This work by Walter Pater, published in 1873, as
a volume of collected (previously published) essays
along with an essay on "Winckelmann", a Preface, and
a Conclusion was [and perhaps still is] an extremely
influential work of aesthetic criticism. The volume
helped shape [influence] the perceptions, the
attitudes, and the approaches of many youthful readers
in the late 1880's and 1890's. It is very interesting
to read, immensely engaging to consider and muse about,
but also offers cautions to the overenthusiastic,
easily influenced [or persuaded] disciple.
This volume consists of an Introduction [by the
editor, Adam Philips], a Preface [by Pater], 9 chapters,
and a Conclusion (in this particular edition
by Oxford Classics there is also a chronology, a
Selective Bibliography, an Appendix titled "Diaphaneite,"
and Explanatory Notes in the back. The chapter titles
(after Pater's Preface) are: Two Early French Stories;
Pico Della Mirandola; Sandro Botticelli; Luca Della
Robbia; The Poetry of Michelangelo; Leonardo da Vinci;
The School of Giorgione, Joachim Du Bellay; Winckelmann;
and Conclusion.
* * * * * * * * * *
What's the problem here? Well, unfortunately, Pater
is not completely reliable as an objective perceiver
or critic. He tends to be a bit eccentric in his
individualistic perceptions and interpretations of
the art works, but he goes ahead and defends this
approach in a very "modern" sounding fashion --
which seems to include a bit of "situational perceptions,"
subjective impressions of perception and response,
and subjective criticism. Which makes for extremely
engaging [sometimes irritating] reading, but leaves
something to be desired as far as objective and
judicious thoughtfulness and truthfulness. Pater
seems to believe that it is acceptable to "bend"
or even create facts to further his own it-pleases-
me-to-think-that-this-is-or-should-be-so desires.
We know that we are on a slippery critical slope
[though it will sound all too familiar to modern
ears and modern apologetics] when the editor Phillips
informs us: "In Pater's first published writing, his
essay on Coleridge of 1866, he had suggested that --
'Modern thought is distinguished from ancient by its
cultivation of the "relative" spirit in place of the
"absolute" ... To the modern spirit nothing is, or
can be rightly known, except relatively and under
conditions." It doesn't take much time to realize
that such a critical position is going to lead to
an end-position of aesthetic, critical, and moral
relativism ("You can't tell me I'm wrong, because
there is no one set way of seeing, analyzing,
believing, or evaluating."-- the spoiled, indulged child's
self-justification for the validity of its own
ego supremacy and authority against that of any
parental or adult restrictions. Such a position usually
means a lack of any meaningful in-depth self questioning
or objective evaluating of personal motives, and a
welcoming of lack of restraints in the pursuit of
pleasure and non-self discipline. And this, of course,
is the critical negative refrain that often comes
against the decadent followers of Pater's credo.]
The second fall-out effect of Pater's evaluations
and pronouncements is that some of his disciples
[self-styled] went farther than even he was willing
to approve with their hedonism and purposefully
shocking lifestyles and "decadent" behaviors and
aesthetic appetites.
But it came from statements like this, which Pater
may have meant one way, but which their subjective,
individualistic perceptions took another way: "The
aesthetic critic, then, regards all the objects with
which he has to do, all works of art, and the fairer
forms of nature and human life, as powers or forces
producing PLEASURABLE SENSATIONS [caps are mine], each
of a more or less peculiar or unique kind. [We value
them --he says] for the property each has of affecting
one with a special, a unique, impression of pleasure.
Our education becomes complete in proportion as our
SUSCEPTIBILITY to these impressions increases -- in
depth and VARIETY."
Let the perceiver and the critic -- and the
experiencer -- proceed with extreme caution and good
judgment.
* * * * * * * * *

This book has changed many lives in a very
peculiar way: although its evaluations are
quite wrong at times, particularly the chapter
on the School of Giorgione(if you care, check
out the edition with an introduction by
Kenneth Clark), Pater's Renaissance still
shines with the very same light that made it a
cult among Victorian youngmen.

The "gemstone flame", the pervasive feelings
of which Pater invited us to share have not
vanished (in spite of the attempts of the
so-called modern art), and the book's
invaluable lesson is that you simply
do not need a fancy objet d'art to see
what true beauty is all about.

So basically this is what I have to say: if
you have ever derived aesthetic pleasure from
anything at all in life, you should read this
little book tomorrow. If you never felt any
such pleasure, you must read The Renaissance
right now, or you'll simply let the good
things pass you by. I mean it.

I can't begin to tell you how useful this book is. As I'm doing research in several university libraries, I found books that were complexed and difficult to understand. This book however, puts genetic engineering into such a simple language that even a fifth grader could understand it. This is the perfect book for a beginner.

The concept of ATM networking is explained in a very easy to understand format. Also included is an interesting history of Telecommunications. The book progresses to more advanced topics within ATM. This book sets up nicely for the reader to advance his/her knowledge base on the subject. Also fairly easy to read for this type of book. Makes an excellent first book on ATM. -Ed Vitale Network Analyst The Vanguard Group

This artistic team of Bloom/Hill were my professors while I attended the University of Houston pursuing my degree in fine arts photography. I know the area very well that was documented in this book and this book was a forerunner to the path that other artists have taken since it's publication in the field of ecology art.

There have been other books and journal articles written about this remote Mexican village, but with the publication of "The Many Faces of Mata Ortiz," a more comprehensive exposure is given to the talented artisans living there. No longer will Americans snub their noses at the Made in Mexico country of origin trademark.The incredible pottery of Mata Ortiz has done much to dispel the notion of Mexican art as being inferior to American art.People the world over can now appreciate the beauty of the works that are produced in the village since the book clearly shows the artists with full-size colored photographs of their creations. In addition, but not less important, the authors introduce us to the potters in such a personal way that we can't help but feel an attachment to them and to their lives.We also learn of the historical importance of the ancient Casas Grandes ruins from which Juan Quezada, the founder of the movement, first explored and experimented. This nearby pre-Columbian city was an important trading center from Mesoamerica to the Southwest and was noted in the 12th to the 15th centuries for its high quality pottery production. Now, people will have a greater understanding of the connection between the tribes of Mexico to the tribes of the Southwest. This book has it all and is most welcomed by experts and collectors alike.

This is the best pottery book I have ever found! It is layed out in an informative, and beautiful manner. Not only is the pottery exquisite, but the photographs represent the pieces at their best. It is easy to understand, and gets one passionate about an art movement, that we can actually be a part of, in this twenty-first century. It is highly unsual to be living during a time when a new art movement is going on, and still striving for it's pinnacle. We see this with the unequalled workmanship of the Matiz Ortiz people in their Casas Grandes/Matiz Ortiz pottery. I really enjoyed getting to know each potter by name and photo, coupled with seeing their work, and feeling a part of their extended family. Juan Quesada, the founder of this artistic movement, is a highly spiritual individual, generous and gifted beyond belief. He is the reason that this wonderful pottery is being shown to the world. I am an artist that does pottery, and a retired teacher. I would recommend this book to all art teachers, and anyone who appreciates great art.

This book was my introduction to the world of the artisans of Mata Ortiz, Mexico, and their amazing ceramic creations. While the decorative motifs and other aspects of the pottery were familiar to me, I found that the photography, which I suspect was done with specialized "light painting" techniques, brought out the form, texture, and pattern of the pieces with wonderfully rich detail and nuance. The images were clearly created by a photographer who was very intent on rendering a physical, tactile sense of the objects she was recording. Coupled with other photographs of the artisans at work, and the surrounding Mexican landscape, the book is a compelling portrait of both the people who create the works of art and the art itself.

The book was much better then the movie, but, like in the movie, they should never have killed off Newt or hicks, or Riply for that matter. I didn't understand why they felt the need to put one of those things inside her. in the last movie, she had nightmeres about it happening to her. It was an unjust thing to do to such a strong, surviving charracter. What's worse it only opened the door for Reserection. It was a good movie, but only braught the series down. For it's entertainment value, 3 was great, but it's one movie that I try to avoid watching.

Would you buy the book of the first Alien movie after watching it? Nope, me neither. But with this book things do change. Not because the movie is bad (though it was not; if you think the opposite, it may be time to refine your cinematique taste) but the story is so capturing and well told that you never regret your time and money spent at the bookstore.

Alien 3 is a bad movie, and is definitely the worst of the four. But the book is fantastic. It is much more in depth than the movie and easily explains everything that the movie didn't. This book is suspenseful to say the least. You won't be able to help yourself from reading on.

Alan Dean Foster's "novelization" of James Cameron's screenplay for "Aliens" is certainly above average as such things go. What is really interesting now is that with the complete director's cut of the film we discover that all of the "depth" Foster was providing, such as the scene where Newt's parents discover the wrecked ship, were in Cameron's original script. But that is fine, since you do not really want the person writing a novelization to go out and create too much new material. The true strength of this novelization is in fleshing out the scenes, not so much the action sequences but those between people trying to make the best out of a bad situation that is only getting worst. The story still maintains a pace consistent with the driving force of the film. Alan Dean Foster does so many of these novelizations that when he really nails one like he does with "Aliens," we need to stop and take notice.

Commentary

I usually am one to read relationship/unrealistic novels such as The Outsiders or Catcher in the Rye, but after falling in love with the movie "Aliens" when I was seven I thought reading the book may be fun to. I have to admit, I have read this before, but not since the third grade so picking it up again was not a problem because I had lost all memory of the tale. The thing I like about reading books based on movies is that you get a whole new idea of what each character is feeling when something happens. For instance although Sigourney Weaver is a truly talented actress, when Ripley is trying to get Newt (AKA Rebecca Johnson) to drink the hot chocolate in the movie you don't get the same essence of her emotion towards the child as you do in the novel. I appreciate Alan Dean Foster because he has a tendency to go over what is expected and dive into the depths of a character, making them more distinguishable and easier to get to know. This book is truly one of the only books that makes reading it before or after you see the movie a fun ride. Plus there's a lot of swearing, that's always a plus.

Great book! Like the movie is was suspenseful, action packed, and scary. The first book wasn't as good as this one though. The best parts are the end, and the part where Ripley is trapped with the facehuggers, and without weapons!

The book provides good coverage of the evolution of SONET and the intricacies and "problems" associated with PDH. There's even good coverage of SDH. However, beware of the sections on SONET rings. They are poorly written, misleading and in some instances downright wrong! Unfortunately, one or two inaccuracies can make one leary about the entire book.

This book provides a good, readable and thorough introduction to SONET for neophytes as well as moderately experienced readers. A nice balance of technical fact and background/historical information is maintained. The author does an excellent job of explaining SONET frame structures, pointers, overhead usage, etc. In addition, he provides a valuable introduction to the antecedents of SONET (the Bell System T-carrier networks and so on) and provides reasons for many of its architectural and design choices.

While the book does have its faults (various errors, too much devoted to non-SONET topics, no details of concatenation beyond STS-3 levels, etc.) and needs some updating to accommodate modern SONET practice, I would recommend this book to anyone with some knowledge of communications who wishes to gain an understanding of SONET and its architecture. (Prospective readers are warned that little information will be found on SDH - the book does remain true to its title in this regard.)

This book is excellent for people both new to and experienced with SONET. It covers history, general and detailed implementation, applications, the future of SONET, and practical factors (such as pressures from competitive companies and technologies, and the slow adoption of some network management standards). It includes details of individual OAM&P overhead signals, internode communications use of the DCC, rings and failures, delay and timing issues, etc. It has coverage of present SONET implementations by various companies, and future directions for SONET. It covers the issues of concern to me very well, and there is much more in the book to cover your issues also. The book is easy to read and very informative. I frequently refer back to it in my SONET-related work.

This is a classic, though I'm afraid too few people know about it. The graceful and alert writing together with the one-of-a-kind monotypes capture this part of the world -- the Piedmont or Hunt Country of Virginia -- better than any other book I've ever seen. Even for people unfamiliar with Virginia,it should be read for its insights into the universal power of particular landscapes, their history and natural beauty.

This book is essentially a workbook for speed reading and improved understanding. It makes use of mini-excercises that will remind you of the reading comprehension section of the good ol' SAT's. The whole point is to show you how to read books while minimizing time spent and maximizing your comprehension of the material. By the time I finished this book, I must admit that I was finding college textbooks to not be nearly as intimidating. I would recommend this book to anyone, especially students. The only downside to this book (and the reason I only gave it 3 stars) was that the book is a little rough around the edges. The style is dated and rather mundane, making it rough going for anyone who has anything less than a superb attention span. Overall this book was great considering it was published in 1988. It would be a winner if they updated it and published a sequel of sorts.