european

very intersting book about Roman army, good text and interesting as well realistic painting of Mcbride.. worth to own.

This litle book provides exceptional artistic skill in the depiction of Roman uniforms during the Empire period as well as the inclusion in realistic settings during the reigns of well known Emperors. Each page has an associated historical sketch of the events shown in the picture opposite. Absolutely beautifully presented, and provides not just visual enjoyment but useful hints for modellers and military enthusiasts. A must for my own bookshelf.

...in terms of unpredictability, uniqueness,
confessional-poetic-mystic-debauchery and
edge-thriving elan
(some call it true amour)--
Bataille's work here as in
La Somme atheologique trilogy
(GUILTY, ON NIETZSCHE, INNER EXPERIENCE)
takes la frigging Cake!

the last coolest Frenchman, 'e wuz!

Note from personal experience (the only way to comment): Passing through the seemingly simple sexual plays of The Father, The Son or Daughter, and The Stark Flesh, one may finally attain a sense of lost freedom in a short excursion into self-conscious poetry forced back on itself. However, dropping the issue and/or the book leaves one caught in the cliche of feeling that one understands. This may require a Quixotic reenactment in order to survive this forgetting --- necessarily not only in the world of one's imagination. This transcendence is then achieved again by that fold and feedback of sacrificing to oneself all that one holds dearly and holy --- reason, despair, and perhaps folly. Only in this way can a true confrontation be finally and for the first time attempted and accomplished.

I was surpised to learn new information that Manet made still lifes with the same-like object used in Chardin's paintings. They were arranged differently or presented in a different manner. There is infomation you cannot obtain when visiting exhibits or museums. It is hard to put the book down once you start reading. This is the first still life book on impressionism I have ever seen. And, it gives more information on still life in general. I am a professional artist and have felt still lives were boring and couldn't really get into them. Because this book excited me to look at still lives and do them, it deserves and 5-star rating.

Impressionist Still Life showcases more than 80 masterworks of still-life painting by seventeen Impressionists working in the latter half of the nineteenth-century. The featured artists include Cezanne, van Gogh, Monet, Cassatt, Degas, Manet, Renoir, Pissarro, Caillbotte, and Gauguin. Impressionist Still Life is the companion book to a traveling exhibition currently touring the United States beginning with The Philips Collection, Washington, DC (September 22, 2001 - January 13, 2002) and then traveling to The Museum of Fine Arts, Boston (February 17 to June 9, 2002). A strongly recommended addition to academic, personal, and community library artbook collections, the superbly reproduced paintings comprising Impressionist Still Life are enhanced with informative essays by noted art scholars Eliza Rathbone (Phillips Collection); George Shackelford (Museum of Fine Arts, Boston); Jeannene M. Pryblyski (independent art historian and critics based in San Francisco); John McCoubrey (University of Pennsylvania); and Richard Shiff (University of Texas, Austin).

Interesting to read a first hand account of what the war was like for the average German citizen.

I have read a fair amount on Germany in WWII, and I can, with pleasure, reccommend this book to you. It gives many views of life during that period and gives a quality, overall view of German during that time period. The writing is interesting and well put together. I am personally glad to have the opportunity to have read this book.

Proffeser Mohamed has enriched all my students with his fabulous book and has helped my pupils in college acheive better understanding in the world of languistics.

Th Book is indded a TREASURE ! a MUST FOR EVERY lANGUISTIC PROOFESER LIKE ME!

DO read this book, and buy copies for gifts! The beauty of Vermeer's paintings as reproduced and explored here can cause a heartquake. This book is ALL beauty: light and shadow, personalities revealed, meditation illuminated.

Will you find 'your' favorite painting, or discover a new one? "In Quiet Light" draws the reader into a communion of like minds similar to that experienced in Quaker meeting. The author, Marilyn Chandler McEntyre, imagines lives lonelier than mine has been; yet there is suggested serenity and self-control, with a hint of subterfuge, in the women described by paints and words.

If I could share a book with a dozen friends, "In Quiet Light" would be my choice this year.

This coupling of poetry with painting is as natural as putting words to music. The inner light of the subjects' humanity becomes as palpable as the soft light that fills Vermeer's paintings. Wonderful!

as i first opened the book and read the basis of where the data was aquired i was awestruck and knew that i was not only going to read this book but live it through the eyes of my parents and of their parents before them . you cannot help but feel the agony as diego recalls the events that he has witnessed throughout his life both those of curiousity for these strange men and the terror the and destruction they leave in their wake . but human beings from all races have in them an indomitable will to survive , and in this book you will witness that and say a prayer to whatever power you happen to believe in . Thank GOD .

Barreiro has done the History lover a favor by making this work possible for those of us who would like to look at the past in a more realistic sense. Of course, traditional History is important, but consider the untold stories that would be missed, like the Indian Chronicles, if all we concentrated on were eurocentric views of a non-euro world. Diego, a character as much modern as historical, finds himself caught between two worlds, the one of his Taino heritage, and the one of the new European world that came with Columbus. What is rather interesting about this book comes from the personalization of the disease, the evil, the corruptness, and the filth that came with civilization, referring to Europe's conquest of the "uncivilized" world. In our modern age, we may look at the past in a nostalgic yearning, but perhaps we should look back farther, as Diego said of his people, where the attitude of humanity was to see the seeds in rotten fruit, not just rotten fruit, or a view more nature oriented than gold oriented, or in our day and age, stocks and bonds oriented. In the Indian Chronicles, we see man's last effort, or one of them, at resistence towards mass assimilation and dehumanation through the eyes of Indian guerillas fighting a lost cause against the growing number of Castillas or incoming Spaniards, different kinds of animals, the type that would have slaves carry back-breaking quanitities of water to a sugar cane field and ignore the irrigation ditches that the natives, "uncivilized" natives, had built long ago, beating the slave for collapsing, while the answer is at his feet. Good book, good read, one of the best quite possibly.

Unlike the formidable "How to Kill a Dragon" by Calvert Watkins, which has stuff a total layman can understand, this book is pretty impenetrable (as the other reviewer noted). Not only are the linguistic references very difficult to follow, the author's train of thought is also on a very-high level. ("As we have already seen with regard to the dative in Tokkarian-V," would be a pastiche.)

This is not meant to criticize the book, or say that it is bad. I just want to point out that there are just possibly 100 people on the globe who could read this book. :-)

This is no more a book for the casual reader than is Newton's _Principia_; but, like the _Principia_, it leaves its subject transformed forever. Greenberg argues that the Indo-European language family should be seen as part of a superfamily that also includes the Uralic, Altaic, Yukaghir, Gilyak, and Chukotian families; Korean, Japanese, and Ainu (seen as distantly related members of a single family); and the Eskimo-Aleut languages, another family. Plus Etruscan. This volume concentrates on "grammar"--mostly pronouns, suffixes and prefixes with grammatical functions, and other formatives; a second volume on vocabulary is planned.

Greenberg's methodology, focusing on the assessment of degrees of probable relationship rather than the quasi-mathematical demonstration of relationship via laws of sound change, is controversial. Yet he makes a strong case supporting the claim that the patterns he demonstrates are stronger than any of their individual data points. Even a small subset of the evidence he presents (for example, the material on first- and second-person pronouns and verb endings) is hard to account for except by genetic relationship of the languages involved.

A virtue of the book is the testability of the relationships he alleges: it opens the way for further study which can strengthen or weaken his case.

It is hard to imagine that a common ancestor for Finnish, Sanskrit, Japanese, and the Eskimo languages--and most of the languages in between--could be more recent than the last ice age. I find it wonderful that elements of English that we use every day, in almost every sentence--the "m" of "am" and "me," the "g" of "ego" (buried just under the surface of "I"), the "th" of "the" (transformed from an earlier "t"), and the"sc" of "crescent" and "fluorescent"--could be shared across the whole northern cap of the planet, passed down to us from linguistic ancestors who witnessed perhaps ten thousand years of history.

Perhaps the most provocative element of the title is the word "closest." Greenberg argues here for only one linguistic superfamily, equal in status to a number of others--one galaxy, as it were, in the starry heavens. What, then, is the closest other galaxy to ours? The American Indian languages, from Canada to Patagonia.

A magnificent collection of plays by Cocteau, this set includes Orpheus, Oedipus Rex, and a preposterous execution of Knights Of The Round Table. Most outstanding is the surreal Eiffel Tower, in which inanimate objects possess mortal properties, and subsequently performing a play within a play. More comprehensive than what he put to film, nevertheless Cocteau writes in a minimalist mark that makes this book a fast yet enjoyable read. Also check out the novels Les Enfant Terrible and Opium.

you know.. like whateve

I beleve that this translation captures phrases in a poetic diction, that at moments is deeply felt. I admit the voice is very tough, and feels very cold. But this is a really good effect. Since we are gliding in a diction that is Triple Rythme, the voice is very tough and lean. This version alongside Robert Pinsky's Translation, are in my opinion two Wonderful Poems in english. I like Palma's, in that it has so many noble phrases that capture nuances of sharpness and vividness. Some times the phrases are even absoultely touching.
The Inferno is my favorite part of the comedy, it's the only part that has repeated interest. I think purgatorio, is fine to read for the first time, but overall, too much of the 2nd canticle is filled with iron to chew on. Their is some gold to taste, but not nearly enough to keep your interest on repeated hearings. Too Much of the 3rd canticle is just so flimsy and loose, it's very solemn, dry and is itching for action. The only Dante that in my opinion is of true worth is, INFERNO. AND Overall, I still ENJOY Pinsky's verse translation more. The wording he uses is softer, more smoother in the line. Palma's work is still though, a true poem in english. I love it. I beleve that it will take a long time before this translation reaches the public. Since that Michael Palma is a poet who is not as nearly known as Robert Pinsky, nor does he have a distinguished title as maybe Robert Hollander. I would not recomend that you by any other translation than Robert Pinsky's " The Inferno of Dante" or Micheal Palma's new verse translation of "INFERNO". aS MENTioned earlier these our the Pinnacles, because No1, they are poetic, which is refreshing if you've read the boring compacted "Hollander's", or the boring sholastic blank verse of "Mandelbaum". The other translations which are good but not wonderful, like pinsky or palma, would be the Noble blank verse done by Mark Musa, his is very very fine, and has a balance of intelligence coupled with some elegant poetry. Elio Zappula, has done also a blank verse or Iambic Pentameter rendering of the Inferno, and his has a very interesting diction, that once again has a good balance of poetry in it.

Having explored many translations of Dante's Inferno, I found Palma's translation a revelation. I have read those by Mandelbaum, Sinclair, Singleton, Sayers, Anderson, Ciardi, Pinsky, Zapulla and Musa. Although all of them have things in their favor, none of these versions captured me the way that Palma's has. His ability to incorporate Dante's 'terza rima' (triple rhyme scheme - aba bcb cdc, etc.) into his faithful translation, along with a natural, unforced American English syntax, seems to capture some of what Dante might have had in mind. As a reader I was swept along by the language, from tercet to tercet, the rhyme scheme and poetic language providing a powerful driving force that connected the verses within each canto. The Publisher's Weekly review of the hardbound edition took Palma to task for "some puzzling, clunky passages." Well, yes, but the powerful momentum and overall readability provided by the terza rima more than compensates for the occasional "poetic" word order demanded by the rhymes - Palma's introductory essay accurately points out that Dante's Italian has plenty of its own puzzling, clunky passages. I have appreciated Allen Mandelbaum's scholarly blank verse translation for providing an accurate and poetic sense of Dante's meaning - I still use it when I wish to check the appropriateness of a particular translation - but reading it always felt like work. In another recent translation, Pinsky incorporated consonant-driven rhymes (a la Yeats) to simulate terza rima, and though his translation is elegant, it didn't grab me as did Palma's. (And, I admit to being vaguely, and perhaps unreasonably, disturbed by Pinsky's compression of Dantean tercets into smaller numbers of lines.) In comparison, once I started Palma's translation, I couldn't stop reading. Having finished the first reading, I read it again. And then again. This has never happened to me before. It still is on my bedside table, and I dip into it often. It is a joy to read aloud. I appreciate the facing Italian text - it is enjoyable to sound out the Italian for comparison with the English, even if one doesn't read Italian. I'd love to see Palma do the rest of the Divine Comedy - this translation deserves wide respect and readership.