european

Looking at some reviews by other reviewers, I realized that not everybody has heard of Faust or of Goethe, and I was pretty shocked.

The first part of what I'm saying is about this translation. As Luke so graphically showed in his "Translator's introduction", there are many things that pull at the translator's central agenda: rhyme, metre, primary meaning, nuance, and so on, and the translator has to achieve a balance. Among the translations I've read and from snippets of what I've seen of other translations, Wayne's translation has the most smooth-flowing, elegant rhyme I've seen.

As positives for this translation: The elegance is unparallelled; the wit is sparkling; the metre is almost flawless; the deviation from Goethe is usually acceptable; and there is never, repeat, never, an obvious rhyme-holder word.

As negatives for this translation: There is in a few cases too much of deviation from the original; Wayne at times infuses his own interpretation and character into the work; and the English, though just perfect for, say, a 1950's speaker in England (and those of us used to that kind of word-flow), may be distracting for Americans in 2000.

An example of the latter: "What depth of chanting, whence the blissful tone / That lames my lifting of the fatal glass?" This is pretty representative: if "lames my lifting" does not sound pretentious or obscure, and if the elegance of it strikes you, Wayne's translation is the one for you. If on the other hand, "lames my lifting" sounds straight out of a mediaeval scroll (as I believe is the case with many Americans), then look elsewhere for a translation you will enjoy (read: Luke).

Another, more involved example is in the final lines of Faust II: Wayne translates "Das unbeschreibliche / Hier ists getan" as "Here the ineffable / Wins life through love". Now that, of course is hardly a translation; but it fits in with Wayne's scheme of things - and that IS the point; Wayne has his "scheme of things", which you may or may not like.

The second part of what I'm writing is about Faust itself, the Masterwork: as any German will tell you, Faust is one of the centrepieces of literature, and it is worthwhile learning German JUST to read Faust. Each person comes away from "Faust" having found that that he/she was looking for. Every person is reflected in Faust; "Faust" is the ultimate story of Man. What tempts us, what keeps us, what draws us on, what tears us, what defines us, what lies in store for us - it is all there. "Faust" is a journey everyone should undertake. There is nothing controversial here - no "God", no "Hellfire", nothing but Goethe's straightforward but not blunt, sensitive but not compromised, philosophical but not dreamy, analysis of the human situation. "Faust" is the Master thinker Goethe's sincere attempt at looking at it all; and it does not fall visibly short of the task.

Part I should be read by everyone; Part II is not strictly a sequel, but in many ways is, as Wayne shows in his Introduction. Part II requires some knowledge of Greek Mythology; and does in many ways "complete the story". Only, it goes way beyond that.

I never knew how enjoyable reading plays could be until I read Part I of FAUST. I enjoyed it much more than The Odyssey and Romeo and Juliet. It has an interesting plot and several lines that I will never forget. It also shows how able a man is to hold his morals under the worst circumstances. Buy the Philip Wayne translation. He translated the work without using any Old English, makes it very easy to understand by the word order, and most of all makes great rhymes.

MEPHISTO:I would have the devil take me instantly, but I myself am he.

The previous review is clear about the value of this translation. Knowing a bit of German, I can say that this translation does use shapes instead of forms for Gestalten. the real value of the work beyond the translation, however, especially for first time readers, is found in the notes made by David Luke. These notes are helpful for the historical context, allusions to Goethe's personal life and work, and allusions to philosophy, literature, and more ... all essential to understanding the work.

Looking at some reviews by other reviewers, I realized that not everybody has heard of Faust or of Goethe, and I was pretty shocked.

The first part of what I'm saying is about this translation. As Luke so graphically showed in his "Translator's introduction", there are many things that pull at the translator's central agenda: rhyme, metre, primary meaning, nuance, and so on, and the translator has to achieve a balance. Among the translations I've read and from snippets of what I've seen of other translations, Luke's translation is the most accurate of the ones I've read, in many ways. In other words, the compromises that Luke himself details have been executed here with near-perfection.

It comes down to what you like. Luke's translation is the closest among all attempts so far to being dubbed a "universal" tranlslation. But just as we cannot have a universal programming language, we cannot have a translation that will please everybody.

The positive for this translation is of course the extraordinary faithfulness to the original while maintaining rhyme. The negatives are what one would expect; the translation does not read smoothly on the line level. To clarify, a line carries over to the next line in too many cases to make for a "smooth read". An example:

"Refreshment! It's your own soul that must pour / It through you, if it's to be anything."

This "pour it" example siuation occurs too often, and is jarring for those who "grew up" with Arndt's or Wayne's translations.

The second part of what I'm writing is about Faust itself, the Masterwork: as any German will tell you, Faust is one of the centrepieces of literature, and it is worthwhile learning German JUST to read Faust. Each person comes away from "Faust" having found that that he/she was looking for. Every person is reflected in Faust; "Faust" is the ultimate story of Man. What tempts us, what keeps us, what draws us on, what tears us, what defines us, what lies in store for us - it is all there. "Faust" is a journey everyone should undertake. There is nothing controversial here - no "God", no "Hellfire", nothing but Goethe's straightforward but not blunt, sensitive but not compromised, philosophical but not dreamy, analysis of the human situation. "Faust" is the Master thinker Goethe's sincere attempt at looking at it all; and it does not fall visibly short of the task.

Part I should be read by everyone; Part II is not strictly a sequel, but in many ways is, as Wayne shows in his Introduction. Part II requires some knowledge of Greek Mythology; and does in many ways "complete the story". Only, it goes way beyond that.

When I read through the introduction, I was surprised to find out that this work was the result of a lifetime's endeavor - because it's relatively short. While authors these days churn out 600 page books on a yearly basis, this man wrote over the course of his life. The writing is very different from modern day authors such as Steven King, in that detail is only applied to objects sparingly, where as S.King's books tend to delve into details at will.

This is, to my mind, the best existing English translation of Faust. Luke's verse is ingenious, it flows beautifully, and -- above all -- it rhymes! Non-rhyming translations can never capture Goethe's extraordinary poetry. Other ryhming efforts are typically awkward and unnatural. Luke's introduction is also highly illuminating -- scholarly, but accessible. If you want to get as close to the original as is possible in English, read this version.

This is a fantastic collection of stories that have been a part of the Russian culture for centuries. Anyone growing up in Russia has heard these stories, and now so can you! Kids will appreciate the characters and adventures. Parents will appreciate the values and lessons. Everyone will appreciate the timeless tales of fantasy, magic, and talking animals.

This is a fine introduction to popular Russian fairy tales, including the story of the little snow girl (a childless couple builds a daughter out of snow) and "Frost" (cruel stepmother sends girl out to freeze in the snow, but Frost sees her kindness and spares her-- the nasty stepsisters are not so lucky). The similarity between some of the Russian tales and our own English fairy tales is interesting (why is the stepmother always the evil one?). This introductory collection leaves one wanting to learn more Russian tales.

From the Introductory Note by Jacques Delors, former president of the European Commission: "Dusan Sidjanski's particularly opportune analysis in the framework of European federalism casts a clear light on one of the deepest and most permanent mainsprings of European action.

However, if this analysis is not a unique source of my reflection, it is certainly quite clear that it is one of the most illuminating and enriching analysis for the future of Europe which will doubtless be both difficult and exciting.

I wish English-speaking readers of this new edition the pleasure of discovering the major work in European integration".

From the Foreword by Harold K. Jacobson, Professor of International Relations, University of Michigan: "The Federal Future of Europe is a marvellous addition to the English literature on the European Union.

Curiously, given the United States own proud history of federalism, Americans have particularly ignored the federalist position. The English version of The Federal Future of Europe fills a major gap in the literature. It will stand with Haas-s and Moravcsik's works as a seminal statement about Europe.

The Federal Future of Europe was written with insight, knowledge, and passion. Readers will be informed and moved. I strongly commend it to everyone interested in Europe and to those more broadly interested in contemporary international affairs".

This major study of the development of the European project, informed by a thorough knowledge of the Community and Union over the years and by deep understanding of the relevant literatures in political science and political economy is important for all who study the European Union or work with it as officials and business people.

Statement by Ernst B. Haas, Robson Research Professor Emeritus of Government, University of California, Berkeley Dusan Sidjanski's The Federal Future of Europe is remarkable for two reasons. It offers a comprehensive but eminently readable summary and analysis of the institutions of the European Union and of its main policies. This is no mean feat, considering the complexity and sweep of both. But in addition, the discussion is placed in the context of an unwavering commitment to federalism and to a federal future for Europe. Even if we do not agree with the desirability or certainty of that outcome, it is vital that this vision remain on everyone's agenda along with other possible

options, and that it be intelligently defended. Sidjanski succeeds brilliantly in so doing.

Dusan Sidjanski is founder and Professor Emeritus of the Department of Political Science, University of Geneva and Professor emeritus, European Institute. He has authored numerous publications, most recently, The ECE in the Age of Change (United Nations Economic Commission for Europe, United Nations), 1999.

Professor Sidjanski's main publications include: Fédéralisme amphictyonique,

Lausanne, 1956; Dimensions européennes de la science politique, Paris, 1963; L'Europe des affaires (with Jean Meynaud), Paris 1967; "Pressure Groups and the European Economic Community", (C. Cosgrove and K. J. Twitchett, Ed), The New International Actors, New York and London, 1970; Les groupes de pressions dans la Communauté européenne, (J. Meynaud), Brussels, 1971; "The Left, the Right, the Establishment and the Swiss Electorate" with R. Inglehart, Party Identification and Beyond, (I. Budge, et al., ed.), London, 1976; The Role of executive heads in regional economic integration, with H. K. Jacobson, Geneva, 1978; De la démocratie européenne, Paris, 1979; "Regional Patterns of Economic Cooperation", with H. Jacobson, Comparative Regional Systems, (W. J. Feld & G. Boyd, ed.), New York, 1980; The Emerging International Economic Order, H.K. Jacobson & D. Sidjanski, ed., London & Beverly Hills, 1982; L'Europe du Sud dans la Communauté européenne, (with U.

Ayberk et al.), Paris, 1990; Union ou désunion de l'Europe?, Geneva, 1991 and The ECE in the Age of Change, United Nations Economic Commission for Europe, United Nations, New York and Geneva, 1998.

The Federal Future of Europe describes the formation of the European Community and also its turning to a Union, particularly thoroughly. Professor Sidjanski convinces the reader that federalism is a solution to help lower nationalism in Europe.

I advise this book to all who are involved in the European Union and/or have developped an interest towards it as analysis of the European Community and the European Union. The book is illuminating and helpful for both students in science politics and for those working towards an improved Europe.

Byock has done it again! This is "a must" for any person who has any kind of interest in the sagas of Iceland, in Vikings, or in medieval Europe. Highly informative, yet a pleasure to read! Bravo!

If I ever teach Beowulf again, I would assign large portions of this wonderful book. Feuds from the past were were still alive in Beowulf's lifetime and they lead to several deaths. Byock's Feud in the Icelandic Saga connects the social and narrative worlds of the saga, and many of his insights apply to related works like Beowulf.

Figured in Marble provides a rare opportunity for readers interested in English art to get a detailed insight into the history of sculptural aesthetics. While painting tends to dominate most histories of English art, Malcolm Baker draws on his intimate knowledge of the Victoria & Albert Museum's formidable sculpture collection, to produce a collection of essays that combine the detailed analysis of specific works with a broader analysis of how sculpture has become assimilated into art history.

The book begins in the early eighteenth century, with a minute dissection of the notebooks and 'Lives' by Vertue, Walpole and Cunningham. Baker manages to unlock a surprising wealth of information from these difficult, often opaque texts, by looking for new ways of approaching, reading and understanding their cryptic use of language. This sets the tone of the book, and in the following chapters, Baker continues to glean information from the most unexpected sources. Always approaching his subjects obliquely, the book brings to light aspects of sculpture that often remain unseen, unnoticed, and unexamined.

The first half of the book explores interconnections between sculpture and the luxury trades, the classifying of genres, and the public and private expectations of commissioned subjects, by looking at the conditions under which sculpture was designed and made. The second half links the development of the sculpture gallery with the emergence of aesthetic theory and the growing interest in the effect of the display and 'staging' of sculpture. The final chapter arrives at a very recent event: the controversial, drawn-out, and extraordinarily public affair of 'saving' Canova's Three Graces for the nation. Baker raises pertinent issues about the making, viewing and assimilation of sculpture into the public arena.

Although clearly addressing a specialist subject, the book is much more than a historical study of eighteenth century sculpture. Weaving together close readings of contemporary texts and modern interpretations of individual artists and studio-practice, the author compels his readers to question their preconceptions about sculpture. In Baker's own words, what he does in this book is 'to relate a narrative about changing notions of history and changing ways of perceiving and understanding objects'. Always moving between specific cases and their broader relevance, Baker embraces issues of continuing importance to the understanding of sculpture. Using the historical context as a framework for his arguments, the author questions the development of modern attitudes and ideas.

In a sense, the book could be described as an analysis of the evolution of histories of sculpture. It reveals as much about the eighteenth century as it does about our modern understandings, and (mis-)conceptions, of sculpture. This is an important contribution to the study of sculpture, and is essential reading for anyone with a serious interest in sculptural aesthetics.

Collections seeking in-depth studies of 18th century art in general and British sculpture in particular will find Figured In Marble a specific but well focussed guide which blends the study of English sculpture with the broader topic of art history. Sculptures from the Victoria and Albert Museum and Getty Museum as well as those from private holdings liberally illustrate this case study of categories and genres of sculpture.

I'm not a collector of Russian/Soviet film posters, so all the liner notes could be complete bullocks, but the book is brilliantly large and appears to really want to give the straight story (for instance it gives the title that the artists gave the posters not the movie title associated w/ it). I've only seen a few of the movies it covers so I bought it solely for the art. If you're a fan of the clean Bauhaus style this book is for you.

Susan Pack's overview of the Russian avant-garde film poster, is a visual delight, and a welcome addition to the library of anyone interested in graphic design. This book is a handsome collection of pre-Communist posters from such notable graphic artists as the Stenberg brothers, and Alexander Rodchenko, as well as many other lesser known, yet talented artisans. Anyone familiar with Russian graphics of this period are in for a treat, and those seeing them for the first time will soon become addicted to their graphic impact, and innovative type treatments. A friend I've shown it to has warned me to keep an eye on it, lest it mysteriously disappear!

The book is written to address audiences in English, German, and French.

I read this to my son's 2nd grade class (7-8 year olds) and they really enjoyed it. They loved looking at the pictures to see giants & "regular-size" folk together. And they laughed aloud as Fin & Oonagh tricked the bad giant Cucullin (and at my Irish accent)!

Tomie Depaolo is one of our families favorite authors and illustrators. He brings alive the rich diversity of every culture he writes about. He has brought history and culture to this generation growing up, like no one else can. I am so glad he shares his gifts with our children! This book is a good example of bringing folk tales alive through story books.

What a great book!Retold Irish Folklore accompanied by beautiful illustrations.Small glossary to help with the pronunciation of some Gaelic names.The story kept my 4 1/2 yr.old's attention (re-read many times), and made me laugh out loud. We loved it! My favorite line..."Finn overcame with wit and wisdom that which might never have been done by force." Words we should all live by!

Robert Byrd has completely captured the original folklore in this beautifully spun tale! This is such an excellent book to help teach your children at a young age some of the wonderful stories found in Irish Folk Lore! I absolutely love it and so does my 4 1/2 year old son!!!