Used price: $19.00
More than anything, I see this as a story of redemption and deep reflection.
Used price: $0.59
Collectible price: $5.97
Buy one from zShops for: $4.10
Used price: $38.00
Buy one from zShops for: $52.81
Used price: $32.97
cannot retract your words. -Chinese proverb
The analysis of public address is one of the oldest sources of human communication studies. Many students encounter the study of rhetoric in public speaking classes where they are focusing on preparing their own speeches. They learn to make clear presentations, logical arguments and how to perfect their delivery techniques. By studying rhetoric, it is possible to develop individual communication skills.
In selecting the speeches for this volume, the editors were guided by a commitment to the Isocratean perspective and have attempted to bring together instances of rhetorical practices which represent the height of rhetorical culture.
"As an art, public speaking, or rhetoric as the ancients called it, is measured and evaluated generally in terms of the ideal forms through which it produces wisdom; as a political practice, however, it is measured and evaluated in terms of the material power or effect that it wields over the audiences who attend to it." -LMB/JLL
The first set of speeches have important implications for contemporary American society as the genetic foundation of rhetorical culture. This section offers speeches drawn from the Greek, Roman, and Judeo-Christian rhetorical traditions. They include:
Oratory in Classical Antiquity: Pericles (Funeral Oration), Gorgias of Leontini (Encomium on Helen), Lysias (Against Eratosthenes), Demosthenes (The Second Philippic), Marcus Tullius Cicero (the First Catilinarian), Moses (The Decalogue), Jesus of Nazareth (Sermon On The Mount) and St. Augustine (Sermon on The Lord's Prayer).
In Pericles's Funeral Oration, there is an expression of ideological principles like "the good of the many vs. the good of the one," that are as important today as they were in the fourth century B.C.E. These speeches also help students to develop a critical , historical perspective on the thetorical foundations of contemporary society than it has to do with understanding the cultures of classical antiquity.
The second set of speeches come from the Golden Age of Oratory and these speeches deal with individual freedom. They include speeches by:
Martin Luther (I'll Take My Stand), Peter Wentworth (On the Liberties of Commons), Queen Elizabeth I (To the Troops at Tilbury & The Golden Speech), Jonathan Edwards (Sinners in the Hands of an Angry God), James Otis (Writs of Assistance), William Pitt (The Right of Taxing America), Edmund Burke (Two Speeches to the Electors at Bristol), John Hancock (The Bostom Massacre Oration), Patrick Henry (Liberty or Death), George Washington (First Inaugural Address), Thomas Jefferson (First Inaugural Address), Sagoyewatha (Speech to the Council of Chiefs of the Six Nations), Daniel Webster (Bunker Hill Memorial Oration), Maria W. Steward (Lecture Delivered at the Franklin Hall), Ralph Waldo Emerson (The American Scholar), Wendell Phillips (The Murder of Lovejoy), Angelina Grimke (Address at Pennsylvania Hall), Sojourner Truth (Ain't I A Woman), Frederick Douglass (What, To the Slave, Is The Fourth of July?), Chief Seattle (Our People are Ebbing Away Like a Rapidly Receding Tide), Abraham Lincoln (A House Divided, Gettysburg Address & First and Second Inaugural Address) and Robert Toombs (On Secession).
Then there is a third section on Oratory in the Modern Era which includes speeches by:
Russell Conwell (Acres of Diamonds), Henry Grady (The New South), Elizabeth Cady Stanton (Solitude of Self), Booker T. Washington (Atlanta Exposition Address), Albert Beveridge (The Star of Empire), Woodrow Wilson (Declaration of War), Emma Goldman (Address To The Jury), Eugene V. Debs (Address To The Jury, and Statement To The Court), State of Tennessee V. John T. Scopes, Franklin Delano Roosevelt (First Inaugural Address), Huey P. Long (Every Man A King), Adolf Hitler (Germany Demands Its Rights & The Invasion of Poland), Sir Winston Spencer Churchill (The War Situation & Alliance of English-Speaking People), Margaret Chase Smith (Declaration of Conscience), Richard Milhous Nixon (My Side of The Story), Dwight David Eisenhower (Farewell Address). These speeches chart a transformation in the practice of public speaking and address a number of key public issues confronting Americans during this time period from a variety of perspectives.
The last section includes Oratory in Contemporary America by John Fitzgerald Kennedy (Inaugural Address, 1961 & A Moral Crisis, 1963), George Corley Wallace (First Gubernatorial Inaugural Address, 1963), Martin Luther King, Jr. (I Have a Dream), Malcolm X (The Ballot or The Bullet), Lynndon Baines Johnson (Gulf of Tonkin Speech, 1964), Betty Friedan (The Crisis in Women's Identity), Cesar Estrada Chavez (The March 10th Speech), Robert Francis Kennedy (Speeches on the Assassination of the Rev. Martin Luther King, Jr.), John V. Lindsay (Vietnam Moratorium Address), Richard Milhous Nixon (Cambodia & Resignation Speech) Barbara Jordon (Statement of the Articles of Impeachment & Democratic Convention Keynote Address), Gerald R. Ford (Pardon of Richard M. Nixon) Ronald Reagan (First Inaugural Address & Eulogy of the Challenger Astronauts), Mario Cuomo (Democratic Convention Keynote Address), Geraldine Ferraro (Acceptance Speech), Jesse Jackson (Common Ground and Common Sense), George Bush (Acceptance Speech & War Message), Elizabeth Glaser and Mary Fisher (AIDS: Personal Story I and II).
Each speech is introduced with a head note that includes a general discussion of the historical and symbolic context of the speech. Relevant biographical information about the speaker is also included. One fourth of the book contains Speech Criticism Sheets where the reader can consider the content of the speeches, draw their own conclusions and record their thoughts.
Some of the questions include:
1.What is the occasion for this speech?
2. Identify the Speaker. What might the audience(s) for this speech have known about the speaker's ethos-public character or past behaviors-that might affect its willingness to trust or identify with the speaker?
3. What specific beliefs, values, or other collective experiences and/or commitments define the audience(s) for the speech?
4. What is the speaker's goal or intention for this speech?
5. Why might the speaker have assumed in advance that the approach adopted in the speech would be effective in achieving his/her goal?
Enjoyable to read with a highlighter in hand
to highlight various quotes of note or you can analyze
the speeches by using the Criticism Sheets.
List price: $13.95 (that's 20% off!)
Used price: $9.75
Buy one from zShops for: $9.85
That aside, this is a wonderful book. it is not well written, but Hardin never claimed to be a writer. This is the only known autobigraphy by an actual American West gunslinger, and Hardin, according to both himself and history, was one of the greatest.
There seems to be a fair amount of exaggeration and plain old tale telling, but I think you'd find that in any autobiography. This is both an insightful view into a time long gone and an entertaining read. If you've ever watched a western, read one, or just plain pretended you were an outlaw when you were a kid, then you owe it to yourselfd to have a copy of Hardin's book on your shelves.
List price: $17.95 (that's 30% off!)
Used price: $9.53
Buy one from zShops for: $11.59
Buy one from zShops for: $38.95
Used price: $3.95
Collectible price: $9.97
Buy one from zShops for: $12.00
In Paul's authentic epistles, Jesus is mythical, and in the synoptic gospels, Jesus is historical. Why place John after the synoptics, then? It makes more sense to see John as the bridge from the mythic early epistles to the later synoptic Literalist/historicizing gospels, to form a smooth progression.
The more I read other recent books, the more I keep being drawn to The Unfinished Gospel. Right now there is a tension building up; it's so inconsistent with the latest conception of the transformation of Christianity in the first few centuries to assume the John is later than the synoptics. This book may become a classic, because there is an established minority of scholars who agree that John reflects earlier traditions than the synoptic gospels.
I expect that once the other contemporary scholars consider how perfectly this book's redating fits in with their theories of myth-making and historicizing, this book could garner a lot of attention. Gnostic, esoteric, and Christ-myth scholars should consider this book.
Used price: $29.50
Collectible price: $40.19
Buy one from zShops for: $26.55
At 1040 large (8.5 x 11) pages it is the ultimate guide to unicode. With information on scripts and glyphs I had no idea even existed.
However if you are just getting started with Unicode I would recomend you get Unicode a Primer written by Tony Graham from M&T books. If you understand or feel you are starting to understand Unicode then The Unicode Standard Version 3.0 is the best comprehensive reference on the subject out today.
This book is essential for software engineers, at least for the next ten years or so. All programmers should understand characters, and UNICODE is the best we have for now. Even if you don't need it in your personal library, you need it in your company or school library.
The standard is flawed, as all real standards are, but it is a functioning standard, and it should be sufficient for many purposes for the near future.
The book itself is fairly well laid out, contains an introduction to character handling problems and methods for most of the major languages in use in our present world as well as tables of basic images for all code points. Be aware that these are _only_ basic images. For most internationalization purposes, be prepared for more research. (And please share your results.)
**** Finally, UNICODE is _not_ a 16 bit code. ****
(This is well explained in the book.) It just turned out that there really are over 50,000 Han characters. (Mojikyo records more than 90,000.) UNICODE can be encoded in an eight-bit or 16-bit expanding method or a 32-bit non-expanding method. The expanding methods can be _cleanly_ parsed, frontwards, backwards, and from the middle, which is a significant improvement over previous methods.
Some of the material in the book is available at the UNICODE consortium's site, but the book is easier to read anyway. One complaint I have about the included CD is that the music track gets in the way of reading the transform files on my iBook.
Central to the book, taking up the larger part of it, are the tables of the characters themselves, printed large with annotations and cross-references. If you enjoy the lure of strange symbols and curious writing systems then browsing these will occupy delightful hours.
For the Latin alphabet alone there are pages of accented letters and extended Latin alphabet characters used in particular languages or places or traditions: Pan-Turkic "oi", African clicks and other African sounds, obsolete letters from Old English and Old Norse, an "ou" digraph used only in Huron/Algonquin languages in Quebec, and many others, particularly those used for phonetic/phonemic transcriptions.
The Greek character set includes archaic letters and additional letters used in Coptic.
Character sets carried over from previous editions with additions and corrections are Cyrillic (with many national characters), Armenian, Georgian, Hebrew, Arabic (again many national and dialect characters), the most common Hindu scripts (Devanagari, Bengali, Gurmukhi, Gujarati, Oriya, Tamil, Telugu, Kannada and Malayalam), Tibetan, Thai, Lao, Hangul, Bopomofo, Japanese Katakana and Hiragana, capped by the enormous Han character set containing over 27,000 of the most commonly used ideographs in Chinese/Japanese/Korean writing. Then there are the symbols: mathematical/logical (including lots of arrows), technical, geometrical, and pictographic. You'll find astrological/zodiacal signs, chess pieces, I-Ching trigrams, Roman numerals not commonly known, and much more.
Scripts appearing for the first time this release are Syriac, Ethiopic, Unified Canadian Aboriginal Syllabics, Cherookee, Runes, Ogham, Yi, Mongolian, Sinhala, Thaana, Khmer, Myanmar, complete Braille patterns, and keyboard character sets. And yes, there are public domain/shareware fonts available on the web that support these with their new Unicode values.
There are very good (and not always brief) descriptions of the various scripts and of the special symbol sets. Rounding out the book are some involved, turgid (necessarily so) technical articles on composition, character properties, implementation guidelines, and combining characters, providing rules to use the character properties tables on the CD that accompanies the book. After all, this is the complete official, definitive Unicode standard.
Of course this version, 3.0, is already out-of-date. But updates and corrections are easily available from the official Unicode website where data for 3.1 Beta appears as I write this. My book bulges with interleaved additions and changes. And that's very good. Many standards have died or been superceded because the organizations behind them did not keep up with users' needs or the information was not easily accessible.
Caveats?
The notes on actual uses of the characters could be more extensive, particularly on Latin extended characters. More variants of some glyphs should be shown, as in previous editions, if only in the notations.
Some character names are clumsy or inaccurate (occasionly noted in the book), because of necessity to be compatible with ISO/IEC 10646 and with earlier versions of the Unicode standard. For example, many character names begin with "LEFT" rather than "OPENING" or "RIGHT" rather than "CLOSING" though the same character code is to be used for a mirrored version of the character in right-to-left scripts where "LEFT" and "RIGHT" then become incorrect. And sample this humorous quotation from page 298: "Despite its name, U+0043 SCRIPT CAPITAL LETTER P is neither script nor capital--it is uniquely the Weierstrass elliptic function derived from a calligraphic lowercase p."