My Hero of Christian Theolgy

I have read many books about Bible and Jesus ranging from missionary works to the works of scholars such as Prof. B. Metzger. Never have I come across a Book such as Strauss' Life of Jesus. About 1000 pages (in English)of rigorous and detailed analysis of the Life of Jesus in the four Gospels without bias (as far as I can tell).It is a big loss to the humanity that Strauss not only was denied teaching positions (for which he was overqualified: knowing Hebrew, Greek, Latin as well as German and having a genius' intelligence) also his marvelous work(s) were suppressed and kept away from the humanity. I hope and pray that many more Christians will have the opportunity to read this enlightening book of Strauss and learn some of the facts about their scriptures and Faith which are kept away from the believers by the Church for millennia. (My use of millennia about one month before 2000 may sound inaccurate, how ever if we take Matthew's word that Jesus was born in the Days of Herod (not paying attention to the fact that Luke assigns birth of Jesus to the time when Quarinius was Governor of Syria which didn't take place until a decade after the death of Herod the Great(Strauss' Life of Jesus & Westminster Dictionary of the Bible))and knowing that Herod died around 4 BC. (Westminster Dictionary of the Bible) also considering the two year(from the killing of children under two year of age) stay of Jesus and His Mother and Joseph in Egypt (Only in Matthew, no other Evangelist noticed this incident including Josephus who recorded detailed life of Herod (Staruss' Life of Jesus)) before Herod died, Jesus must have been born around 6 BC so that for those faithful to Matthew (rather than Luke) true second millennium was 1994. Therefore we are already in the second millennium. TOO BAD WEE MISSED THE 2ND MILLENIAL CELEBRATIONS.)

In concluding, Strauss is a forgatton hero among Christian Scholarsip

My God Have Mercy on Strauss.

This was a labor of love by the editor, me, for this best-seller of 1847 is unknown today because of the ruthless campaign of censorship by powerful church leaders, who only permitted a small-print, forbidding limited edition for scholars who needed it. This user-friendly edition is large print, illustrated with interesting biographies and pictures of David Friedrich Strauss, the father of today's popular studies of the historical jesus (while his own career was ruined for writing this masterpiece). The other biography is of George Eliot, whose masterful translation from the German came 13 years before she became famous as the author of Silas Marner, Middlemarch, et al. This is an oversized book, yet paperback to keep the price down

Rabbi Steinsaltz's work is continuing to allow the non-Hebrew speaking reader access to one of the greatest living books of Judaism. This introductory volume to the Tractate Sanhedrin captures for the non-Yeshiva student the insight and nuances of the Rabbis of long ago. The basis of Jewish law is layed out before the reader with succinct eludication.
Unlike other English translations of the Talmud, Steinsaltz "fills in the blanks" to the novice and the student of the Talmud unlike the others.
Rabbi Steinsaltz has given the modern reader a gift of great value in his work and by sharing his insight, opens the gates of understanding.
It is rumored that Random House will no longer publish the English editions of the Steinsaltz Talmud. If this is true, it is a great lost to all of us who are attempting to unearth the gems of wisdom and understanding.
Any of the Steinsaltz Talmud tractates are worth their weight in gold.

This edition is perfect if your not too hot on your aramaic. It has a clear lay out and a good translation. It provides an easy to follow english version with the hebrew layed out along side and tries its best to keep the style and order of the original. San Hedrin deals with the laws of the law keeping body in Israel, 2000 years ago.

These two guys are nutty. If you enjoy the work of Tom Friedman, Tim Hawkinson, Roman DeSalvo, and Eric Rosciam, you probably already know about The Art Guys. If not, get this book as quickly as possible!!!!

This is a wonderful career survey of this brave artist. Her experience as a feminist artist painter sculptor film maker performer dancer thinker is very inspirational. Carolees relationship to her sexual body and the power of transformation throught the body is so very human healing strong and deeply intelligent. The power of feminist art to change art history and change the world is seen through her performances and paintings. For me the work in this book demands that I remember the struggle women artits had and still have- its only been 30 - 40 years of feminist body art! Let us never forget the struggles of these great artists who are women....This is a wonderful book!

This book is amazing, full of essays and art work that detail the atrocious nature of the 1994 genocide in Rwanda. For those people who have read about the genocide but have not been able to relate emotionally, this is the book that will open your eyes. It details the strength of the Rwandans, the torment they endured, and the lack of response from the outside world. This book will touch you to the core, through pictures and through words. I definitely recommend it to anyone who has interest in the subject.

This edition is perfect if your not too hot on your aramaic. It has a clear lay out and a good translation. It provides an easy to follow english version with the hebrew layed out along side and tries its best to keep the style and order of the original.

I've read "Untimely Meditations" in a few different translations, and Arrowsmith's is excellent (I have no German, not yet). But the special reasons to buy Arrowsmith's "Unmodern Observations" are (1)the translator was himself a man of enormous complexity and diverse gifts; and (2)at the end of the 1st Meditation ("David Strauss, Writer and Confessor"), Nietzsche appended a section analyzing the STYLE of Strauss' work, pointing out the mixed metaphors, cliches, bungled rhetorical flourishes, et cetera, with a more or less brutal intensity. Translating this appendix, which amounts to an essay on German literary style, is very daunting for obvious reasons, and most translators simply leave it out. Arrowsmith masterfully renders the whole thing, and when I read it in the library at Brandeis ten years ago I felt I was learning more about how to write than I had from any other book.

The surrealism was an unholy movement in french construction of culture. Tonns too much human (passed definition), tonns too much animal (current def) Francesca Woodman as any one of the (Rimbaud, Jean Pierre Duprey, Roger Gilbert-Leconte) brothers in arms involved in the GRAND JEU did not find the time to experience the quest further than its incarnation. Another group at the same time involved itself in the same quest as FW for the body and soul reconciliation through sensations and emotions. Roger Gilbert-Leconte, Rene Daumal, Joseph Sima more than the surrealists were FW's brothers in arms...

fun france I live with an as assumed as a modern woman can be clone of Francesca Woodman

This book is an excellent collection of the limited work of a young woman who would have dominated American Photography had it not been for her unfortunate demise. It is essential for all serious art photographers
I first saw a retrospective show of her work in Boulder Colorado after her death and it has never left my mind. I find it hard to believe that it has taken this long for a published collection like this to come along.
It is truly remarkable in every way.

However remarkable and achingly tender, Woodman images are as rare as a rhinoserous horn at an Asian bazaar. Some years ago a portfolio of Woodman photographs was reprinted. This small handfull of images was reproduced again and again. The group of "known" images grew somewhat as various small books or catalogs were published. The real strength of Woodman as an artist is evidenced by the fact that as every heretofore unseen image gets published, such as in this sizable book, the delicacy, richness, and complexity of Woodman's moltenly beautiful yet hauntingly tragic body of work grows exponentially. The original group of oft-reproduced images is revealed as random sampling of many images of the same captivating quality. There is so much that is not known about this work that each expanded treatment becomes a startling revelation. Gracious thanks to any book that begins to give this most underappreciated genuis suicide her due.

This book is undoubtedly a good reference, but you should not consider it a comprehensive one.

With a decidedly American slant, the book ignores the rich photography cultures of Japan, Russian constructivists and even of Europeans after 1945. Even on the topics which the book does cover, there are a few glaring ommissions. But I'm still glad to see this book come out and the author certainly makes no claims that the books list is a comprehensive one, just a seminal one.

This is an extraordinary book, both for its content and design. The book provides a wonderful view of 20th-century photography and photographic books, reproducing several double-page spreads (at reduced size) from a well-chosen list of 101 great photographic books. There is so much to see and think about here.

The catalog entries, luminously written by Vince Aletti and David Levi Strauss, provide a fairly detailed description, history, and analysis of each of the photographic books. And there are several essays on the history and techniques of photographic publishing; these essays are informative, smart, learned.

This is one of the best-designed books in recent years. The typography, layout, and printing quality are just perfect, at the very highest level of excellence. Andrew Roth and Jerry Kelly did the book design; Sue Medlicott supervised the printing which was done superbly at the Stamperia Valdonega.

In the last few months, I have seen 3 extraordinary visual books that powerfully demonstrate just how wonderful books can be:
(1)The Book of 101 Books by Andrew Roth and colleagues
(2)The Atlas of Oregon (2nd edition) by William Loy, Stuart Allen, Aileen R. Buckley, and James E.Meacham
(3)Artists' Books in the Modern Era 1870-2000: The Reva and David Logan Collection of Illustrated Books, by Robert Flynn Johnson and Donna Stein, Fine Arts Museums of San Francisco.

Now this is something special! As a publication designer I can appreciate the care and thought that went into this stunning and unique book. Andrew Roth, in the introduction, explains his brilliant idea, 'The basis for my selection was simple. Foremost, a book had to be a thoroughly considered production; the content, the mise-en-page, choice of paper stock, reproduction quality, text, typeface, binding, jacket design, scale - all of the elements had to blend together to fit naturally within the whole'. I would agree with all of that (I have eight of the 101) and also his selection of the photographic books which mostly exemplify what he was searching for.

Not all of these criteria apply to each book though. The author has wisely included all the covers to his selection and I don't think there is a single book jacket shown that I would class as excellence in design, that is, the title and image working together as one to sum up the contents for a potential purchaser. Mostly they are the usual publishers' marketing department output, a single photo or image with some (bland) typography added. Strangely the cover to 'The Book Of 101 Books' is rather dull and typographically conservative.

Another area where, I think, many of the books fall short of the author's criteria is the lack of captioning. Many of the reproduced spreads clearly just have the photos on the page with no information for the reader. Why do publishers (and possibly even the photographers) think that beautiful, imaginative and stimulating photos don't need some textual explanation on the same page? I recently bought 'Dream Street' by Eugene Smith, an excellent collection of photos taken in 1955 of life in Pittsburgh, virtually all of the photos make me ask "What's going on here" and I have to constantly turn to the back of the book to read a caption, even more annoying because there is plenty of space on each page for them. This lack of a caption on the same page as the photo seems a common fault with many photographic books.

The author says his goal was not to compile a selection of rare or precious books, just great ones and the 101 chosen reflect that vision, starting in 1907, with the twenty volume 'The North American Indian' and ending in 1996 with David LaChapelle's 'LaChapelle Land', these two books are a world apart but nevertheless have elements in common that the author was searching for. The other ninety-nine books show the amazing diversity that a photographer's eye, light and chemicals can do to the world. As well as the spreads from the books there are six essays dealing with photographic book publishing, all of them interesting and thought provoking, Richard Benson (no relation) writes a very succinct explanation of book printing techniques over the last hundred years.

Handling this sumptuous book, turning over the pages of the beautiful paper it is printed on, looking at the images (printed with a screen well over two hundred dots to the inch) it is a good example of why books will not vanish in this expanding digital age.

BTW, another reviewer has commented that 'The Book Of 101 Books' is one of the best designed books of recent years, beautiful as it is I don't think I would go that far and I'll not be adding it to my Listmania 'Ten of my favorite well-designed books'. Editorially I think there are a couple of errors, firstly, in the bibliographic details there is no mention of a books pagination, and secondly, all the text about a book is in one paragraph, clearly a mistake when some of the pieces are several hundred words long. I also think the layouts have an annoying fault, each of the 101 books starts on a spread and the left-hand page displays the books cover within a text wrap of two columns, this second column frequently looks a line short because the writer's initials are ranged right on the last line instead of occupying a new line or even hanging them in the margin, in bold face, for instance.

he leido 6 capítulos. Es un tema interesante para abordar el estudio de la historia. Para Nietzcshe la historia es indispensable pero hay que saber tener el punto de equilibrio para que sea util para la vida: demasiada historia anquilosa. La tradición tiener un limite de utilidad; el exceso mata la vida y la dinamica de la vida; pero la absoluta carencia imposibilita entender el mundo en el que se vive.

This book is different than Nietzsche's well-known major works. It does not explicitly examine the nature of morality, the master/slave relationship, or related questions. Instead, it questions the relationship of historical knowledge to life in the present. By "present", Nietzsche does not mean some specific century or decade, but rather the present we perpetually find ourselves in as human beings.

Nietzsche asks: given that we always live in such a present, why do we want or need historical knowledge? Animals live without a historical sense: they do not reflect on the past or contemplate their future -- they simply live from moment to moment in the eternal present that humans perpetually avoid. And generally, Nietzsche notes, animals seem happier than human beings: more spontaneous, more cheerful, less given to morbid and resentful states of mind.

Given these differences, should humans abandon the study of history and try to live in the present like animals? No, says Nietzsche, this relation to history is the true source of human uniqueness and achievement. The question is not "Should we study history?" but rather, "What history should we study, and in what amount?" The answer, says Nietzsche, is history that gives us a proper appreciation of life's difficulties and the struggles that have preceded us, but which nonetheless spurs us to creative action in the present. We should never study history for history's sake; rather, we should study it with a view to understanding and surpassing our present.

This is a short, powerful volume, dense with ideas but astoundingly clear.

A great primer on the problems of history and a great introduction to a brilliant mind.