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I have only read the second part. Ottos description and interpretation of the myths surrounding Dionysus is poetic and, and at times borders on the sublime. His impact is emotional as well as intellectual, and I came away feeling that I knew the God of whom he writes. This must say something for both the passion of the author for his subject and the skill and sympathy of the translator.
The book is well (exhaustively ?) documented. Only one thing was irksome. Reference is constantly made to words from the original Greek using greek characters with no transposition into english characters (for a non-classically trained person such as myself). While the commentary surrounding these texts usually explains their meaning and impact, I have had to learn the Greek alphabet and buy a classical greek dictionary (Langenscheidt) to verify and fully understand the commentary. Even so, the book is otherwise beautifully accessible for a lay person such as myself.
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Palmer dives into the "revolutions" in the "sister republics" of Switzerland, Holland, Italy, Poland, Great Britian, and the United States. In Europe the Revolution collapsed the old order tearing down feudalism. Guilds, corporations, taxes, tithes, tariffs, and aristocracy were swept away. He also relates how the Revolution changed European society forever. His chapter on the US was very interesting. He shows how the "democrats" like Jefferson, Madison, and other republicans were avid supporters of the Revolution believing that republicanism everywhere depended on it's sucess. Overall an excellent study.
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A fine early section explores how the music that we call the blues was seeded in N. America by African music. That chapter is a mini-history lesson in itself; Palmer shows how the music of slaves from W. Africa was viewed as subversive and dangerous by whites in the new land.
The remainder of the book is chock full of portraits of the heroes of early blues in the Mississippi Delta, from Charley Patton to Son House to Robert Johnson to Little Walter to Muddy Waters and beyond. Palmer shows how these men developed a music that grew directly out of the soil of the Delta, making do with the instruments they had and often living itinerant lives, moving from tiny town to tiny town to play dances and juke joints to keep the music alive.
The book also describes the historic migration of African-Americans from the Deep South to the industrial cities of the North, most importantly, of course, Chicago, where the musicians transformed the blues again, creating the electrified sounds that exerted such a powerful influence on white rock musicians from London to Liverpool to La Jolla, California.
Palmer has given us a great work with "Deep Blues," one that should be read by students of music and social history alike. It deserves a prominent place on the bookshelf of any serious lover of music.
In this eponymous documentary, Palmer assumes the role of the proverbial veteran "tour guide," casually offering us expert commentary, laced with entertaining anecdotes and served up with dry Southern wit. While we do hear and see a great deal of Palmer, the film never loses its main focus-- the blues and the musicians who keep this important element of American musical heritage alive and kicking. Each of the featured artists performs one or two songs in their entirety-- in sharp contrast to so many other music documentaries, which par down their musical selections to excerpted sound bites to make room for talk, talk and more talk.
Here we find everything from down-home guitars and mouth harps being played on farm house porches to full bands--influnced by the modern Chicago-style, yet still distinctly "Pure Delta"--playing in dark, smoke-filled juke joints. True to the blues tradition, the music is hot and sweaty. You can't watch this film and sit still--you gotta shake something. Highlights: cane fife player Napoleon Strickland (you can hear more of this wonderful pre-blues tradition on TRAVELING THROUGH THE JUNGLE: NEGRO FIFE AND DRUM MUSIC FROM THE DEEP SOUTH, an album on the TESTAMENT label, and several ARHOOLIE compilations); the totally stylin' Jessie Mae Hemphill (granddaughter of Blind Sid Hemphill, the pre-blues style fiddler/quills [panpipes] player documented in the Lomax field recordings); harp player Bud Spires telling a folktale about the devil, accompanied by Jack Owen's soulful guitar picking in the cranky, individualistic Bentonia style, popularized by the early bluesman, Skip James; and Lonnie Pitchford's intense singing as he accompanies himself on the diddley bow (a raised metal string nailed to the side of a house, which you pluck with a plectrum and note with a slide).
Traditional old blues haunts such as Memphis, Clarksdale and Greenville are visited, and fine artists relatively unknown at the time were recorded such as Big Jack Johnson, Booba Barnes and Lonnie Pitchford. Delta old timers Jack Owens, Bud Spires and Booker T. Laury also turn in fine, spirited performances. But for me the highlight is the attention given over to the more obscure "hill country" blues of north missisipi, featuring Jessie Mae Hemphill, R. L. Burnside and the late great Junior Kimbrough and his original juke joint in Holly Springs. Here the music extends from country blues to "drum and fife", a hypnotic musical form that predates blues all the way back to the revolutionary war, but which now faces extinction since the passing of Othar Turner (not featured here, but a close friend of Hemphill). The bonus items are very welcome, especially the extra performances by honkytonk genius Booker T. to the drunk audience comprised of Stuart and Palmer, and Lonnie Pitchford's demonstration of the diddly bow. Also included are extra audio tracks that were originally only available on the soundtrack album (now deleted).
This film helped to revive not just interest in country and acoustic blues in general, but the careers of all of the artists featured. This film is well shot, sounds great, and shares the passion and emotion of some great bluesmen and women. After this, try the "Feelin' Good" CD by Jessie Mae Hemphill. Not only is that a beautiful album, but Jessie's an invalid now who desperately needs the cash!
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From this starting point, you can delve back into the influences that brought this group to power and forward to the Napoleonic period.
The Reign of Terror is, of course, a fascinating period of history that usually gets short shrift in high school or college classes. One hears of guillotines and revolutionaries run wild, killing each other for not being radical enough. This book fleshes out the story and dispels some myths about it.
Robespierre was a member of the Committee on Public Safety, a legislative committee that was part of the National Assembly, France's short-lived revolutionary parliament set up in the 1790s. The Committee consisted of twelve people, hence the title of the book: "The Twelve Who Ruled."
Palmer describes how the Committee functions and gives a very plausible explanation for the reasons behind Robespierre's and his fellow committee members' actions. Given the nature of the period, it is no surprise that the book is not boring. But Palmer did not sacrifice academic rigor for readability.
I recommend this book for anyone interested in history or political science.
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The guillotine is the great symbol of the French Revolution. But how did it start? That is the question this book sets out to answer.
It would appear that the French aristocracy and the King himself bear most of the responsibility. This book is a fast and enjoyable read. You'll end up wiser than you ever expected.
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You will notice the increased use of SI units. Section 1, of thirty Handbook sections, "Conversion Factors and Mathematical Symbols", provides a rescue line for those of us much more accustomed to U.S., British, and older Metric units and who are not fully conversant with S.I. units. The first one-third of the Handbook lays the theoretical groundwork for a fuller understanding of its final two-thirds.
Section 2 provides physical properties data, including tables of constants for properties' correlations covering wide temperature ranges. Methods for the prediction and correlation of physical properties are explained. Section 3 summarizes mathematics through differential equations and statistics. Sections 4 through 7 may be considered short texts on "Thermodynamics", "Heat and Mass Transfer", "Fluid and Particle Dynamics", and "Reaction Kinetics".
In its eighty-four double column text pages, Section 8 covers the "Fundamentals of Process Dynamics and Control". It includes model predictive control, process optimization, unit operations control, process measurements, and concludes with controllers, final control elements, and regulators. Section 9, "Process Economics", takes the reader through calculations involved in investment and profitability decisions, cost control, and cost estimation. Starting with Section 10, "Transport and Storage of Fluids", and for most of the following twenty sections, the chemical engineering unit operations, details of more specialized theories and operating practices, calculation methods, interface studies between chemical engineering and other disciplines (i.e., Biochemical Engineering and Waste Management), and data specific to the topic being presented are given.
As previously stated, these latter sections, about two-thirds of the book, build upon an understanding of the fundamentals presented earlier. For example, Section 10; Section 11, "Heat Transfer Equipment"; Section 12, "Psychrometry, Evaporative Cooling, and Solids Drying"; Section 13, "Distillation"; Section 14, "Gas Absorption"; Section 15, "Liquid-Liquid Extraction"; Section 16, "Adsorption and Ion Exchange"; Section 17, "Gas-Solid Operations and Equipment"; and Section 18, "Liquid-Solid Operations and Equipment"; build on an understanding of Section 4, "Thermodynamics", Section 5, "Heat and Mass Transfer", and Section 6 "Fluid and Particle Dynamics". However, the book sections are all prepared to be rather self-sufficient so that readers without the earlier fundamental background can still gather useful working information.
The final twelve sections complete the review of unit operations and add important interdisciplinary studies. The sections are: "Solid-Solid Operations and Equipment"; "Size Reduction and Size Enlargement"; "Handling of Bulk Solids and Packaging of Solids and Liquids"; "Alternative Separation Processes"; "Chemical Reactors" (building on Section 7 "Reaction Kinetics"); "Biochemical Engineering"; "Waste Management"; "Process Safety"; "Energy resources, Conversion, and Utilization"; "Materials of Construction"; "Process Machinery Drives"; and "Analysis of Plant Performance";
Actually, a reasonable understanding of the contents of Perry's, including how to find and use the voluminous data, is equivalent to the text-based learning at the completion of a Master's degree in chemical engineering.
Otto holds that "The true visage of every true god is the visage of a world." In the second part he sets about discovering the form or visage of Dionysus. This he brilliantly lays out in chapters dealing with every aspect of the god. Chapters include: The Vine, The Somber Madness, Dionysus and the Element of Moisture, Dionysus and the Women, and Dionysus and Apollo. I will not attempt to recount his conclusions. Get the book and read them in Otto's lapidary language. Don't be put off from reading this book if you don't know Greek. While there are a fair number of untransliterated words, you can understand the meaning of the sentences from the context. However, be aware that this is not "lite" reading but a serious study that requires and will repay thought. The book itself is a handsome, sturdy paperback with glued signatures.