Sabtu, 14 Desember 2013

Free PDF Child of the Dark: The Diary Of Carolina Maria De Jesus

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Child of the Dark: The Diary Of Carolina Maria De Jesus

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Child of the Dark: The Diary Of Carolina Maria De Jesus

Review

“Written between 1955 and 1960, Child of the Dark is the daily journal of an artist, a writer who, as the single mother of three young children, supports her family by picking through garbage for paper and scraps to sell. They live in a cardboard and wood-scrap shack in a Brazilian slum called the favelas, where there is no plumbing, and one public cold-water spigot is the only clean water source for several hundred people. Her journal documents the lives favelados are forced to live....Carolina de Jesus is a poet of intense dignity.”—500 Great Books by Women “A haunting chronicle…a dramatic document of the dispossessed that both shocks and moves the reader.”—New York Herald Tribune “It is a minor classic—because it is one of the very few books that have ever been written about the lowest and the poorest, les misérables, by one of themselves.”—Horizon “It is both an ugly book and a touchingly beautiful book. It carries protest and it carries compassion. There is even bitter humor. As a fast-paced and strangely observant account of sheer misery, Child of the Dark is an immensely disturbing study of what can happen to a segment of the population of one of the world’s potentially wealthiest nations…a rarely matched essay on the meaning and feeling of hunger, degradation, and want.”—The New York Times Book Review  

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About the Author

Carolina Maria de Jesus, a Brazilian woman with only two years of schooling, was the mother of three illegitimate children, each born of a different father. This story of her life in São Paulo stands as a vivid, incendiary social document. With stark simplicity, Carolina describes her squalid neighborhood, the favela, and tells how she lived hand to mouth. To keep herself and her children barely alive, to stave off their ever-present hunger, Carolina must scavenge for scraps of metal and paper in the gutter to sell. Her story is a witness to the vicious fights, the knifings, and the sordid sex of the favelados—prisoners of poverty, prey of the unscrupulous, and the breeders of revolution. Robert M. Levine devoted his career to Brazilian social history. He chaired the National Committee on Brazilian Studies and the Columbia University Seminar on Brazil and was director of the Center for Latin American Studies, University of Miami. His major books include Vale of Tears and Father of the Poor? Vargas and His Era.

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Product details

Mass Market Paperback: 224 pages

Publisher: Signet; Anniversary edition (October 7, 2003)

Language: English

ISBN-10: 0451529103

ISBN-13: 978-0451529107

Product Dimensions:

4.2 x 0.6 x 6.8 inches

Shipping Weight: 4 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

41 customer reviews

Amazon Best Sellers Rank:

#22,024 in Books (See Top 100 in Books)

This is a wonderful description of life in Brazils favela. Even though Carolina wrote this 60 years ago, one can still see the correlation to todays life among the favelados.

Caroline Maria de Jusus was born a[...] in poverty and went to only the second grade. She lived most of her adult life in poverty and her children were labeled [...]. She wanted to write and did. She became a writer of international reputation. Her book has been read by people around the world and in the United States. Her work stands with that of Victor Frankl in "MAN'S SEARCH FOR MEANING," and "BLACK ELK SPEAKS" an American Sioux, and with Frederick Douglass' NARRATIVE LIFE.CHILD OF THE DARK, is a must read for anyone who wants to understand and to challenge the values and standards of a civilization (ours) that degrades human life for fun and profit.

Fantastic book which was given to me by my uncle in Portuguese 40 y ago . I gave it to my son , so hopefully he will learn the lessons about being thankful for everything you have in life .

It has been years since I read this but it was required for a college humanities class and I still remember the story so I know it is a wonderful book full of personal insights by the author and very educational for the reader. I bought this copy to give to one of my daughters.

I had to read this book for a History of Brazil class as an assigned reading. I had no idea what to expect as I was unfamiliar with the country all together. This book details the life of the people who live in the favelas through the eyes of a mother of three. This is a must read. It is a very humbling book, and it tears and pulls at your heart all the way to the end. I'm also keeping this and not selling it back when the class is over.

Great book! Very deep! Will give you a reality check.

I was looking for a history of Brazil, and this book gave a real insight into the favelas.and how the very poor lived. It clarified many issues for me about the country and the people. It also gives a picture of a person of great character and how her struggle and daily battle for existance elevated her and destroyied her. I highly recommend it for any who seek to understand the human condition at the most stressed level. A classic. Should be required reading.

I was extremely worried that this book was going to be boring or hard to read. It was actually quite understandable and enjoyable if you like first hand accounts of other peoples trials. I had purchased this book for a class but afterward I would recommend this book to anyone who would like to expand their knowledge of inner-city living.

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Rabu, 11 Desember 2013

Ebook Download Adaptation and Appropriation (The New Critical Idiom)By Julie Sanders

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From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores:

  • multiple definitions and practices of adaptation and appropriation
  • the cultural and aesthetic politics behind the impulse to adapt
  • the global and local dimensions of adaptation
  • the impact of new digital technologies on ideas of making, originality and customization
  • diverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of art
  • the impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studies
  • the appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale.

Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.

  • Sales Rank: #693180 in Books
  • Published on: 2015-12-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.70" h x .60" w x 5.00" l, .0 pounds
  • Binding: Paperback
  • 254 pages

About the Author

Julie Sanders is Professor of English and Pro-Vice-Chancellor for Humanities and Social Sciences at Newcastle University, UK.

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Rabu, 27 November 2013

Download Jack Higgins Box Set: Wrath of the Lion / Iron Tiger / Touch the DevilBy Jack Higgins

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Jack Higgins Box Set: Wrath of the Lion / Iron Tiger / Touch the DevilBy Jack Higgins

  • Sales Rank: #6392254 in Books
  • Published on: 1900
  • Binding: Paperback

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Sabtu, 23 November 2013

Ebook Free Radio RescueBy Lynne Barasch

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2AZK saves the day!Back in 1923, a long-distance telephone call took hours to place, and overseas calls weren't possible at all. But a new invention, called wireless radio, permitted instant communication over long distances. A young boy, itching to get involved, buys a secondhand receiver and earphones, and studies hard to learn Morse code so that he can pass the test to qualify as an amateur radio operator and get his own station: 2AZK. Its fun talking with people all over the world just by tapping on his telegraph key (and readers can tap along - there's Morse code to follow in the pictures). Then one night he picks up a distress signal from Florida -- family stranded in flood -- and uses his skill for something more important. Based on the author's father's experiences as a young ham operator in the 1920s, Radio Rescue is an exciting story of a moment in technological history.

  • Amazon Sales Rank: #455146 in Books
  • Published on: 2000-10-10
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: .36" h x 9.80" w x 10.70" l,
  • Binding: Hardcover
  • 40 pages

From Publishers Weekly Barasch (Old Friends) identifies the hero of this story as her father, who in 1923 at the age of 10 became the youngest licensed amateur wireless radio operator in the United States. The book gets off to a bit of a slow start as Barasch describes the important role that wireless radio played at a time when telephone connections were difficult to make, but it builds to a climactic finish, in which the boy and his radio help to rescue a stranded family in hurricane-pummeled Florida. Writing in the boy's voice, the author conveys the young New Yorker's dedication to his hobby, how he obtains his "ham" license on his second try, purchases the necessary equipment and sets up his own home station with the help of an older neighbor boy and fellow operator. The author concisely describes this method of communication, which kids in today's high-tech world are likely to know little about. A heartening story for aspiring historians and technophiles. Ages 5-up. (Oct.) Copyright 2000 Reed Business Information, Inc.

From School Library Journal Grade 3-5-The year is 1923, and Robert can't wait to get his ham radio license. He practices Morse code wherever he goes, and listens in on radio traffic at every opportunity. When he finally gets his license and his own "shack," Robert spends his evenings communicating with radio operators all over the world. The tale has the slightly meandering quality of a family story-and well it should, as it is based on the memories of Barasch's father, the youngest amateur radio operator to be licensed in the U.S. at the time. Robert's adventures include having a group of sailors show up on his doorstep (not realizing that their radio pal was a 12-year-old boy) and, more dramatically, rescuing a family stranded in a Florida hurricane by passing along radio messages to the Coast Guard. This story will capture the imagination of youngsters, especially modern technophiles, who may be surprised to learn about the global communication spawned by wireless radio long before the Internet. The faded watercolor-and-ink illustrations capture the optimistic spirit of a bygone era and incorporate a good deal of information.Kathleen Kelly MacMillan, Carroll County Public Library, Eldersburg, MD Copyright 2000 Reed Business Information, Inc.

From Booklist Gr. 2-5. In 1923, a 10-year-old New Yorker became the youngest licensed amateur wireless radio operator. In a clear, first-person voice, the boy describes what Morse code is, how operators used wireless radios to send and receive signals, and his experiences setting up an in-house transmitting station. The boy finds fame when he picks up a signal from Florida hurricane victims and radios for help, and the story concludes with a reproduced newspaper photograph and the full Morse code alphabet. An introductory note reveals that the story is based on the author's father and gives readers background information on the era's telephones and the alternative that the wireless offered, including examples of how Morse code has been used throughout its history. In a well-designed mix of insets, brief sketches, and full-page drawings, the author's uncluttered color cartoons do an excellent job of illustrating the technology and the code, at the same time creating likable, expressive characters. Tehnology-minded children may see parallels between the freedom and excitement of the wireless and the Internet in this engaging read. Gillian EngbergCopyright © American Library Association. All rights reserved

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Kamis, 21 November 2013

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  • Sales Rank: #1497562 in Books
  • Binding: Hardcover

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Rabu, 20 November 2013

Ebook Download Science Set Free: 10 Paths to New DiscoveryBy Rupert Sheldrake

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Science Set Free: 10 Paths to New DiscoveryBy Rupert Sheldrake

The bestselling author of Dogs That Know When Their Owners Are Coming Home offers an intriguing new assessment of modern day science that will radically change the way we view what is possible.

In Science Set Free (originally published to acclaim in the UK as The Science Delusion), Dr. Rupert Sheldrake, one of the world's most innovative scientists, shows the ways in which science is being constricted by assumptions that have, over the years, hardened into dogmas. Such dogmas are not only limiting, but dangerous for the future of humanity.
 
According to these principles, all of reality is material or physical; the world is a machine, made up of inanimate matter; nature is purposeless; consciousness is nothing but the physical activity of the brain; free will is an illusion; God exists only as an idea in human minds, imprisoned within our skulls.
 
But should science be a belief-system, or a method of enquiry? Sheldrake shows that the materialist ideology is moribund; under its sway, increasingly expensive research is reaping diminishing returns while societies around the world are paying the price.
 
In the skeptical spirit of true science, Sheldrake turns the ten fundamental dogmas of materialism into exciting questions, and shows how all of them open up startling new possibilities for discovery.
 
Science Set Free will radically change your view of what is real and what is possible.


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  • Sales Rank: #35447 in Books
  • Published on: 2013-09-03
  • Released on: 2013-09-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .90" w x 5.20" l, .70 pounds
  • Binding: Paperback
  • 400 pages

Review
 
"Science is ready to evolve beyond materialism and dogma. Rupert Sheldrake is a pioneer who is paving the way for the future of the sciences."  
—Deepak Chopra, M.D., author of War of the Worldviews
 
“This provocative and engaging book will make you question basic assumptions of Western science.  I agree with Rupert Sheldrake that, among other problems, those assumptions hinder medical progress because they severely limit our understanding of health and illness. I will recommend Science Set Free to my colleagues, students, patients, and friends.”
—Andrew Weil, M.D., author of Spontaneous Happiness

“Rupert Sheldrake may be to the 21st century what Charles Darwin was to the 19th:  someone who sent science spinning in wonderfully new and fertile directions.  The only thing that is certain in science is that it will change.  In SCIENCE SET FREE, Sheldrake gives us an inspiring picture of what these changes are likely to be."
—Larry Dossey, M.D. author of Reinventing Medicine
 
 “Science is often portrayed as a paragon of intellectual freedom. It's a quaint idea, but it's not true. Some key concepts in science have hardened into unshakeable, unquestioned dogma. Science Set Free exposes ten of the key dogmas of modern times. If even one is slightly off, then the scientific world is in for a shock, and the aftershocks will have huge impacts on technology, medicine, and religion. Rupert Sheldrake skillfully examines each dogma and argues, with evidence, that all ten dogmas are wrong. After reading this book I am persuaded that he's right. If you agree that science must be freed from the shackles of antiquated beliefs, then read this book. If you don't agree, then read it twice.”
—Dean Radin, Ph.D., author of The Conscious Universe
 
“This is a terrific, engrossing book that throws open the shutters to reveal our world to be so much more intriguing and profound than could ever have been supposed.”
—James Le Fanu, author of The Rise and Fall of Modern Medicine
 
“Certainly we need to accept the limitations of much current dogma and keep our minds as open as we reasonably can. Sheldrake may help us do so through this well-written, challenging, and always interesting book.”
—Sir Crispin Tickell, Financial Times
 
“Rupert Sheldrake does science, humanity and the world at large a considerable favor.”
—Colin Tudge, Ph.D., Independent
 
“A fascinating, humane, and refreshing book that any layman can enjoy. . . . Dr. Sheldrake wants to bring energy and excitement back into science . . . He has already done more than any other scientist alive to broaden the appeal of the discipline, and readers should get their teeth into the important and astounding book.”
—Jason Goodwin, Country Life

About the Author

DR. RUPERT SHELDRAKE is a biologist and author of more than 80 technical papers and ten books, including A New Science of Life and Dogs That Know When Their Owners Come Home. He was a Fellow of Clare College, Cambridge, where he was Director of Studies in cell biology, and also was a Research Fellow of the Royal Society. From 2005-2010, he was the Director of the Perrott-Warrick Project for research on unexplained human abilities, funded from Trinity College, Cambridge. He is currently a Fellow of the Institute of Noetic Sciences in California, and a Visiting Professor at the Graduate Institute in Connecticut. He is married, has two sons, and lives in London. His web site is www.sheldrake.org.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1

Is Nature Mechanical?

Many people who have not studied science are baffled by scientists’ insistence that animals and plants are machines, and that humans are robots too, controlled by computer-like brains with genetically programmed software. It seems more natural to assume that we are living organisms, and so are animals and plants. Organisms are self-organizing; they form and maintain themselves, and have their own ends or goals. Machines, by contrast, are designed by an external mind; their parts are put together by external machine-makers and they have no purposes or ends of their own.

The starting point for modern science was the rejection of the older, organic view of the universe. The machine metaphor became central to scientific thinking, with very far-reaching consequences. In one way it was immensely liberating. New ways of thinking became possible that encouraged the invention of machines and the evolution of technology. In this chapter, I trace the history of this idea, and show what happens when we question it.

Before the seventeenth century, almost everyone took for granted that the universe was like an organism, and so was the earth. In classical, medieval and Renaissance Europe, nature was alive. Leonardo da Vinci (1452–1519), for example, made this idea explicit: “We can say that the earth has a vegetative soul, and that its flesh is the land, its bones are the structure of the rocks . . . its breathing and its pulse are the ebb and flow of the sea.” William Gilbert (1540–1603), a pioneer of the science of magnetism, was explicit in his organic philosophy of nature: “We consider that the whole universe is animated, and that all the globes, all the stars, and also the noble earth have been governed since the beginning by their own appointed souls and have the motives of self-conservation.” 

Even Nicholas Copernicus, whose revolutionary theory of the movement of the heavens, published in 1543, placed the sun at the center rather than the earth was no mechanist. His reasons for making this change were mystical as well as scientific. He thought a central position dignified the sun:

Not unfittingly do some call it the light of the world, others the soul, still others the governor. Tremigistus calls it the visible God: Sophocles’ Electra, the All-seer. And in fact does the sun, seated on his royal throne, guide his family of planets as they circle around him

Copernicus’s revolution in cosmology was a powerful stimulus for the subsequent development of physics. But the shift to the mechanical theory of nature that began after 1600 was much more radical.

For centuries, there had already been mechanical models of some aspects of nature. For example, in Wells Cathedral, in the west of England, there is a still-functioning astronomical clock installed more than six hundred years ago. The clock’s face shows the sun and moon revolving around the earth, against a background of stars. The movement of the sun indicates the time of day, and the inner circle of the clock depicts the moon, rotating once a month. To the delight of visitors, every quarter of an hour, models of jousting knights rush round chasing each other, while a model of a man bangs bells with his heels.

Astronomical clocks were first made in China and in the Arab world, and powered by water. Their construction began in Europe around 1300, but with a new kind of mechanism, operated by weights and escapements. All these early clocks took for granted that the earth was at the center of the universe. They were useful models for telling the time and for predicting the phases of the moon; but no one thought that the universe was really like a clockwork mechanism.

A change from the metaphor of the organism to the metaphor of the machine produced science as we know it: mechanical models of the universe were taken to represent the way the world actually worked. The movements of stars and planets were governed by impersonal mechanical principles, not by souls or spirits with their own lives and purposes.

In 1605, Johannes Kepler summarized his program as follows: “My aim is to show that the celestial machine is to be likened not to a divine organism but rather to clockwork . . . Moreover I show how this physical conception is to be presented through calculation and geometry.”4 Galileo Galilei (1564–1642) agreed that “inexorable, immutable” mathematical laws ruled everything.

The clock analogy was particularly persuasive because clocks work in a self-contained way. They are not pushing or pulling other objects. Likewise the universe performs its work by the regularity of its motions, and is the ultimate time-telling system. Mechanical clocks had a further metaphorical advantage: they were a good example of knowledge through construction, or knowing by doing. Someone who could construct a machine could reconstruct it. Mechanical knowledge was power.

The prestige of mechanistic science did not come primarily from its philosophical underpinnings but from its practical successes, especially in physics. Mathematical modelling typically involves extreme abstraction and simplification, which is easiest to realize with man-made machines or objects. Mathematical mechanics is impressively useful in dealing with relatively simple problems, such as the trajectories of cannonballs or rockets.

One paradigmatic example is billiard-ball physics, which gives a clear account of impacts and collisions of idealized billiard balls in a frictionless environment. Not only is the mathematics simplified, but billiard balls themselves are a very simplified system. The balls are made as round as possible and the table as flat as possible, and there are uniform rubber cushions at the sides of the table, unlike any natural environment. Think of a rock falling down a mountainside for comparison. Moreover, in the real world, billiard balls collide and bounce off each other in games, but the rules of the game and the skills and motives of the players are outside the scope of physics. The mathematical analysis of the balls’ behavior is an extreme abstraction.

From living organisms to biological machines

The vision of mechanical nature developed amid devastating religious wars in seventeenth-century Europe. Mathematical physics was attractive partly because it seemed to provide a way of transcending sectarian conflicts to reveal eternal truths. In their own eyes the pioneers of mechanistic science were finding a new way of understanding the relationship of nature to God, with humans adopting a God-like mathematical omniscience, rising above the limitations of human minds and bodies. As Galileo put it:

When God produces the world, he produces a thoroughly mathematical structure that obeys the laws of number, geometrical figure and quantitative function. Nature is an embodied mathematical system.

But there was a major problem. Most of our experience is not mathematical. We taste food, feel angry, enjoy the beauty of flowers, laugh at jokes. In order to assert the primacy of mathematics, Galileo and his successors had to distinguish between what they called “primary qualities,” which could be descibed mathematically, such as motion, size and weight, and “secondary qualities,” like color and smell, which were subjective. They took the real world to be objective, quantitative and mathematical. Personal experience in the lived world was subjective, the realm of opinion and illusion, outside the realm of science.

René Descartes (1596–1650) was the principal proponent of the mechanical or mechanistic philosophy of nature. It first came to him in a vision on November 10, 1619, when he was “filled with enthusiasm and discovered the foundations of a marvellous science.” He saw the entire universe as a mathematical system, and later envisaged vast vortices of swirling subtle matter, the ether, carrying around the planets in their orbits.

Descartes took the mechanical metaphor much further than Kepler or Galileo by extending it into the realm of life. He was fascinated by the sophisticated machinery of his age, such as clocks, looms and pumps. As a youth he designed mechanical models to simulate animal activity, such as a pheasant pursued by a spaniel. Just as Kepler projected the image of man-made machinery onto the cosmos, Descartes projected it onto animals. They, too, were like clockwork.8 Activities like the beating of a dog’s heart, its digestion and breathing were programmed mechanisms. The same principles applied to human bodies.

Descartes cut up living dogs in order to study their hearts, and reported his observations as if his readers might want to replicate them: “If you slice off the pointed end of the heart of a live dog, and insert a finger into one of the cavities, you will feel unmistakably that every time the heart gets shorter it presses the finger, and every time it gets longer it stops pressing it.”

He backed up his arguments with a thought experiment: first he imagined man-made automata that imitated the movements of animals, and then argued that if they were made well enough they would be indistinguishable from real animals:

If any such machines had the organs and outward shapes of a monkey or of some other animal that lacks reason, we should have no way of knowing that they did not possess entirely the same nature as those animals.

With arguments like these, Descartes laid the foundations of mechanistic biology and medicine that are still orthodox today. However, the machine theory of life was less readily accepted in the seventeenth and eighteenth centuries than the machine theory of the universe. Especially in England, the idea of animal-machines was considered eccentric. Descartes’ doctrine seemed to justify cruelty to animals, including vivisection, and it was said that the test of his followers was whether they would kick their dogs.

As the philosopher Daniel Dennett summarized it, “Descartes . . .  held that animals were in fact just elaborate machines . . . It was only our non-mechanical, non-physical minds that make human beings (and only human beings) intelligent and conscious. This was actually a subtle view, most of which would readily be defended by zoologists today, but it was too revolutionary for Descartes’ contemporaries.”

We are so used to the machine theory of life that it is hard to appreciate what a radical break Descartes made. The prevailing theories of his time took for granted that living organisms were organisms, animate beings with their own souls. Souls gave organisms their purposes and powers of self-organization. From the Middle Ages right up into the seventeenth century, the prevailing theory of life taught in the universities of Europe followed the Greek philosopher Aristotle and his leading Christian interpreter, Thomas Aquinas (c. 1225–74), according to whom the matter in plant or animal bodies was shaped by the organisms’ souls. For Aquinas, the soul was the form of the body. The soul acted like an invisible mold that shaped the plant or the animal as it grew and attracted it toward its mature form.

The souls of animals and plants were natural, not supernatural. According to classical Greek and medieval philosophy, and also in William Gilbert’s theory of magnetism, even magnets had souls. The soul within and around them gave them their powers of attraction and repulsion. When a magnet was heated and lost its magnetic properties, it was as if the soul had left it, just as the soul left an animal body when it died. We now talk in terms of magnetic fields. In most respects fields have replaced the souls of classical and medieval philosophy.

Before the mechanistic revolution, there were three levels of explanation: bodies, souls and spirits. Bodies and souls were part of nature. Spirits were non-material but interacted with embodied beings through their souls. The human spirit, or “rational soul,” according to Christian theology, was potentially open to the Spirit of God.

After the mechanistic revolution, there were only two levels of explanation: bodies and spirits. Three layers were reduced to two by removing souls from nature, leaving only the human “rational soul” or spirit. The abolition of souls also separated humanity from all other animals, which became inanimate machines. The “rational soul” of man was like an immaterial ghost in the machinery of the human body.

How could the rational soul possibly interact with the brain? Descartes speculated that their interaction occurred in the pineal gland. He thought of the soul as like a little man inside the pineal gland controlling the plumbing of the brain. He compared the nerves to water pipes, the cavities in the brain to storage tanks, the muscles to mechanical springs, and breathing to the movements of a clock. The organs of the body were like the automata in seventeenth-century water gardens, and the immaterial man within was like the fountain keeper:

External objects, which by their mere presence stimulate [the body’s] sense organs . . . are like visitors who enter the grottoes of these fountains and unwittingly cause the movements which take place before their eyes. For they cannot enter without stepping on certain tiles which are so arranged that if, for example, they approach a Diana who is bathing they will cause her to hide in the reeds. And finally, when a rational soul is present in this machine it will have its principal seat in the brain, and reside there like the fountain keeper who must be stationed at the tanks to which the fountain’s pipes return if he wants to produce, or prevent, or change their movements in some way.

The final step in the mechanistic revolution was to reduce two levels of explanation to one. Instead of a duality of matter and mind, there is only matter. This is the doctrine of materialism, which came to dominate scientific thinking in the second half of the nineteenth century. Nevertheless, despite their nominal materialism, most scientists remained dualists, and continued to use dualistic metaphors.

The little man, or homunculus, inside the brain remained a common way of thinking about the relation of body and mind, but the metaphor moved with the times and adapted to new technologies. In the mid-twentieth century the homunculus was usually a telephone operator in the telephone exchange of the brain, and he saw projected images of the external world as if he were in a cinema, as in a book published in 1949 called The Secret of Life: The Human Machine and How It Works.21 In an exhibit in 2010 at the Natural History Museum in London called “How You Control Your Actions,” you looked through a Perspex window in the forehead of a model man. Inside was a cockpit with banks of dials and controls, and two empty seats, presumably for you, the pilot, and your co-pilot in the other hemisphere. The ghosts in the machine were implicit rather than explicit, but obviously this was no explanation at all because the little men inside brains would themselves have to have little men inside their brains, and so on in an infinite regress.

If thinking of little men and women inside brains seems too naïve, then the brain itself is personified. Many popular articles and books on the nature of the mind say “the brain perceives,” or “the brain decides,” while at the same time arguing that the brain is just a machine, like a computer.22 For example, the atheist philosopher Anthony Grayling thinks that “brains secrete religious and superstitious belief” because they are “hardwired” to do so:

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Kamis, 31 Oktober 2013

PDF Download Prayer-Asking and ReceivingBy John R. Rice

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  • Sales Rank: #271672 in eBooks
  • Published on: 2016-02-17
  • Released on: 2016-02-17
  • Format: Kindle eBook

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Selasa, 29 Oktober 2013

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  • Published on: 2015-06-16
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Sabtu, 26 Oktober 2013

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Tales of the City: A Novel (P.S.), by Armistead Maupin

From the Back Cover

For almost four decades Armistead Maupin's Tales of the City has blazed its own trail through popular culture—from a groundbreaking newspaper serial to a classic novel, to a television event that entranced millions around the world. The first of nine novels about the denizens of the mythic apartment house at 28 Barbary Lane, Tales is both a sparkling comedy of manners and an indelible portrait of an era that forever changed the way we live.

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About the Author

Armistead Maupin is the author of the nine-volume Tales of the City series, which includes Tales of the City, More Tales of the City, Further Tales of the City, Babycakes, Significant Others, Sure of You, Michael Tolliver Lives, Mary Ann in Autumn, and now The Days of Anna Madrigal. Maupin's other novels include Maybe the Moon and The Night Listener. Maupin was the 2012 recipient of the Lambda Literary Foundation's Pioneer Award. He lives in San Francisco with his husband, the photographer Christopher Turner.

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Product details

Series: Tales of the City (Book 1)

Paperback: 400 pages

Publisher: Harper Perennial (May 29, 2007)

Language: English

ISBN-10: 0061358304

ISBN-13: 978-0061358302

Product Dimensions:

5.3 x 0.9 x 8 inches

Shipping Weight: 10.4 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

610 customer reviews

Amazon Best Sellers Rank:

#29,975 in Books (See Top 100 in Books)

Set in San Francisco and comprised of a hundred or so very short chapters, Armistad Maupin creates an ensemble of interesting characters trying to find themselves a half-decade after the Summer of Love but a lifetime before AIDS, cellphones, the internet or Donald Trump.This was the perfect book for me to read after the emotionally draining experience of “A Little Life.” Breezy, but poignant. The book is a time capsule of the 70s and it shows how much things have changed and how little.

THIS REVIEW ADDRESSES ERRORS IN THE BOOK, NOT THE BOOK CONTENT. OTHERS HAVE COMPLAINED OF THE SAME THING, BUT I WANTED TO ADD MY OPINION.Many words in this book have been "replaced" by auto-correction with incorrect words. It is distracting and irritating, there are so many!! For example, a chapter should be called "Mittelschmerz" -- it was replaced by ETHELMERTZ. She is a character from the old I Love Lucy show!! Ridiculous!! This is just one example of many in the book. I imagine the problem lies with the publisher. I haven't had this problem with other Kindle books, some from the same publisher. With the prices of the Kindle books being about the same as a physical book, this is unacceptable. This makes Amazon look bad. This is the 4th book in a series of 9. I planned to read them all, but am afraid that some of them will be like this one. It is very difficult to enjoy the book with so many errors.Amazon outsourcing customer service is not working well, in my case. I was told to re-download the book, and of course it is the same. I was promised a $5.00 credit as a gesture of "good will." I have not received that credit. This is my worst experience with Amazon. It is probably a publishing mistake, but to sell the Kindle books at physical book price and have these errors is UNACCEPTABLE.I bet the author would not take kindly to having his words mangled!!! I may write him about it. At this point I want my money back.

How did I manage to come this far in life without having discovered Armistead Maupins wonderful city, characters, stories? In.way, however, I’m sort glad am sort of glad I’m just now discovering, because I can binge read them all at once, without having to endure the wait time between publications. SO hooked for the next six books!

Fantastic book if you know San Francisco and want to look at a period of time when the clouds of 68 and Vietnam had subsided and the fear of the AIDS plague had not yet come. Helped me appreciate my city that much more.

I remember when this was running in the San Francisco _Chronicle_ as a serial. (Not to be confused with _The Serial_, which ran in the _Chron_ a year or so earlier and was about Marin County...) I chose not to read it then, though we _had_ a subscription to the _Comical_; I read a few columns and didn't get into it.So what is it?_Tales_ chronicles (see what I did there?) the lives, loves, lusts, heartbreaks, and minor irritations of a dozen or so people living in and around San Francisco in the mid-to-late 1970s.Most of the characters center around 28 Barbary Lane, a small apartment house run by one Anna Madrigal. Mrs. (she insists on it though, she says, she's never been married) Madrigal is a motherly, free-spirited woman who grows weed in the back yard and names all the plants. (We eventually learn, or _may_ learn, that she has Secrets and that her name is an anagram (of what?).)What it is, then, is, well, a soap opera. The serialized format turns into chapters of (usually) three or four pages, each of which extends the stories of (typically) one or two of the major characters. Like a soap opera - but also like Dickens, for Heaven's sake - the plot runs heavily on coincidence. One character's gynecologist turns out to be another's love interest, that sort of thing.Give Maupin credit for this: his characters run a fairly wide spectrum of social "levels," from the unemployed to the millionaire social-register class, and, somehow, they all interact plausibly if not quite believably. Each is motivated by their own personal and social imperatives, and we learn enough of their motivations to empathize with them - with the exception of Mrs. Madrigal , who remains a delicious mystery.The writing is light and fluffy and humorous without ever descending into satire or silliness, either of which would rob the characters of their identities.It's enjoyable enough that I read it in two days, but I don't feel particularly compelled to read the (8) sequels.

Hampstead Maupin was politically incorrect before anyone had ever heard the term-and unapologetically so. The author writes about the LGBTQ culture in the early 1970's San Francisco when gay was the term that included a transsexual landlady, homosexual male tenant who aspired to be a kept woman, a Fundamentalist set of parents who couldn't see the forest for the trees when they came from Florida to visit their son, a female fashion model who identified as black so that she would be more marketable even though both biological parents were Lily white, a lesbian tenant who wanted to revive her relationship with the black model, a homosexual male OBGYN WHO had a sexual encounter with a virile captain of industry whose wife had just come to see the doctor about getting an abortion, and tying everything together is an innocent young Secretary from Cleveland who quickly discovered that she and her little dog Toto were no longer in Kansas. If you are able to set aside your preconceived prejudices for a short while, you are in for the ride of your life. There are five more books in Maupin's Tales of the City series, but I might just stop where I finished at the end of the first book because the other five could not possibly be as much fun.

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Kamis, 24 Oktober 2013

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  • Published on: 1800
  • Binding: Hardcover

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Kamis, 10 Oktober 2013

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Penguin Audiobooks presents Roald Dahl's Charlie and the Great Glass Elevator, read by the actor Douglas Hodge, who plays Willy Wonka in the hit musical adaptation of the book. Charlie Bucket and his family are rushing around the Earth at 17,000 miles an hour in a great glass elevator.

It belongs to the fantastic Mr Willy Wonka, and the adventure becomes even greater upon discovering they're not the only ones orbiting the Earth at that particular time....

Douglas Hodge is a multi-award-winning English actor, with Olivier and Tony awards for his performance in La Cage aux Folles, and nominations for his leading roles in Cyrano de Bergerac, Guys and Dolls, and Inadmissible Evidence. In 2013 he is playing the role of Willy Wonka in Sam Mendes' musical of Charlie and the Chocolate Factory.

  • Published on: 2014-08-25
  • Format: Unabridged
  • Original language: English
  • Running time: 11 minutes

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Jumat, 27 September 2013

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Scientific American Biology for a Changing WorldBy Michele Shuster, Janet Vigna, Matthew Tontonoz, Gunjan Sinha

From the groundbreaking partnership of W. H. Freeman and Scientific American comes this one-of-a-kind introduction to the science of biology and its impact on the way we live. In Biology for a Changing World, two experienced educators and a science journalist explore the core ideas of biology through a series of chapters written and illustrated in the style of a Scientific American article. Chapters don’t just feature compelling stories of real people—each chapter is a newsworthy story that serves as a context for covering the standard curriculum for the non-majors biology course.  Updated throughout, the new edition offers new stories, additional physiology chapters, a new electronic Instructor's Guide, and new pedagogy. See what's in the LaunchPad

  • Amazon Sales Rank: #4059 in Books
  • Published on: 2014-03-07
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.75" h x .81" w x 9.04" l, .0 pounds
  • Binding: Paperback
  • 608 pages

About the Author

Michele Shuster, Ph.D., is an associate professor in the biology department at NewMexico State University in Las Cruces, New Mexico. She focuses on the scholarship of teaching and learning, studying introductory biology, microbiology, and cancer biology classes at the undergraduate level, as well as working on several K 12 science education programs. Michele is an active participant in programs that provide mentoring in scientific teaching to postdoctoral fellows, preparing the next generation of undergraduate educators. She is the recipient of numerous teaching awards, including a the Westhafer award for Teaching Excellence at NMSU. Michele received her Ph.D. from the Sackler Schoolof Graduate Biomedical Sciences at Tufts University School of Medicine, where she studied meiotic chromosome segregation in yeast.

Janet Vigna, Ph.D., is an associate professor in the biology department at Grand Valley State University in Allendale, Michigan. She is a science education specialist inthe Integrated Science Program, training and mentoring K 12 science teachers. Janet has 18 years of undergraduate teaching experience, with a special interest in effectively teaching biology to nonmajors. She has recently been recognized with the GVSU Outstanding Teacher Award. Her scholarly interests include biology curriculum development, the effective use of digital media in science education, and research on the effects of biological pesticides on amphibian communities.She received her Ph.D. in microbiology from the University of Iowa.

Matthew Tontonoz has been a development editor for textbooks in introductory biology, cell biology, biochemistry, evolution, and environmental science. After a brief stint in medical school in California, he realized he was better suited to saving sentences than saving lives. He received his B.A. in biology from Wesleyan University and his M.A. in the history and sociology of science from the University of Pennsylvania. He is currently staff science writer at the Cancer Research Institute, where he covers advances in cancer immunology and blogs about the history of medicine.Gunjan Sinha has been writing about science for over a decade. Her articles have been published in Science, Nature Medicine, Nature Biotechnology, Scientific American, and several other magazines and journals. She holds a graduate degree in molecular genetics from the University of Glasgow, Scotland and a graduate degree in journalism from New York University. She currently works as a freelance science journalist and lives in Berlin, Germany."

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