27 Mart 2016 Pazar

> Download Motivation and Explanation: An Essay on Freud's Philosophy of Science (Psychological Issues), by Nigel MacKay

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  • Sales Rank: #5966631 in Books
  • Brand: Brand: Intl Universities Pr Inc
  • Published on: 1989-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 6.50" w x 1.25" l,
  • Binding: Hardcover
  • 254 pages
Features
  • Used Book in Good Condition

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26 Mart 2016 Cumartesi

! Free PDF What's Queer about Europe?: Productive Encounters and Re-enchanting ParadigmsFrom Fordham University Press

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What's Queer about Europe? examines how queer theory helps us initiate disorienting conjunctions and counterintuitive encounters for imagining historical and contemporary Europe. This book queers Europe and Europeanizes queer, forcing a reconsideration of both. Its contributors study Europe relationally, asking not so much what Europe is but what we do when we attempt to define it.

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  • Sales Rank: #6648996 in Books
  • Published on: 2014-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.20" h x .90" w x 9.00" l, 1.00 pounds
  • Binding: Hardcover
  • 240 pages

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25 Mart 2016 Cuma

# Ebook You Can Paint Oils: A Step-by-Step Guide for Absolute Beginners, by Linda Birch

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You Can Paint Oils: A Step-by-Step Guide for Absolute Beginners, by Linda Birch

The only guide to oil painting that a novice will ever need! In this exciting series of Absolute Beginner painting guides written by professional artist/teachers, You Can Paint Oils is packed with simple, step-by-step exercises and easy-to-understand techniques that will give even the most hesitant beginner the confidence to pick up a brush and get started. First, readers will learn basic oil techniques, including how to mix colors. Then, over 100 color illustrations show them how to draw each separate component of a picture and paint simple still life subjects such as fruit, vegetables, and flowers, as well as landscapes, skies, and trees. Finally, aspiring artists will see how to combine all these elements to create a complete oil painting of which they can be proud.

  • Sales Rank: #2010863 in Books
  • Brand: Brand: Watson-Guptill
  • Published on: 2002-03-01
  • Released on: 2002-03-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .35" h x 7.46" w x 9.67" l,
  • Binding: Paperback
  • 96 pages
Features
  • Used Book in Good Condition

From Library Journal
Watson-Guptill continues to dominate the art instruction field with quality, reasonably priced books. This new series for "absolute beginners" is imported from the United Kingdom and translates just fine. Without condescending to the reader, each volume covers the basic problems of painting that are often omitted from other beginner books. Birch, who writes regularly for magazines and has illustrated over 150 children's books, progresses from chapters like "Basic Materials," "Making Marks," and "Starting with Color" through exercises painting fruit, flowers, buildings, figures, and more. Simmonds, another prolific British artist, follows the same format for her book on sketching and is equally bright and colorful in her approach. Each title is an inexpensive jumping-off point for beginners, from young adults to retirees. For more advanced artists, consider Sterling 's "Step-by-Step Art School" series; in another unintimidating, inexpensive series, Patricia Seligman's new Step-by-Step Art School: Oils goes far deeper into the myriad types of equipment and techniques.
Copyright 2002 Reed Business Information, Inc.

About the Author
Linda Birch writes regularly for Leisure Painter magazine in the UK and is the author of How to Draw and Paint Animals. She has been a teacher of painting and illustrating for 30 years and has illustrated over 150 children's books. She lives in London, England.

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2 of 2 people found the following review helpful.
Excellent for beginners
By Phillip Smith
I have only recently started painting, and I found Linda Birch’s book in the library. I decided to buy it, and am pleased that I did so. I like it very much. I was impressed by its format and simplicity, its being small and non-intimidating. This is a how-to book, and easy to follow, lacking ponderous explanations of issues not immediately associated with the oil painting process. I’m taking it section by section, and I advise that one go over it a second or third time for a reasonable exposure to the subjects that we budding artists face. I plan to take my own advice. I also alternate with acrylics, and bought Melanie Cambridge’s book in the series, the format being much the same. I’m working alternately through both books. These book are well worth it: get them.

2 of 2 people found the following review helpful.
Still Trying to Paint Oils
By Estee Sherman
I have been trying to paint good pictures with oil paints for many, many years. I came across this book in the library. It was so simple and to the point for starting out on the subjects I wanted to paint. I would recommend this to any beginner or even someone who has been trying to paint oils for sometime. I was happy to have found the book on Amazon.com.

0 of 0 people found the following review helpful.
Daler-Rowney Aliz. Crimson
By Randall Thomasson
A good amount of paint for the price. :^)

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20 Mart 2016 Pazar

# PDF Download Practicing the City: Early Modern London on Stage, by Nina Levine

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Practicing the City: Early Modern London on Stage, by Nina Levine

In late-sixteenth-century London, the commercial theaters undertook a novel experiment, fueling a fashion for plays that trafficked in the contemporary urban scene. But beyond the stage's representing the everyday activities of the expanding metropolis, its unprecedented urban turn introduced a new dimension into theatrical experience, opening up a reflexive space within which an increasingly diverse population might begin to "practice" the city. In this, the London stage began to operate as a medium as well as a model for urban understanding. Practicing the City traces a range of local engagements, onstage and off, in which the city's population came to practice new forms of urban sociability and belonging. With this practice, Levine suggests, city residents became more self-conscious about their place within the expanding metropolis and, in the process, began to experiment in new forms of collective association. Reading an array of materials, from Shakespeare and Middleton to plague bills and French-language manuals, Levine explores urban practices that push against the exclusions of civic tradition and look instead to the more fluid relations playing out in the disruptive encounters of urban plurality.

  • Sales Rank: #1326521 in Books
  • Published on: 2016-01-04
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.00" h x .80" w x 8.90" l, .0 pounds
  • Binding: Paperback
  • 208 pages

Review

"Practicing the City makes a substantial, original contribution to the expansion of our understanding of the interrelation of London and early modern drama in the light of the unprecedented urbanization that occurred in the late sixteenth and early seventeenth centuries." -- James R. Siemon, Boston University


"Instead of choosing a single, limiting dominant metaphor or thematic element to organize the book, Nina Levine manages the difficult task of weaving together a range of organizing principles across the chapters. That diversity of topics creates a multifaceted argument that matches early modern London, its politics, its culture, and its plays in breadth and complexity."-Adam Zucker, University of Massachusetts, Amherst


About the Author

Nina Levine is Associate Professor of English at the University of South Carolina.

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19 Mart 2016 Cumartesi

> Free Ebook Practical Guide to Drawing, by VicenC Ballestar, Jordi Vigue

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Practical Guide to Drawing, by VicenC Ballestar, Jordi Vigue

Now it's easier than ever for the beginning artist to master the art of drawing! Practical Guide to Drawing explains all the theory and techniques for drawing successfully. This comprehensive reference features more than 40 chapters and topics, and covers all the major genres of drawing and painting: from creating urban and rural landscapes and still lifes to drawing nudes and portraits. The 800 spectacular illustrations and dozens of hands-on lessons help aspiring artists learn by doing. First, they'll see how to draw basic geometric forms and gestures, then gradually progress to composition, anatomy, and proportion in the human figure. They'll also find expert guidance and practical approaches for drawing light and shade effects, capturing the nuances of animals and nature, creating caricatures, and reproducing textural effects. What's more, Practical Guide to Drawing explores virtually every drawing media, including soft media such as charcoal, Conté crayon, chalk, and watercolor pencil as well as hard media such as graphite pencil and reed, ballpoint, and fountain pens. Finally, hands-on exercises offer an array of fabulous opportunities for practice and experimentation, helping unleash the creative ingenuity in every artist. For anyone who wants to build their drawing skills, this is the perfect, one-stop guide!

  • Sales Rank: #3067303 in Books
  • Brand: Brand: Watson-Guptill
  • Published on: 2002-07-01
  • Released on: 2002-07-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .63" h x 5.48" w x 9.68" l,
  • Binding: Paperback
  • 320 pages
Features
  • Used Book in Good Condition

About the Author
Vicenç B. Ballestar is a teacher and practicing artist who has written several books on drawing and painting, and the history of art. He lives in Barcelona, Spain. Jordi Vigué has published numerous monographs and magazines on art and has edited a number of encyclopedias. He lives in Barelona, Spain.

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0 of 0 people found the following review helpful.
Well-rounded book
By penguinboy
This compact but lengthy book covers a wide range of techniques, subjects, and mediums for drawing. This is a book suitable for a complete beginner up to an advanced intermediate art student. As a beginner myself, I was glad that things started slow with still-lifes, but not for too long, progressing soon to landscapes, figures and animals. The mediums covered include pencil, charcoal, Conte Crayon, chalk, pastels, felt pens, ballpoint pens, India ink, colored pencils, and maybe some others that I've forgotten. it's easy enough to focus on one or two mediums, though; the lessons apply broadly.
The lessons break things down well, focusing on technique rather than the specific drawing. The author and artist really focus on explaining how to approach a subject, breaking things down into their components. I've found it a valuable resource and my drawing has improved a lot.
Bottom line: if you want to improve your drawing, but have never been sure how, working through this book is an excellent place to start.

0 of 0 people found the following review helpful.
Excellent gift for mature artist.
By Alice Hees
I, Grandma, read this beautiful "How to draw book", and gave it to my 14 year old artist grandson. His parents believed the "how to draw the female body" was too explicit for a 14 year old. They took it, keeping it till he is older.
The rest of the book would have been very appropriate for him. It's an exceptional book.

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17 Mart 2016 Perşembe

* PDF Download The Twenty-Fifth Amendment: Its Complete History and Application, by John D. Feerick

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The Twenty-Fifth Amendment: Its Complete History and Application, by John D. Feerick

This book focuses on the Twenty-Fifth Amendment - its meaning, legislative history, and applications. The Amendment has been criticized for being vague and undemocratic. It has been praised for making possible swift and orderly successions to the presidency and vice presidency upon the occurence of some of the most extraordinary events in American history. Its vice presidential selection feature has been recommended as the best method for selecting all Vice Presidents. The repeal of that feature and the abolition of the vice presidency have also been suggested. Moreover, throughout the Watergate crisis the Amendment was alluded to as affording a means by which a President could transfer Presidential power during an impeachment proceeding, and it was suggested as authorizing a Vice President and Cabinetto suspend, so to speak, a President during the period of impeachment trial before the Senate. Judging by all the attention the Amendment has received and by the number of presidential and vice presidential vacancies and illness which have occurred in our history, one can expect that the Twenty-Fifth Amendment will receive frequent application in the future of our country.

  • Sales Rank: #3612333 in Books
  • Brand: Brand: Fordham University Press
  • Published on: 1992-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.00" h x .90" w x 8.90" l, 1.04 pounds
  • Binding: Paperback
  • 274 pages
Features
  • Used Book in Good Condition

From the Back Cover
In 1973 and 1974 the resignations of the elected Vice President and President of the United States challenged the continuance of democratic government of this country. For the first time the succession mechanisms of the Twenty-Fifth Amendment were employed to select two Vice Presidents, one of whom succeeded to the presidency. The Amendment played a decisive role in assuring continuity of government and restoring the public's confidence in its political system.

About the Author

John D. Feerick is Dean of the School of Law, Fordham University. In 1963 he was a member of the American Bar Association Conference on Presidential Inability and Vice Presidenial Vacancy, the recommendations which resulted in the Twenty-Fifth Amendment to the United States Constitution. John D. Feerick recently (1987-1990) served as Chairman of the New York State Commission on Government Integrity, the collected reports of which were published by Fordham University Press (1991) title Government Ethics Reform in the 1990's.

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~ Free Ebook The Essential Monster Movie Guide: A Century of Creature Features on Film, TV, and Video, by Stephen Graham Jones, Forrest Ackerman, Steph

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The Essential Monster Movie Guide: A Century of Creature Features on Film, TV, and Video, by Stephen Graham Jones, Forrest Ackerman, Steph

More than 3,500 reviews of the best and the worst creature features of all time fill this largest, most comprehensive volume ever published on the subject-a record of dark fantasy on film to thrill horror and science-fiction fans of all ages. Classics range from Frankenstein, Dracula, and Wolfman films of the 1930s and 1940s to later cheesy horror movies exported from Japan, Mexico, and the Philippines, plus selected episodes from Buffy the Vampire Slayer, Star Trek, and The X-Files. Arranged alphabetically for easy reference, each review includes cast and background information and remake and sequel listings. Brief sketches of key actors and directors are liberally sprinkled throughout this look at a century of the world's greatest fiends, demons, and creatures of the night.

  • Sales Rank: #1949381 in Books
  • Published on: 2000-09-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.08" h x 6.97" w x 9.05" l,
  • Binding: Paperback
  • 448 pages

From Booklist
Lists hundreds of "creature features" from film classics such as 1931's Frankenstein and its many spin-offs (Frankenstein General Hospital, Franken stein's Cat, Frankenstein's College Years, etc. ) to The Simpsons Halloween specials. Each entry includes cast and credit information, an evaluative synopsis, remake and sequel listings, and rating of one to five stars. RBB
Copyright © American Library Association. All rights reserved

About the Author
Stephen Jones is one of Britain's most acclaimed anthologists of dark fantasy and horror, and the multi-award-winning author of more than fifty books. He lives in London, England. Forrest J Ackerman is the creator of Famous Monsters of Filmland magazine and is the author of many books and magazines on the subject. He and his collection of 300,000 pieces of monster memorabilia reside in Hollywood, California.

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3 of 3 people found the following review helpful.
Not completely "essential" but worthwhile anyway
By Red Wood
I received this book as a gift, or I definitely would never have purchased it. It is lacking any sense of direction, as other reviews illustrate here, with obvious misses present: "The Birds", "Rosemary's Baby", "The Invisible Man", "The Black Cat"(1934), "Island of Lost Souls", "Jaws", "Curse of the Demon"(aka-Night of the Demon), "The Fearless Vampire Killers...", "Haxan-Witchcraft Through the Ages", "Invasion of the Body Snatchers", "Them!", "The Exorcist"(I'm surprised the horror geeks aren't rattling their cages about this one alone). Maybe "Psycho" wouldn't be found in a 'Monster Movie Guide', but why is "It! The Terror from Beyond Space" present and, yet, not Ridley Scott's "Alien" or its sequels? It is also very difficult to follow, with "Abbott and Costello Meet Frankenstein" under "M" for just "Meet Frankenstein"(perhaps this was an original title or something, but, in all the guides I've ever seen, it's always been under A & C's names), with no explanation here for why Jones uses this title. Although, on the other hand, there are several early silent versions of lots of the classic monsters-as, for example, several "Dr.Jekyll and Mr.Hyde" versions included that predate even John Barrymore's turn as the part in 1920! Also, there are obscure but relatively important TV notations that are, often, well worth the look-as "Nightmare the Birth of Horror"(although the title actually was "Nightmare! The Birth of Victorian Horror"). These are a great find, if one can locate this BBC miniseries on the genesis of the books and characters of the classic gothic monsters-ie. Mary Shelley's "Frankenstein", Bram Stoker's "Dracula". These are a must-see for any true fan. Now, different, and refreshing, are the more subjective descriptions of film titles, with Jones using his own point of view as opposed to the standard run-of-the-mill descriptions. The downside, here, though, is that his "taste" is often lacking. I don't consider myself a fan of any particular date or style from the horror genre, but to critique FW Murnau's silent vampire film, "Nosferatu"-which is brilliant-as "overlong and dull", with a rating of above average(???), and the plodding British Hammer "Dracula(aka-Horror of Dracula)" of 1958 as having an "action-packed script"(I guess I apparently looked away for a moment), adding that it's only "a little slow in places", are simply a couple examples of Jones' consistancy for ludicrous assessments. Buyer beware: do yourself a favor and find this one used-or as cheaply as possible-and get the recent Leonard Maltin Movie Guide(released yearly, the newest has only just been released). This guide will give better direction and explanation, on a much more realistic and objective level, than Jones' book. Even Maltin's guide is not perfect, but the information is deeper(without Jones' obvious mistakes) and the ratings are much more realistic. Basically, just protect yourself from wasting time and money on one of Jones' favorites when it's really a clunker. "Creature Features" looks like a more interesting purchase, but not owning it, I won't judge. Both it and Jones' book offer obscure TV, though, with titles crossing over, like the BBC "Count Dracula" with Louis Jourdan, for example.

3 of 3 people found the following review helpful.
Essential? Hardly. More like "*A* Monster Movie Guide"
By Eric Wheeler
Sure, the book does *try* to be pretty comprehensive. There's lots of obscure stuff here, and the author even includes porno movies if they feature vampires or something. It's even comprehensive enough to cover single monster-themed episodes of TV shows that didn't normally feature such things, like the episode where Gilligan dreams he's a vampire, or when the Gruesomes move next door to the Flintstones.
Actually, it's *too* inclusive at times. Movies are included simply because one or more characters watch clips of *other* movies, suggesting that the author would include 'Malcolm In The Middle' because of that show's opening montage. Likewise included are documentary movies and TV shows that include clips of monster movies - for example, an episode of A&E's `Biography' that's about Boris Karloff. Also, there are entries for movies and TV episodes where a character just dresses up as a monster ('3 Men and a Little Lady' is included because Ted Danson's character dresses up as the vampiric "Count Cholesterol" for a commercial) or where people think that somebody *might* be a monster (like the is-Vincent-Price-a-vampire episode of `F-Troop'). Dubious inclusions like these just make the many omissions that much more unforgivable.
There's an awful lot missing. Probably the most egregious is the almost total lack of Japanese giant monsters - `King Kong vs. Godzilla', `King Kong Escapes', 'Frankenstein Conquers The World', 'War of the Gargantuas' and the documentary 'Godzilla, King of the Monsters' are all that's included - no real Godzilla movies, no Rodan, no Mothra and no Gamera, let alone anything more obscure like Daimajin. Also striking is the absence of 'Alien' or any of its sequels, and the same goes for 'Predator'. Also absent, all of the `Evil Dead' movies and most of the modern Lovecraft adaptations (`Re-Animator' and `Necronomicon' are included, `Bride of Re-Animator', `From Beyond' and the two `Unnamable' moves are not). None of the `Hellraiser' movies are included, either.
Some of the omissions are more noticeable than they'd normally be because of their proximity to similar material that made the cut. For instance, 'C.H.U.D II: Bud The CHUD' is included, the original is not. Likewise, `Gremlins' is not in the book but its sequel is. Neither "Swamp Thing' or its sequel are included, but we have individual write-ups for 3 separate episodes of the 'Swamp Thing' cartoon. There are entries for 2 episodes of the original 'Twilight Zone', and for 4 episodes of the 1980s 'Twilight Zone' series, but there is no entry for 'Twilight Zone: The Movie'.
Also noticeable is the fact that while some TV episodes are included, other episodes of the same show are omitted, despite equal (if not greater) monster content than those episodes that made the cut. For example, there is an entry for *1* episode of the original `The Outer Limits', and only 2 for the 1990s `The Outer Limits' series (the syndicated `Monsters' series from the early 1990s fares a little better, with 10 out of 72 episodes given their own entries). Also, since there were monsters in every single episode, why are there entries for *1* episode of 'The Real Ghostbusters' and only 3 out of 13 episodes of 'The 13 Ghosts of Scooby Doo"? (the other Scooby Doo series are better represented, but are still far from complete) It just begs the question - why bother to list individual episodes if you're not going to bother to do it right?
While it *could* be argued that the author's introduction explains why certain movies are not included (there's has a lone paragraph that could be taken to mean that he's focusing on "classic" monsters), the books actual contents don't bear that out. Nothing is in evidence anywhere to explain why certain things were omitted while other things were not - how can Gorgo be worthy of inclusion if Godzilla is not?

8 of 8 people found the following review helpful.
Monsters mashed, sliced, diced and julienned
By Kevin Cook
Less an "essential" guide than an overly ambitious trifle for browsing through in idle moments, this frustrating book will incense buffs with its blatant omissions of valid monster films in favor of pointless listings for TV shows and even porno flicks with "classic monster" cameos. Misguided and woefully incomplete though it is, the book does contain helpful filmographies of monsterdom's movers and shakers and the photos are topnotch. Its eccentric format will ultimately reward trivia-mongers with enough patience to sift through all the obscurity.
The best thing about the book is Forrest J. Ackerman's sprawling foreword, a `Monster Mosaic' in which the erstwhile editor of Famous Monsters of Filmland magazine recaps his long affinity (nearly 80 years) with monster moviedom. It's classic Ackermonster at his self-satisfied best (worst?), bragging, boasting, dropping famous names and tossing off juvenile puns with glee. Among minor pop culture figures with outsized egos, Ackerman has only one serious rival (Marvel Comics' Stan Lee) for shameless self-promotion. But give Ackerman his due: His gaudily cool magazine was an inspiration to legions of lonely kids (myself among them) who might otherwise have felt ashamed for liking monster flicks.
(Memo from an old monster buff: Two out-of-print books worth searching for are "An Illustrated History of the Horror Film" by Carlos Clarens and "Horror in the Cinema" by Ivan Butler - both scholarly but very entertaining.)

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