good at writing about Parker, much less what it is that makes me like the Parker novels so much. Suffice it to say that Stark/Westlake is the cleanest of all noir novelists, a styleless stylist who gets to the point with stupendous economy, hustling you down the path of plot so briskly that you have to read his books a second time to appreciate the elegance and sober wit with which they are written." (Terry Teachout Commentary)

"If you're a fan of noir novels and haven't yet read Richard Stark, you may want to give these books a try. Who knows? Parker may just be the son of a bitch you've been searching for." (John McNally Virginia Quarterly Review)

"The University of Chicago Press has recently undertaken a campaign to get Parker back in print in affordable and handsome editions, and I dove in. And now I get it." (Josef Braun Vue Weekly)

"Whether early or late, the Parker novels are all superlative literary entertainments." (Terry Teachout Weekly Standard)

“The UC Press mission, to reprint the 1960s Parker novels of Richard Stark (the late Donald Westlake), is wholly admirable. The books have been out of print for decades, and the fast-paced, hard-boiled thrillers featuring the thief Parker are brilliant.”
(H. J. Kirchoff Globe and Mail)

About the Author
Richard Stark was one of the many pseudonyms of Donald E. Westlake (1933-2008), a prolific author of noir crime fiction. In 1993 the Mystery Writers of America bestowed the society’s highest honor on Westlake, naming him a Grand Master.

Most helpful customer reviews

84 of 90 people found the following review helpful.
Parker - The Anti-Hero
By David N. Cook
The Hunter (also known by it's movie names of Point Blank or Payback) is the beginning of the "Parker" series written by Donald E. Westlake under the penname of Richard Stark. These were paperback originals in a noir crime vein with Parker as the master thief and organizer of major robberies. Written from the early 60's through the mid-70's, the first 12 or so novels became cult classics especially popular with prisoners! DEW resumed the series due to popular demand in the 90's and has completed about 4 more with 1 more just being released. The writing style is stripped-down for fast action and none of the characters seems to have any conscience, least of all Parker. About half of the jobs Parker is involved in go bad due to unforseen problems like greed and betrayal, so murder (but only out of necessity) and revenge are common themes. This series has been reprinted over and over as new readers discover Parker and his single-minded focus on robbery to maintain his quietly luxurious but anonymous lifestyle. Serious literature? NO! Great fun for the crime novel fan? YES!

78 of 88 people found the following review helpful.
Parker Rules
By the gunner
The Hunter

This is the book where Donald Westlake writing as Richard Stark introduces us to Parker in 1962. After re-reading the book after thitysomething years I realize that Lee Marvin was probably cast as a truer version of Parker. Danny DeVito would have been a good messenger and James Gandolfini would have made a better Mal Resnick. The ending was changed for the movie, but what the hey, that's Hollywood. I think I'll reread them all as my next project. They're that good.

I think Sam Elliott would make a great Parker. He could make a whole career out of this series.

As far as I can tell the other Parker books are:

1) The Hunter (1962; AKA Point Blank, Payback; Parker, by Richard Stark).
2) The Man With the Getaway Face (1963; AKA The Steel Hit; Parker,
3) The Outfit (1963; Parker, by Richard Stark)
4) The Mourner (1963; Parker, by Richard Stark)
5) The Score (1964; AKA Killtown; Parker, by Richard Stark)
6) The Jugger (1965; Parker, by Richard Stark)
7) The Seventh (1966; AKA The Split; Parker, by Richard Stark)
8) The Handle (1966; AKA Run Lethal; Parker, by Richard Stark)
9) The Rare Coin Score (1967; Parker, by Richard Stark)
10) The Green Eagle Score (1967; Parker, by Richard Stark)
11) The Black Ice Score (1968; Parker, by Richard Stark)
12) The Sour Lemon Score (1969; Parker, by Richard Stark)
13) Slayground (1971; Parker, by Richard Stark)
14) Deadly Edge (1971; Parker, by Richard Stark)
15) Plunder Squad (1972; Parker, by Richard Stark)
16) Butcher's Moon (1974; Parker, by Richard Stark)
17) Comeback (1997;
18) Backflash (1998; Parker)..
19) Flashfire (2000; Parker, by Richard Stark)..
20) Firebreak (2001; Parker, by Richard Stark) ..
21) Nobody Runs Forever (2004) Parker, by Richard Stark

Highly recommended for Parker fans and fans of action adventure stories.

Gunner December, 2007

20 of 23 people found the following review helpful.
Hardest of the Hard
By Mel Odom
I've made a promise to reread all the early Parker novels by Richard Stark (Donald Westlake) this year. The books are short and compact, and the reading will be a pleasure. I can burn through them in a sitting or two. The books are dated, of course, because most of them were written in the 1960s and early 1970s, and cell phones and the internet weren't prevalent. The targets of the professional criminals in these books would be a lot more difficult in present day.

But I can slip back into the time period effortlessly. Some of the younger generation of readers might struggle with that lack of technology unless they're well-versed in period piece stuff - back in the old days when they had to try to trace phone numbers.

Parker is one of those iconic characters in fiction that will forever stand out. He's been played by Lee Marvin (Point Blank), Chow Yun Fat (Full Contact) and by Mel Gibson (Payback). That's some rarified air there, folks. He's a big, gnarly brute of a man in the novels, a cold-heated professional when on the job, able to cut losses and throats with a single flick of a knife. As the series progresses, Parker softens a little, but not much. He maintains a bleak outlook on life and I love him for it. Comic writers like Ed Brubaker and Greg Rucka probably read Stark, or at least works by other writers who were inspired by the Parker books.

In this first volume, Parker is on a mission of vengeance. He barely survived the last heist after being betrayed by one of his partners and his wife. Now he wants his cut of the profits. The double-cross is more complicated than Parker realizes. When the ex-partner took the money, it wasn't just about the money. The man needed the stake to buy his way back into the Outfit (Mafia) and get back into their good graces after blowing another operation that nearly got him killed.

Watching Parker coolly work his way up the chain of people involved to reach the offices of the Mafia, where he brazenly demands his money, is an absolute treat. In some ways, Parker reminds me of Joe Pike, Robert Crais's hero. Neither one of them will give an inch, no matter what it costs them personally. Giving in to someone one, in their view, is much worse than dying. I like that about those kinds of characters.

This book was an absolute delight to read even though I'd seen both movies and read the book years ago (at least twice). I finished it in a couple nights and am looking forward to the rest of the series.

Comics enthusiasts (and readers that enjoyed this story and might want to follow it into other incarnations) will be happy to know that Darwyn Cooke has written and drawn two of the Parker novels. The Hunter and The Outfit are out as graphic novels as well.

If you haven't read the Parker novels, you don't have to read them in order, but I'd recommend it. The University of Chicago is reprinting them (almost all of them are out now), and there are Kindle versions as well.

If you have never read a thief novel, especially if you loved Steve McQueen and Ali McGraw in The Getaway, you gotta read the Parker books.

You'll thank me for the recommendation.

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