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The book in a sense tells about two types of people. Those who care about others, and those who care about themselves. Unfortunatly in a world where the competitive nature of man always leads to violence (be it physical, or of the subtle, mental sort) the bad will almost always win out. Having lost a number of friends (literally) due to the operant conditioned nature of life today, and through the media forcing kids to be "cool" to fit in (...)
Anyway, the issues presented in this book, which essentially are an argument against Skinner's promotion of "blank slate" minds that are to be conditioned through "experience", are good ones...however, if you truly understand that you can never, ever do enough to combat the hate and the evil that is so prevelant in the world today, you might want to not read this book...however, if you are aloof and like to buy products and watch movies that the critics agree are "explosive" and, if a sequal "twice as explosive as the first", you might find this book interesting...but probably a bit too academic, and will feel that it should be reserved for Intellectuals or whatever...(...), what do i know.
The three contributing authors have impressive academic credentials and I suppose this work will be used in university classrooms throughout the country, but I think the people who really need to hear the message that technology, economics and ethics can (and should) co-exist will not be attracted to this format.
The authors define people who do good work as: "People who do good work, in our sense of the term, are clearly skilled in one or more professional realms. At the same time, rather than merely following money or fame alone, or choosing the path of least resistance when in conflict, they are thoughtful about their responsibilities and the implications of their work."
The authors spend a lot of time discussing Journalism and Genetics and how ethics and good work in these two arenas are under seige from a market-driven economy. They offer up solutions on how to restore good work to the world and they share their methods of studying good work and their interviewing protocols, but the subject matter is just too academic for the average worker who struggles with ethics v. economics.
Maybe the book will reach university professors...and they'll share it with their students...and they'll go out into the world and strive to do 'good work.'
Let's hope so.
Good resource if your family line is there. Found some information on Ninian Beall, his father and grandfather. They were weavers in Scotland! A confusing marriage date is listed in the book but no information on my line through Ninian's Rachel.
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The book is set up in four parts. The first part walks you through all of the things that can affect a relationship: from hidden issues, to expectations, to gender differences. The second presents ideas and techniques to use in discussing difficult or emotional issues. The third part is the real financial section. It takes you step by step through the basics of financial planning: saving, spending, buying a house, investing, insurance, estate planning, taxes... The fourth part brings relationship tips and financial guidance together, showing you how this can form the groundwork of a strong and lasting partnership.
Most people do not receive an education in financial planning let alone how to work with that in a relationship. This book provides an easy way to deal with those issues. Not only does it provide you with the skills to discuss these matters, but it also gives you a good, basic understanding of how to deal with finances. I'd definitely recommend this to anyone in a relationship - you will get something out of this.
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Then there's the fact that Shakespeare essentially uses the action of the play as a springboard for an examination of madness. The play was written during the period when Shakespeare was experimenting with obscure meanings anyway; add in the demented babble of several of the central characters, including Lear, and you've got a drama whose language is just about impossible to follow. Plus you've got seemingly random occurrences like the disappearance of the Fool and Edgar's pretending to help his father commit suicide. I am as enamored of the Bard as anyone, but it's just too much work for an author to ask of his audience trying to figure out what the heck they are all saying and what their actions are supposed to convey. So I long ago gave up trying to decipher the whole thing and I simply group it with the series of non-tragic tragedies (along with MacBeth, Hamlet, Julius Caesar), which I think taken together can be considered to make a unified political statement about the importance of the regular transfer of power in a state. Think about it for a moment; there's no real tragedy in what happens to Caesar, MacBeth, Hamlet or Lear; they've all proven themselves unfit for rule. Nor are the fates of those who usurp power from Caesar, Hamlet and Lear at all tragic, with the possible exception of Brutus, they pretty much get what they have coming to them. Instead, the real tragedy lies in the bloody chain of events that each illegitimate claiming of power unleashes. The implied message of these works, when considered as a unified whole, is that deviance from the orderly transfer of power leads to disaster for all concerned. (Of particular significance to this analysis in regards to King Lear is the fact that it was written in 1605, the year of the Gunpowder Plot.)
In fact, looking at Lear from this perspective offers some potential insight into several aspects of the play that have always bothered me. For instance, take the rapidity with which Lear slides into insanity. This transition has never made much sense to me. But now suppose that Lear is insane before the action of the play begins and that the clearest expression of his loss of reason is his decision to shatter his own kingdom. Seen in this light, there is no precipitous decline into madness; the very act of splitting up the central authority of his throne, of transferring power improperly, is shown to be a sign of craziness.
Next, consider the significance of Edgar's pretense of insanity and of Lear's genuine dementia. What is the possible meaning of their wanderings and their reduction to the status of common fools, stripped of luxury and station? And what does it tell us that it is after they are so reduced that Lear's reason (i.e. his fitness to rule) is restored and that Edgar ultimately takes the throne. It is probably too much to impute this meaning to Shakespeare, but the text will certainly bear the interpretation that they are made fit to rule by gaining an understanding of the lives of common folk. This is too democratic a reading for the time, but I like it, and it is emblematic of Shakespeare's genius that his plays will withstand even such idiosyncratic interpretations.
To me, the real saving grace of the play lies not in the portrayal of the fathers, Lear and Gloucester, nor of the daughters, but rather in that of the sons. First, Edmund, who ranks with Richard III and Iago in sheer joyous malevolence. Second, Edgar, whose ultimate ascent to the throne makes all that has gone before worthwhile. He strikes me as one of the truly heroic characters in all of Shakespeare, as exemplified by his loyalty to his father and to the King. I've said I don't consider the play to be particularly tragic; in good part this is because it seems the nation is better off with Edgar on the throne than with Lear or one of his vile daughters.
Even a disappointing, and often bewildering, tragedy by Shakespeare is better than the best of many other authors (though I'd not say the same of his comedies.) So of course I recommend it, but I don't think as highly of it as do many of the critics.
GRADE : B-
Of course, it's all in the writing. Shakespeare has this genius to come up with magnificent, superb sentences as well as wise utterings even if the plot is not that good.
This is the case with Lear. I would read it again only to recreate the pleasure of simply reading it, but quite frankly the story is very strange. It is hard to call it a tragedy when you foolishly bring it about on yourself. Here, Lear stupidly and unnecessarily divides his kingdom among his three daughters, at least two of them spectacularly treacherous and mean, and then behaves exactly in the way that will make them mad and give them an excuse to dispose of him. What follows is, of course, a mess, with people showing their worst, except for poor Edgar, who suffers a lot while being innocent.
Don't get me wrong: the play is excellent and the literary quality of Shakespeare is well beyond praise. If you have never read him, do it and you'll see that people do not praise him only because everybody else does, but because he was truly good.
The plot is well known: Lear divides the kingdom, then puts up a stupid contest to see which one of his daughters expresses more love for him, and when Cordelia refuses to play the game, a set of horrible treasons and violent acts begins, until in the end bad guys die and good guys get some prize, at a terrible cost.
As a reading experience, it's one of the strongest you may find, and the plot is just an excuse for great writing.
The New Folger Library edition has to be among the best representations of Shakespeare I've seen. The text is printed as it should be on the right page of each two-page set, while footnotes, translations, and explanations are on the left page. Also, many drawings and illustrations from other period books help the reader to understand exactly what is meant with each word and hidden between each line.
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The performances are pretty good, and include Branaugh (of course) as Hamlet and Derek Jacobi as Claudius, giving us a hint of the performances they would later give in the movie. No one's performance really blew me away, although Jacobi was excellent.
Ultimately, the play loses quite a bit when transferred to audio only. There's a lot to be conveyed with stage placement, physican action, expression, etc. Somehow, listening to the play limited my imagination on those issues, preventing my from using my "mind's eye" to the fullest.
The text notes that are included with the play are very helpful to understand some of the more difficult language nuances that are inevitable with any Shakespeare. The structure is well laid out and conclusive. It complements the complexity of Hamlet very well.
Of course Hamlet is one of the great paradoxes and mysteries every written. The search of finding yourself and what it is that fuels the human spirit. Hamlet can be a very confusing play because of the depth of substance. However, the critical essays that suppliment the reading make it very accessable.
Each of the critical essays are of different schools of literary criticism: Feminist Criticism, psychoanalytic criticism, post-structuralist (deconstuctionist) criticism, Marxist critism, and finally a New Historicist criticism. Before each critism there is clearly written introduction to explain the motives and histories of that type of criticism.
This edition of Hamlet will not only introduce the reader to more Shakespeare, but also explain the play and help to familiarize the reader with literary criticism too. It is a beautiful volume that cannot be more recommended if you are wanting to buy a copy Hamlet.
The Folger Edition of Hamlet is a great edition to buy, especially for those who are studying this play in high school or college, because it is relatively cheap in price and is very "reader-friendly" with side notes and footnotes that accompany each page of each scene. So, even if you aren't a Shakespeare lover or if Shakespeare is just a little intimidating (we all know how this feels), this version at least allows you to get the gist of what is going on. Also, there are summaries of each scene within each act, to let you know in layman's terms what is taking place. I highly recommend this edition.
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Nobody expects that Sounder will survive, the same as most would doubt the boy's survival in such an existence of poverty and despair. Yet the dog does survive, and so does the boy. Both display a resilience made all the more amazing by the deprivation of their backgrounds.
The boy, who visits his father in prison, meets a kindly teacher who becomes a sort of foster father. The boy learns to read and write, tools he needs to become empowered and to escape his desperate situation. While Armstrong doesn't give any false hope -- we know that the boy will face many more difficulties -- he makes the book a testament to the power of the human spirit to overcome despair and, ultimately, to triumph.
This would be a great read for fourth to eighth grade students. It is a truthful and detailed insight into the history of the African-American race.