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• Sales Rank: #30569 in Books
• Brand: Teaching Resources
• Model: 0078073548873
• Published on: 2005-02-01
• Original language: English
• Number of items: 1
• Dimensions: 10.75" h x 8.25" w x .15" l, .30 pounds
• Binding: Paperback
• 48 pages

Features

• Sold as an Each
• Ready-to-reproduce practice pages-written in a variety of genres, including articles, biographies, e-mail announcements, and how-to guides-help struggling readers build comprehension skills
• All of the highly engaging passages are written at slightly below grade level to help build confidence in students' skills
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Great resource
By LynnT
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8 of 8 people found the following review helpful.
Great Worksheets
By R. H. Marquez
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By Patricia Nash
These worked really well for some of my struggling readers. I had never had students who skills were this low (6th grade). These interested the kids and they weren't embarrassed reading them because even the good readers thought they were great topics and wanted to read them.

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Fairy tales, how they educate and shape us.

• Sales Rank: #758545 in Books
• Published on: 1977
• Binding: Hardcover

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0 of 0 people found the following review helpful.
Fascinating read
By Paul Waldman
Brilliant book. Brimming with insights and thought on the existence & purpose of faerie tales.

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In a book full of playful irony and striking insights, the controversial social philosopher Gilles Lipovetsky draws on the history of fashion to demonstrate that the modern cult of appearance and superficiality actually serves the common good. Focusing on clothing, bodily deportment, sex roles, sexual practices, and political rhetoric as forms of "fashion," Lipovetsky bounds across two thousand years of history, showing how the evolution of fashion from an upper-class privilege into a vehicle of popular expression closely follows the rise of democratic values. Whereas Tocqueville feared that mass culture would create passive citizens incapable of political reasoning, Lipovetsky argues that today's mass-produced fashion offers many choices, which in turn enable consumers to become complex individuals within a consolidated, democratically educated society.

Superficiality fosters tolerance among different groups within a society, claims Lipovetsky. To analyze fashion's role in smoothing over social conflict, he abandons class analysis in favor of an inquiry into the symbolism of everyday life and the creation of ephemeral desire. Lipovetsky examines the malaise experienced by people who, because they can fulfill so many desires, lose their sense of identity. His conclusions raise disturbing questions about personal joy and anguish in modern democracy.

• Sales Rank: #1878835 in Books
• Brand: Brand: Princeton University Press
• Published on: 1994-10-03
• Original language: English
• Number of items: 1
• Dimensions: .98" h x 6.45" w x 9.58" l,
• Binding: Hardcover
• 288 pages

Features

• Used Book in Good Condition

From Library Journal
Lipovetsky, who teaches philosophy in Grenoble, may be the heir apparent to Roland Barthes (e.g, Incidents, LJ 8/92). This work is an exegetical study not of aesthetics but of Western culture's development from the 14th century to this decade, a development in which the evolution of dress and sense of style seem bound with other criteria of the ages: industrialization, class systems, and economic theories. Lipovetsky writes cleanly and cogently, supplying all the necessary stage settings for the viewing of his arguments and leading the reader through his theory with a contagious eagerness. This book will entice scholars but is also readily accessible to undergraduates and of interest to many general readers. This makes it a rare find among its kind. Commendable to most collections.
Francisca Goldsmith, Berkeley P.L., Cal.
Copyright 1994 Reed Business Information, Inc.

Review
Praise for the French edition: "It is no easy thing to find an intellectual who succumbs to the futile charm of fashion, who is turned on by the seduction of the ephemeral and mocks the 'beautiful souls' who crusade against rock music and channel surfing. Now, we have finally met that rare bird, that apostle of the postmodern: his name is Gilles Lipovetsky."--Le Monde



"This book makes sense of what might otherwise appear derisory, a book that permits us to understand what blinds us by being right before our eyes."--Esprit



"[Lipovetsky's] is an undifferentiated celebration of modern narcissistic freedom: a defense of bourgeois individualism without the constraints of bourgeois morality. . . . [Lipovetsky is] engaged in the contemporary predicament. He sees the sophistication of modern advertising: he is alive to the social possibilities of our cultural transformation. . . And because he embraces, rather than merely dismisses, the new age, he understands it better."--Andrew Sullivan, The New Republic



"Like all books that really count, Lipovetsky's possesses the virtue of breaking the commonplace consensus. . . . [It is a] savory analysis of the infinite detail of the meanderings in the ephemeral. His thesis is fundamentally the following: if it is clear that fashion is a mix of conformity and of individual choice, its very emergence as a historical phenomenon manifests a global and typically Western logic, that of the break with tradition."--Luc Ferry, L'Express



"This books will entice scholars but is also readily accessible . . . and of interest to many general readers. This makes it a rare find among its kind."--Library Journal



"Defining it to include not just clothing styles but also sex roles, political rhetoric, and other forms of expression, [Lipovetsky] argues that fashion promotes innovation over tradition and individuality over conformity. . . . Lipovetsky aims not to convince, but merely to sway. . . . his ideas are seductive in their audacity."--Etelka Lehoczky, The Boston Phoenix Literary Section



"By its nature, fashion is unstable, ephemeral and superficial: exactly the features of social relations in today's democratic polities. No need for concern, according to [Gilles] Lipovetsky. The less we feel or care about each other, the better we will get along. . . . An impersonal social structure is an ideal setting for mutual tolerance and the reduction of conflict. . . . A brilliantly original argument becomes dazzling when the principles of fashion--obsolescence, seduction, diversification--are extended to analyse a consumer society in which novelty is paramount, and identity shattered into fragments. Far from homogenising us, as many early writers suspected, mass culture has accelerated the process of individualization. And that can heighten the capacity for social integration."--New Statesman & Society



"Lipovetsky has written an eclectic book that moves easily from discussing Tocqueville or Kant to analyzing the impact of the length of ladies' hemlines on our political culture."--Adam Wolfson, The Public Interest



"Surveying 2,000 years of global history, [Gilles] Lipovetsky claims that fashion provides the means for stability in modern Western capitalist democracies. . . . Attempts to understand the relationships between consumer-driven desires and natural desires in modern, mass-culture democracies lead Lipovetsky to provocative conclusions. . . . [this work] offers refreshing insights into today's social structure."--Choice



"Lipovetsky argues that with the haute couture in decline, with multiculturalism and dissolving social classes, we are increasingly prompted to acquire things for our private uses, without reference to other people. We buy a VCR not to impress, since everybody has one, but to watch movies."--Diane Johnson, New York Review of Books

Language Notes
Text: English (translation)
Original Language: French

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0 of 0 people found the following review helpful.
Five Stars
By Aurora molina
Great!!!

0 of 0 people found the following review helpful.
Well worth reading and thinking about, whether or not one ends up agreeing
By Elizabeth A. Root
I thought that this was an extremely interesting book, and well worth reading since it goes against so much common wisdom. I found it thoughtful, provocative, and convincing. This is part of a great change in perspective for this former Marxist. It was originally published in France in 1987 as L'Empire de l'éphémère : la mode et son destin dans les sociétés modernes.

Despite the English subtitle, Lipovetsky is not just discussing clothing, although that is his starting point. He also uses fashion in a very broad sense, meaning not so much to follow a particular mode, but the ability to select and create variants for oneself. He argues that fashion in clothing is a unique development in 14th century Europe. In other places and times, styles of dress remained basically the same for centuries, reflecting a reverence for the past, which was often viewed as a better time. Styles might change as one culture conquered another and either forced its own dress on the captive peoples, or as those peoples imitated those in power.

In 14th century Europe, for reasons that are not entirely clear, the aristocrats began to experiment with novelty, aesthetic experimentation, hedonism, and individualism in clothing. This developed over time, extending to lower classes, and expanding outward into other facets of life. Lipovetsky argues that this is, on the whole, good, and a necessary part of modernism and multiculturalism. Such societies are more flexible and more tolerant, and cherish human rights because they respect individualism. Lipovetsky is not blind to the possibilities of social anomie, but he does not feel that it is occurring to a degree that offsets the advantages of fashion as he defines it. Societies which look to the past for the model of perfection often force conformity upon others. He argues that Toqueville's (and other's) fears that democracy would lead to uniformity are unlikely to be realized, because, as Tarde argues, everyone doesn't imitate one or a few people, rather individuals draw ideas from many sources and create their own unique lifestyles. Interestingly, Lipovetsky uses words like narcissistic, hedonistic, and frivolous freely, because he feels that these terms, although usually viewed negatively, in the end have positive consequences.

Among other things, Lipovetsky casts doubt upon the ability of advertising to create needs and wants, rather than ferret them out. He doesn't say so, but I have read that most product launches fail, which does argue against the power of advertising.

The English edition, published in 1994, includes an epilogue updating his thoughts. He does not consider the effects of the Internet, which were just beginning at that time. My one criticism of the book is that it is occasionally repetitious, which sometimes blurs his points, and makes the book a little longer than it needs to be, but I consider that to be a small issue weighed against the very interesting and thought-provoking insights. I found it all the more important in view of the recent attacks on Charlie Hebdo, and other terrorist attacks, domestic and international.

3 of 3 people found the following review helpful.
Lipovetsky: A new hegelian thought
By Jorge Maldonado
In this book Lipovetsky makes explicit ideas that one could find in a more timid way in earlier books. The basic idea of his thought is that fragmentation of society does not, in the way it is thought commonly, mean destruction of morals or democracy. On the contrary, democracy is formed by the powers that are able to join fragmentation and continuity. This is what he shows with fashion. Fashion is from where he can understand what is "the essence" (although it isn't an essenciallist thought)of Western Culture. He uses the concept of fashion to synthetize the opposites: fragmentaed indivilualistic society and universal democratic society. As Hegel, he sees the union of both opposites through the whole reconstruction of Fashion. Not science or Reason but fashion is what explains us better what we are and why we are like that.

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This volume, edited by William Hammerstein, encompasses lyrics from Oscar Hammerstein's entire canon; from the early "Indian Love Call" written in 1924 with Otto Harbach and Rudolph Friml, to his final song, "Edelweiss," written with his long-time collaborator Richard Rodgers in 1959. Oscar Hammerstein's introduction, Notes on Lyrics, has been an acknowledged classic text for musical theatre enthusiasts since 1949 and remains a definitive work today. To say Oscar Hammerstein II made a significant contribution to the art of lyric-writing is understating the case. He, with his lyrics, and his collaborators, with their music, rewove the fabric of the musical theatre for all time.

• Sales Rank: #1302211 in Books
• Brand: Hal Leonard
• Published on: 1985-10-01
• Released on: 1985-10-01
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .88" w x 6.00" l, 1.24 pounds
• Binding: Hardcover
• 292 pages

Features

• Used Book in Good Condition

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3 of 3 people found the following review helpful.
The definitive companion to music theatre writing
By Jan H. Powell
LYRICS by Oscar Hammerstein II remains the definitive manual for anyone writing lyrics for the music theatre. This update with new lyrics and forward by the author and preface by Steven Sondheim is the classic companion to Lehman Engel's book on the making of a musical. And no matter how far we look there will never be a better source for what works in the theatre. Mr. Hammerstein's lyrics remain the quintessential guide to writers, young and old alike, writing for characters on the stage. God bless Oscar!

2 of 2 people found the following review helpful.
short but sweet
By James LaMar
I was both pleased and a little disappointed with this book. Oscar Hammerstein, II, was one of the greatest lyricists of our time, and others have said that his words inspired Richard Rodgers to write some of his most soaring melodies. Hammerstein was gracious in sharing many of his experiences honestly with the reader--which many celebrities will not do--and tells very succinctly how to strive for the best lyrics of which you might be capable of achieving.
The book, edited by his son, lists all of his lyrics, written for several different composers. You can learn a lot by reading his words and hearing how he composed them.
I was a bit disappointed, though, that Hammerstein's instructions were only about 50 pages or so. To learn more about songwriting, I have turned to other sources. But, this book is truly a classic and should be in the collection of anyone who admires the highest quality of talent, especially in literature and the theater. I would recommend it to anyone.

7 of 7 people found the following review helpful.
A Gem
By A Customer
If you write lyrics (or just love reading them) this is a fascinating read. It's much more than a collection of lyrics, it is the author's commentary on how he went about creating them, plus his views on what makes good lyric-writing and what does not. A little gem, this book is.

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[H643.Ebook] Get Free Ebook Master Techniques in Orthopaedic Surgery: PediatricsFrom LWW

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Master the pediatric orthopaedic techniques preferred by today’s expert surgeons! This 2nd Edition remains your go-to resource for the most advanced and effective surgical techniques for treating fractures, congenital conditions, and other orthopaedic problems in children and adolescents.  More than 1,000 high-quality photographs and drawings guide you step by step through each procedure, and personal pearls from master surgeons provide operative tips that foster optimal care and outcomes. Twelve new chapters bring you completely up to date with what’s new in the field.

Key Features

• New chapters cover pediatric sports injuries; medial femoral patella ligament reconstruction and tibial spine; surgical hip dislocation for SCFE, hip arthroscopy, and periacetabular osteotomy; and pediatric trauma procedures including medial epicondyle fractures, proximal humerus CRPP, distal radius fractures, closed reduction and casting of forearm fractures.
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• The world’s foremost surgeons describe their preferred techniques in step-by-step detail, explain the indications and contraindications, identify pitfalls and potential complications, and offer pearls and tips for improving results.
• Comprehensive coverage includes all major joints: shoulder, elbow, hand and wrist, hip, knee, foot and ankle, and spine, as well as trauma and cerebral palsy.

Now with the print edition, enjoy the bundled interactive eBook edition, which can be downloaded to your tablet and smartphone or accessed online and includes features like:

• Complete content with enhanced navigation
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• Sales Rank: #850858 in Books
• Published on: 2015-12-11
• Original language: English
• Number of items: 1
• Dimensions: 11.10" h x 1.20" w x 8.60" l, .0 pounds
• Binding: Hardcover
• 686 pages

Review
'The important surgical steps are illustrated with full-color photographs together with drawings and radiographs.'
 
'The section on spinal techniques is particularly well done.'
 
'this book is highly recommended to all pediatric orthopedic surgeons and pediatric orthopedic fellowship trainees.'
 
Weighted Numerical Score: 91 - 4 Stars!
 
-Doodys Publishers' Club, March 4, 2016

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[G710.Ebook] Download History of the Americas Course Companion: IB Diploma Programme (International Baccalaureate), by Tom Leppard, Alexis Mamaux, Mark Rogers,

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Uniquely developed with the International Baccalaureate!

Designed for IB Higher Level History option 3, this book will provide students with in-depth material for 7 of the 12 units that make up the option (1, 2, 5, 7, 9, 10 and 12).

• Sales Rank: #678507 in Books
• Brand: Oxford University Press, USA
• Model: FBA-|264016
• Published on: 2011-04-22
• Original language: English
• Number of items: 1
• Dimensions: 8.60" h x 1.00" w x 10.80" l, 3.09 pounds
• Binding: Paperback
• 511 pages

Review
This book is a great companion for the History of Americas class. It covers all the key points that my teachers discuss and has prepared me for all my exams. The book follows the course curriculum to the letter and it offers insights that may not be shared in class. I think all IB students should order books from this series if they are interested in getting the best grades possible and increasing their knowledge of the topics. I plan to ask my parents order the other course books for my other IB classes. Amazon Student Review, USA The Oxford IB course books are the best ever resource for both teachers and students. They are practical, insightful and fully in line with the IB Course outcomes. Pat Hanson, IB Coordinator, Academy of the Holy Cross, USA All of the Oxford IB course books are terrific. Carolyn Hawkins, IB Coordinator, Cookeville High School, USA We have adopted most of the Oxford course books for our school. We find them well written, well linked to TOK issues and age appropriate. Sheta Saha, IB Coordinator, Chatsworth International School, Singapore

About the Author
Tom Leppard, Alexis Mamaux, Mark Rogers, David Smith, and Yvonne Berliner are all well-respected in their field.

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5 of 5 people found the following review helpful.
IB Student
By Randy M. Latimer
This book is a great companion for the History of Americas Class. It covers all the key points that my teachers discuss and has prepared me for all my exams. The book follows the course curriculum to the letter and it offers insights that may not be share in class. In addition, the book focuses on the relevant topics that are most important on the exam. I think all IB students should order books from this series if they are interested in getting the best grades possible and increasing their knowledge of the topics. I plan to ask my parents order the other companion books for my other IB classes.History of the Americas Course Companion: IB Diploma Programme (Course Companion (Oxford))

3 of 3 people found the following review helpful.
Unsure
By Afz
Hey! I won't say this book is terrible; however, it is not exactly AWESOME. I mean it definitely has its values. It has all the IB topics and stuffs. But it is really like a summary of the things we need to know. Yeah. That is my point. Thanks!

7 of 9 people found the following review helpful.
Wrong
By Kimberly Hall
The first chapter, although containing some overall useful material, has way too many errors to be considered for use in my classroom. Jefferson was not a Democrat-- no scholars refer to him as that. John Jay had a huge role in the Federalist Papers, Haiti is on the west side of the island not the east-- and most importantly-- citizens in the northern states were not mostly against slavery. Not at all. People in Boston ran abolitionists out of town. The debate and fight continued well into the twentieth century.

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Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. "All first-rate criticism," he once wrote in a review, "first defines what we are confronting." He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest―and perhaps only original―musical form.

Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines―a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made.

Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting―a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the "new thing," free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a "secret emotional center," an "aural elixir" that "reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise." Balliett's celebrated essays invariably capture the so-called "sound of surprise"―and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, "Few people can write as well about anything as Balliett writes about jazz."

• Sales Rank: #1391185 in Books
• Published on: 2002-04-15
• Released on: 2002-04-15
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 9.28" h x 2.03" w x 6.00" l,
• Binding: Paperback
• 880 pages

Review

“Balliett is one of those rare critics whose prose can be as much a work of art as what they write about.” ―The New York Times

“Studied, sparkling descriptions [that] bubble over with the qualities that make Mr. Balliett the most important chronicler of jazz ever--his ear for intense detail, his knack for rendering the mood of a performance, his love for the characters behind the music.” ―Dallas Morning News

“Balliett is the master mandarin stylist of all jazz critics, perhaps even of all critics . . . Savor this book for Balliett's elegant, even Ellingtonian-like verbal riffs filled with the sound of surprise.” ―The Hartford Courant

“This wonderful collection effortlessly teaches us the history of jazz and demonstrates again that Whitney Balliett is, like Updike and Nabokov, a miraculous writer, one who describes the indescribable.” ―William Whitworth, editor emeritus, The Atlantic Monthly

“Duke Ellington would say of a very few musicians that they were beyond category. Among those of us who write about jazz, so is Whitney Balliett.” ―Nat Hentoff

“Collected Works stands alongside Gary Giddins's similar book, Visions of Jazz: The First Century, as an invaluably cogent and forthright, self-assuredly individualistic history of jazz.” ―David Hajdu, The New York Review of Books

“Not only does Whitney Balliett know and love jazz, but he also possesses the poetic genius to champion it, riffing on language with all the fluency of the musicians whose praises he sings.” ―San Francisco Chronicle

“Whitney Balliett's words are magic. His descriptions of the music and musicians are very affecting and his love for jazz shines through with every elegant phrase.” ―Marian McPartland

“Balliett is a master of language.” ―Philip Larkin

“I am not really generous enough to tell you what I really think about how good you are. Let's say I'm flabbergasted. And that I think you are extremely important.” ―Harold Brodkey

About the Author

Whitney Balliett is jazz critic for The New Yorker. He is married to the painter Nancy Balliett. They live in New York City.

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13 of 13 people found the following review helpful.
Unfortunate title to essential jazz journalism
By Bomojaz
Whitney Balliett is one of my favorite jazz writers (along with Dan Morgenstern and Ira Gitler), and I've enjoyed reading his pieces in The New Yorker since the 1960s. In the introduction to this book Balliett says he chose the title COLLECTED WORKS because "I like its ring"; that's a bit unfortunate because it gives the wrong impression. These are not his "collected works" but rather, as he again says in the introduction, "a distillation of many of the reviews and critical pieces that I have written about jazz." If you saved most of the original articles as I did, you would have a fairly decent sized pile of pieces that are not included here; perhaps even worse, you would notice that many of the articles appear in the book in truncated form (perhaps that's where the "distillation" comes in). One of the reasons I bought the book was because from its title and size (almost 900 pages) I thought I could take the Collected part literally, and I'd be able to free up some file cabinet space by discarding the original magazine articles. No way. I know this is a personal issue (mainly), but buyers should be aware of what they're getting (or not getting) here.

That being said, what you do get is absolutely worth having. Balliett knows the music as well as anyone and describes what he hears clearly and directly. He writes about the entire spectrum of jazz, from the earliest years of the music up into the avant-garde. Besides being deeply appreciative of the jazz masters (Armstrong, Morton, Ellington, Basie, Parker, Rollins, Coleman, to name just a handful) he writes about hundreds of musicians, good, bad, indifferent (but mainly good) who made it onto the jazz scene. He is particularly fond of good drummers (being a drummer himself). Reading The New Yorker you could be almost assured of getting Balliett's perspective on important jazz happenings in (particularly) the NYC area every couple of weeks or so. It was a wonderful steady diet of superb jazz journalism and criticism. It's great to have what's been included between book covers now, and hopefully what's missing gets published in book form some day, too. I really could use that file space.

2 of 4 people found the following review helpful.
A brilliant Jazz journalist
By Wagner F. Sacco
The man definitely has got style. His colorful articles on Jazz musicians can be considered literary works. Sometimes you feel his lack of musical background. But with such a charming style, who cares...

1 of 2 people found the following review helpful.
Balliett writes of one of the all-time great jazz singers
By Jeffrey Giles
In this collection of jazz criticism, Balliett writes of one of the all-time great jazz singers, Mildred Bailey, that she "rarely indulged in blue notes" and that "she was not emotional."

I admire Mildred Bailey precisely because of the bluesy and highly emotional quality of her singing, which has often brought tears to my eyes.

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