Essential reading for students and anyone interested in the great philosophers, this book opens up appreciation of Heidegger beyond the study of philosophy to the reaches of poetry and our fundamental relationship to the world. Featuring "The Origin of the Work of Art," a milestone in Heidegger's canon, this enduring volume provides potent, accessible entry to one of the most brilliant thinkers of modern times.

    Mental play impacts every aspect of piano playing: memorizing, controlling nervousness, developing performance skills, playing musically, acquiring absolute pitch, composing, improvisation, etc. Genius is more created than born; most of what had been attributed to talent are simple knowledge-based solutions that we can all learn. Improved memory can raise the effective IQ; memory is an associative process based on algorithms -- music is such an algorithm, enabling us to memorize hours of repertoire. Learning piano makes you smarter and teaches project management. Includes chapter on tuning your own piano; the chromatic scale, temperaments, circle of fifths, etc., are explained.

    Its popularity owes much to the lyricism of the prose, thepitch-perfect rendition of black vernacular English, and the memorable characters--most notably, Janie Crawford. Collecting the most widely cited and influential essays published on Hurston's classic novel over the last quarter century, this Casebook presents contesting viewpoints by Hazel Carby, Henry Louis Gates, Jr., Barbara Johnson, Carla Kaplan, Daphne Lamothe, Mary Helen Washington, and Sherley Anne Williams. The volume also includes a statement Hurston submitted to a reference book on twentieth-century authors in 1942. As it records the major debates the novel has sparked on issues oflanguage and identity, feminism and racial politics, A Casebook charts new directions for future critics and affirms the classic status of the novel.

    Perhaps you’re afraid that if you try, you’ll fail. The startling truth is this: Just about anyone can do great things, can live a life that’s remarkable, purposeful, excellent, and yes, even heroic. If you want to be a hero, you can be. How? That’s what this book is all about. Will you choose to do it? Will you decide to journey heroically, instead of spending your life merely marking time? If so, this is the book for you. Welcome to your heroic journey.

    In a satisfying story or novel, all of the pieces seem to fit together so effortlessly, so seamlessly, that it's easy to find yourself wondering, "How on earth did the author do this?" The answer is simple: He sat alone at his desk, considered an array of options, and made smart, careful choices.In Alone With All That Could Happen, award-winning author and respected creative writing professor David Jauss addresses overlooked or commonly misunderstood aspects of fiction writing, offering practical information and advice that will help you make smart creative and technical decisions about such topics as:writing prose whose syntax and rhythm create a "soundtrack" for the story it tellschoosing the right point of view to create the appropriate degree of "distance" between your characters and the readerwriting valid and convincing epiphaniesharnessing the power of contradiction in the creative processIn one thought-provoking essay after another, Jauss sorts through unique fiction-writing conundrums, including how to create those exquisite intersections between truth and fabrication that make all great works of fiction so much more resonant and powerful than fiction that follows the generic "write what you know" approach that's so often preached.

    The textbook logically introduces a range of fundamental concepts--such as SLA in adults and children, formal and informal learning contexts, and diverse socio-cultural settings. It takes an interdisciplinary approach, encouraging students to consider SLA from linguistic, psychological and social perspectives.

    They may be acting under orders.” This was only one of the many warnings given to the 30,000 British troops preparing to land in the enemy territory of Nazi Germany nine-and-a-half months after D-Day. The newest addition to the Bodleian Library’s bestselling series of wartime pamphlets, Instructions for British Servicemen in Germany, 1944 opens an intriguing window into the politics and military stratagems that brought about the end of World War II.The pamphlet is both a succinct survey of German politics, culture, and history and a work of British propaganda. Not only does the pamphlet cover general cultural topics such as food and drink, currency, and social customs, but it also explains the effect of years of the war on Germans and their attitudes toward the British. The book admonishes, “The Germans are not good at controlling their feelings. They have a streak of hysteria. You will find that Germans may often fly into a passion if some little thing goes wrong.” The mix of humor and crude stereotypes—“If you have to give orders to German civilians, give them in a firm, military manner. The German civilian is used to it and expects it”—in the text make this pamphlet a stark reminder of the wartime fears and hopes of the British.By turns a manual on psychological warfare, a travel guide, and a historical survey, Instructions for British Servicemen in Germany, 1944 offers incomparable insights into how the British, and by extension the Allied forces, viewed their fiercest enemy on the eve of its defeat.

    It includes:discussion of recent developments and topics of specific interest in British society at the moment such as GM foods, immigration, Britain's relationship with the USA and the EU, and the War on Terror new illustrations, cartoons, diagrams, graphs and tables expanded chapters a companion website.British Civilization is a vital introduction to the crucial and complex identities of Britain.For supplementary exercises, questions and tutor guidance, visit: www.routledge.com/textbooks/0415365228

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    It offers a fresh, distinctive and beautifully written synthesis of the discipline. David Morley discusses where creative writing comes from, the various forms and camouflages it has taken, and why we teach and learn the arts of fiction, poetry and creative nonfiction. He looks at creative writing in performance; as public art, as visual art, as e-literature and as an act of community. As a leading poet, critic and award-winning teacher of the subject, Morley finds new engagements for creative writing in the creative academy and within science. Accessible, entertaining and groundbreaking, The Cambridge Introduction to Creative Writing is not only a useful textbook for students and teachers of writing, but also an inspiring read in its own right. Aspiring authors and teachers of writing will find much to discover and enjoy.

    His work recalls a parallel universe of 1950s Golden Books and the whimsy of Lewis Carroll. His cheery bunnies, rendered in the glowing hues of children's books, are likely to be carving slabs of meat rather than frolicking in the forest. Ryden's work mingles superb technique with outre images to create a world of strange and disturbing beauty.

    Finally, you will find 10 beautiful crochet project patterns that can be completed in just one day. Note that these patterns will help you complete one project in just one day. If you want to create multiple copies of a certain project, you can expect that you will need more than one day to complete them.You can complete the following projects:- Heart hat- Throw pillow- Flower hair band- Scarf- Dishcloth- Pot holders- Rag bowl- Trivets- Minion hat- Evil minion hatFREE WITH KINDLE UNLIMITED! Are you ready to be creative? Scroll up to download your copy today and let’s get started…

    In Ion, Plato examines the god-like power of poets to evoke feelings such as pleasure or fear, yet he went on to attack this manipulation of emotions and banished poets from his ideal Republic. Aristotle defends the value of art in his Poetics, and his analysis of tragedy has influenced generations of critics from the Renaissance onwards. In the Art of Poetry, Horace promotes a style of poetic craftsmanship rooted in wisdom, ethical insight and decorum, while Longinus’ On the Sublime explores the nature of inspiration in poetry and prose. This edition of these landmarks texts includes an introduction by Penelope Murray, which discusses the literary background since Homer and sets the work of each critic in context. It also includes suggestions for further reading, a chronology and explanatory notes. Table Of Contents: Table of contents Introduction 1. Homer and the Early Greek Poets 2. Aristophanes 3. Gorgias and the Sophists 4. Plato 5. Aristotle 6. The Alexandrians 7. Horace 8. Longinus 9. Epilogue Further Reading Literary Chronology Plato Ion Republic 2 Republic 3 Republic 10 Aristotle Poetics Horace The Art of Poetry Longinus On the Sublime Notes

    Kata, the formal exercises of karate training, were the essence of practice in Okinawa and China, and are the core training method even today.Detailed here in 1500 sequential photos are the five Heian and three Tekki kata, mastery of which is necessary to attain first dan.Demonstrated by the author and Yoshiharu Osaka.

    Perfect for Beginners level and get awesome ideas and techniques for you experts. Have lots of images to help you easily follow through the pattern.