The essays in this volume are intriguing, challenging, & often baffling to the reader, calling him to abandon all superficial scanning & to enter wholeheartedly into the serious pursuit of thinking. Heidegger is not a 'primitive' or a 'romantic.' He is not one who seeks escape from the burdens & responsibilities of contemporary life into serenity, either through the re-creating of some idyllic past or through the exalting of some simple experience. Finally, Heidegger is not a foe of technology & science. He neither disdains nor rejects them as though they were only destructive of human life. The roots of Heidegger's thinking lie deep in the Western philosophical tradition. Yet that thinking is unique in many of its aspects, in its language, & in its literary expression. In the development of this thought Heidegger has been taught chiefly by the Greeks, by German idealism, by phenomenology, & by the scholastic theological tradition. In him these & other elements have been fused by his genius of sensitivity * intellect into a very individual philosophical expression."--William Lovitt's Introduction

    The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3-6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8-11: zoology; 12-19: botany, agriculture, and horticulture; 20-27: plant products as used in medicine; 28-32: medical zoology; 33-37: minerals (and medicine), the fine arts, and gemstones.The Loeb Classical Library edition of Natural History is in ten volumes.

    It was the first biology textbook ever reviewed by Time and was also featured with illustrations in Life. Harvard, Stanford, the University of Chicago, and more than eighty other colleges and universities adopted it for use in courses. Since then, its clear explanations and ample illustrations have continued to introduce hundreds of thousands of students and general readers around the world to jellyfishes, corals, flatworms, squids, starfishes, spiders, grasshoppers, and the other invertebrates that make up ninety-seven percent of the animal kingdom. This new edition has been completely rewritten and redesigned, but it retains the same clarity and careful scholarship that have earned this book its continuing readership for half a century. It is even more lavishly illustrated than earlier editions, incorporating many new drawings and photographs. Informative, concise legends that form an integral part of the text accompany the illustrations. The text has been updated to include findings from recent research. Eschewing pure morphology, the authors use each group of animals to introduce one or more biological principles. In recent decades, courses and texts on invertebrate zoology at many universities have been available only for advanced biology majors specializing in this area. The Third Edition of Animals Without Backbones remains an ideal introduction to invertebrates for lower-level biology majors, nonmajors, students in paleontology and other related fields, junior college and advanced high school students, and the general reader who pursues the rewarding study of the natural world.

    From 19119 until it was closed by the National Socialists in 1933, the Bauhaus brought together on its faculty more artists of distinguished talent than any other art school in history. Perhaps the greatest contribution of these masters and their students was the breakdown of the hierarchy than had previously divided the fine from the applied arts. Faced with the problem of good design for mass production they courageously accepted the machine as an instrument worthy of the artist an bridged the gap between the artist and the industrial system.Bauhaus 1919-1928 originally published by the Museum of Modern Art in 1938, remains today one of the most valuable accounts of the magnificent achievements of the school. The book is a point-for-point record of actual programs and projects at the Bauhaus, prepared by Herbert Bayer under the general editorship of Walter Gropius and the collaboration of a dozen other Bauhaus teachers - including Kandinsky, Klee, Feininger, Schlemmer, Itten, Moholy-Nagy, Albers, and Breuer.

    This timeless work is an indispensable guide to the dances and dance-dramas of the Balinese.

    Like civilization, play requires structure and participants willing to create within limits. Starting with Plato, Huizinga traces the contribution of Homo Ludens, or "Man the player" through Medieval Times, the Renaissance, and into our modern civilization. Huizinga defines play against a rich theoretical background, using cross-cultural examples from the humanities, business, and politics. Homo Ludens defines play for generations to come."A happier age than ours once made bold to call our species by the name of Homo Sapiens. In the course of time we have come to realize that we are not so reasonable after all as the Eighteenth Century with its worship of reason and naive optimism, though us; "hence moder fashion inclines to designate our species asHomo Faber Man the Maker. But though faber may not be quite so dubious as sapiens it is, as a name specific of the human being, even less appropriate, seeing that many animals too are makers. There is a third function, howver, applicable to both human and animal life, and just as important as reasoning and making--namely, playing. it seems to me that next to Homo Faber, and perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. "--from the Foreward, by Johan Huizinga