Book Description
AH-HA! I SEE IT NOW!
Everyone has experienced that joyful moment when the light flashes on -- the Ah-Ha! of creativity.
Creativity. It is the force that drives problem-solving, informs effective decision-making and opens new frontiers for ambition and intelligence. Those who succeed have learned to harness their creative power by keeping that light bulb turned on.
Now, Betty Edwards, author of Drawing on the Right Side of the Brain, the million-copy best-seller that proved all people can draw well just as they can read well, has decoded the secrets of the creative process to help you tap your full creative potential and apply that power to everyday problems. How does Betty Edwards do this? Through the power of drawing -- power you can harness to see problems in new ways.
Through simple step-by-step exercises that require no special artistic abilities, Betty Edwards will teach you how to take a new point of view, how to look at things from a different perspective, how to see the forest and the trees, in short, how to bring your visual, perceptual brainpower to bear on creative problem-solving.
You will learn how the creative process progresses from stage to stage and how to move your own problem-solving through these key steps:
* First insight
* Saturation
* Incubation
* Illumination (the Ah-Ha!)
* Verification
Whether you are a business manager, teacher, writer, technician, or student, you'll find Drawing on the Artist Within the most effective program ever created for tapping your creative powers. Profusely illustrated with hundreds of instructional drawings and the work of master artists, this book is written for people with no previous experience in art.
Customer Reviews:
It's worth buying for the part on analog drawing.......2004-09-08
This book is not a substitute for Betty Edwards' basic book on drawing, Drawing on the Right Side of the Brain. This book is about the creative process. So it applies to more than drawing or even visual art.
For me, the part on analog drawing opened up a whole new way to develop my work. I've used it in dream interpretation and personal growth as well as for my artwork. As an artist-blacksmith, analog drawing with sumi brush and India ink has enabled me to express very specific feelings and states of being with bars of iron.
You may find parts of the book unnecessarily complicated. I don't use everything in the book. But it's worth buying for the chapter on analog drawing. If you've ever had any doubts about your ability to express yourself in art, this book can dispel them completely.
Book is so-so.......2004-08-27
This book has some good information regarding different styles and techniques for drawing. The author is a little self absorbed throughout the book, and talks about herself and a class she teaches at a college. It goes fairly in depth on the thought process and workings of the brain.
There are sections on drawing different emotions, once again using herself and her students as examples. I wouldn't really suggest that anyone buy or check out this book in a library unless there was absolutely nothing else that related to what they were looking for...that's why I got this book.
Faith-Healing Testimonials and Pseudo-Science .......2004-05-21
LEARN-TO-DRAW: UNTHINKING PERSONS APPLY HERE!
Edwards seems intent on obtaining dominance in the field of "How To Draw" books written by those who cannot teach, employing a fashionable Madison Avenue advertising approach to Drawing-On-The-Cash-In-Your-Wallet.
Edwards seems to falsely presume that Michaelangelo, Raphael, Leonardo Da Vinci and other Renaissance Masters all drew upon knowledge regarding the RIGHT-SIDE of their brain, or ZEN, or even YOGA. It's a nonsense proposition, unsupported by fact. Neither were such "masters" of drawing, interested in selling HOW-TO-DRAW books.
One could examine infinitely the theme of an "Artist Within," a creative self within, or even a Divine Spark within. I myself endorse SPIRITUALITY with whole-hearted enthusiasm. The problem is, it just doesn't matter whether the artist is within/without, internal/external, left-brain/right brain, or just plain WRONG-HEADED; because it amounts to nothing more than coy marketing where Betty Edwards is concerned.
Betty Edwards engages in gross self-promotion, prevailing upon public sentiment to hold forth as art expert, Zen Buddhist, scientist, college professor, and New Age mystic guru.
Authors like Edwards are using two prominent FALLACIES, to lead readers on with promises of artistic empowerment:
(1) The WHOLENESS or WELLNESS FALLACY: which suggests that if I am HEALED, or WHOLE (in a psychological sense) I will be powerful, and produce powerful art.
(2) The KNOW-IT-ALL FALLACY: which suggests that if I KNOW EVERYTHING, such as is suggested by invocations of QUANTUM THEORY, or reading quotes from scientists, writers, poets, philosophers and adopting Eastern Religions such as Yoga and Zen (on a very superficial level) I will embrace a THEORY-OF-EVERYTHING, and as a consequence, I will be powerful, and produce powerful art.
Edwards twists and bends all knowledge into a gooey mass of rhetorical gibberish. Edwards cannot discern the difference between "WITHIN" or "THE RIGHT SIDE OF THE BRAIN".
By any stretch of definition, they cannot be the SAME THING at the SAME TIME.
The implication is clear; Edwards believes art is conditional upon maintaining an intellectual act, in short, a KNOW-IT-ALL act, inclusive of Zen Buddhism, New Age Cosmology, Nuclear Physics, Evolutionary Theory, Neurology, and Philosophy. [Just like Gary Zukav]; or, alternatively, it is a WELLNESS act, suggesting that we adopt a qasi-religious philosophy, identifing with a HIGHER SELF that is WITHIN. Whereas that latter statement sounds profoundly true, there is a problem. How can you both tell people that they are "Drawing on the artist within" and also tell them that the "artist" [HIGHER SELF] is "on the right side of the brain"? This is where Edward's ideas come into clear contradiction.
It is clear that those who recommend Edward's books, do not evidence a predominance of Left-Brain analytical functioning, with objective analysis. These are not "great thinkers" and yet Edwards claims require deep analysis. She is very wordy and heavy on text and ideology. It is virtually impossible to credit those who affirm Edward's theories, with an ability to use RIGHT-BRAIN functioning to visualize the OBVERSE/NEGATIVE SPACE, and at the same time actively use LEFT-BRAIN ANALYTICAL FUNCTIONING to analyze or comprehend Edward's outer-galactic star cluster of disconnected theories. Go figure!
Morever, Edwards cannot distinguish between the fundamentally contradictory reasoning inherent to METAPHYSICAL REALISM [the Platonic WORDS-ARE-REAL] as opposed to: METAPHYSICAL NOMINALISM [WORDS-ARE-NOTHING]; but Edwards is just preaching to the choir anyway. Who's kidding who?
This is an overly complex approach, but worse, it is an absolute contradiction in logic; but Edwards manages to both affirm the rational, the scientific, and the non-rational and metaphysical at the same time. Her scientists are "magicians" and perform "magic". Her magicians are scientists who expound profound core theories of physics. Knowledge of both or either of these make you an artist?
Betty Edwards, by introducing personal metaphysics into teaching drawing, is essentially dictating to students, that they must accept the philosophical and pseudo-scientific ideology, before they can even begin to learn to draw.
Betty Edwards teaches that THERE ARE THOSE WHO CANNOT DRAW-BUT CAN DRAW- CANNOT DRAW -- BUT CAN DRAW -- CANNOT DRAW-- BUT CAN DRAW ....and having taught this fundamental contradiction in reason, has found an army of ideological "lemmings" who repeat the propaganda slogan as though it were a fundamental, logical, rational, medical diagnosis, a philosophical, and psychological fact.
It's analogous to somebody WALKING down the street with you, and saying, "I CANNOT WALK! I CANNOT WALK!" and of course, you point out to them, "Hey, but you ARE walking!" and they respond, "No, you do not understand, I CANNOT WALK!" Whereupon you insist, "But you ARE walking! So you CAN walk, after all!" and they respond,
"Yes, of course I'm walking, but only because Betty Edwards taught me how to walk within the NEGATIVE SPACE around my feet!That's why!"
It reminds one of the PARADOX OF EPIMENIDES:
"All Greeks are Liars! --by Epimenides, a Greek
Edwards has a following, that much is evident; but merely because a mass of people claim a thing is so, does not make it so. [The Populist Fallacy ] The contradictions and paradoxes do not sum up to simple truth.
An analogy might be like declaring:
EVERYTHING IS TRUE. IF ANYONE SAYS OTHERWISE, IT'S FALSE!
Edwards pulls this off very neatly. You are to both DRAW ON THE ARTIST 'WITHIN' and also DRAW ON THE RIGHT SIDE OF THE BRAIN, at the same time. Both are true, and nothing is false.
Scientists are metaphysicians, and metaphysicians are scientists.
The ultimate irrationality however, is the suggestion that those who "draw", by Edward's miraculous methodologies, are "artists". If you subscribe to Edward's theory, you are drawing on the "ARTIST WITHIN". Isn't that nice? So, if everyone is an "ARTIST" by virtue of the existence of the "ARTIST WITHIN" how do we distinguish between someone who IS and IS-NOT an artist? You cannot. That is the marvelous slight-of-hand that Edwards is pulling off on the general public. Both or either YOU and BETTY EDWARDS and MICHAELANGELO.....are ONE, and not only, but you are "in ZEN" too!
It's a laughable proposition at best.
NO WONDER TTHIS BOOK IS SO CHEAP [].......2003-08-11
MANY OF THESE BOOKS ARE FOR SALE AND I SEE WHY. IT WAS A HORRIBLE BOOK FOR ANY ARTIST OR FOR SOMEONE TO LEARN ANYTHING ABOUT BEING CREATIVE! HOW DID IT GET PUBLISHED?? TERRIBLE SILLY THINGS WRITTEN DOWN ABOUT MUCH OF NOTHING....DON'T WASTE YOUR TIME PLEASE..
IF YOU FIND THIS BOOK HELPFUL, YOU MUST NOT BE AN ARTIST!.......2003-08-11
NOT ONLY DOES THIS BOOK OVERLAP, I FOUND IT INSULTING TO READ! I WAS SO BORED OF THE DRAWINGS AND OVER AND OVER EXPLANATIONS OF THEM THAT I COULDN'T FINISH THE BOOK. THAT WAS TOO MUCH REALLY!! NO THEORY OR ANY BREAKTHROUGH KNOWLEDGE WHAT SO EVER.
Book Description
Decades before the PBS documentaries, before Bill Clinton, Al Hirschfeld went to Harlem. No artist ever captured Harlem's dangerous highs and bluesy lows like this Master of the Performing Curve. Hirschfeld began his artistic Harlem odyssey six decades ago, charting that legendary New York neighborhood's special rhythms and moods in splashy feverish hues. Hirschfeld's Harlem opens onto a special portfolio of these full-color works, a pictorial essay of the Swing Era. Wynton Marsalis, Quincy Jones, Lena Horne and Harry Belafonte, among a dozen other Harlem artists and critics, supply accompanying commentary, reminiscences and analysis - each voice focusing on one portrait. Then it's back to Hirschfeld in his signature black and white takes on forty Harlem artists and public figures: Gregory Hines, Duke Ellington, James Earl Jones, Ethel Waters and dozens more - all have been caught in the creative act by one of our greatest artists. Each drawing is accompanied by a thumbnail narrative by Hirschfeld about the most famous inhabitants and transients of these fabled streets. Hirschfeld's Harlem opens a picture window into nearly a century of Black American artistry and life.
Customer Reviews:
HIRSCHFELD IS STILL DRAWING RAVES.......2006-02-01
All hail Hirschfeld, and, more importantly, all hail this trio of tomes featuring works by the premier theater and entertainment illustrator of the 20th century. For decades, Big Al's works adorned the cover of Sunday's New York Times Arts and Leisure sections, sketches celebrating plays, musicals, movies and celebrities gracing Gotham that particular week. The bearded, rotund artist (sort of a secular Santa for show-biz folk) was ubiquitous at opening nights in and out of town. And, of course, each week, there were the "Ninas," his daughter's name, hidden, sometimes once, sometimes up to eight times, in each sketch. (The number next to his signature would clue us in on the number of times Nina's name was hidden.) Cross-country phone calls wailing, "Where's the last Nina?" ensued on many a Sunday afternoon.
Nina-searchers can now glut themselves on Hirschfeld's British Aisles, a collection culled from the New York Times; as a special treat, there are welcome commentaries from such big name Brits as Julie Andrews, Dame Edna, Sir Cameron Mackintosh and Lynn Redgrave.
A veddy nice job, but the real treats are Hirschfeld's Harlem and The Speakeasies of 1932. In Harlem, we can see the artist's style develop; before the detailed line drawings we have come to expect came almost impressionistic pencil shadings, at once more personal and mysterious, more abstract, and evocative and startling in their originality. Harlem has, as well as several historical essays, text by a band of authorities, including Bobby Short, Lena Horne, Ossie Davis and Ruby Dee and Savion Glover.
The Speakeasies of 1932 is a fascinating look at the dives and divine watering holes of that noble experiment, prohibition. Sketches of bars, bartenders and patrons, along with a written description of the joints, are included. Added to this fizzy mix are drink recipes from each bar; we should, perhaps, avoid the cocktail simply called "Smoke," from an establishment called O'Leary's on the Bowery. The principle ingredient? Two cans of Sterno.
Art should teach us something about the past, about ourselves, about our society. But it should also be fun. Al Hirschfeld accomplished all of this with pencil, pen and ink. If you aren't familiar with his work, meet this terrific triumvirate. And if you are familiar with dear Al (and Nina), then enjoy a reunion with old and treasured friends.
75 Years of Brilliance.......2004-03-05
This is a very impressive and moving collection of artwork that captures a robust culture from a unique perspective. While best known for his apparently goofy caricatures (a common opinion that is a caricature in itself), Al Hirschfeld is actually a keen and insightful observer of culture. Hirschfeld came of age in New York City almost next door to Harlem, and was heavily influenced by the culture of the Harlem Renaissance, and this spirit informed his interpretation of African American culture for the next 75 years.
Before embarking on his well-known celebrity caricatures, Hirschfeld captured the spirit of Harlem culture and nightlife in narrative paintings of regular people, which are collected impressively in this book's opening gallery. Here Hirschfeld's misleadingly simple style captures a full range of motion and emotion - capturing dancing, music making, and street culture with incredible power. The same goes for the uncharacteristically haunting "Ebony Sister" which speaks volumes on black experience. Next is a fantastic collection of caricatures of African American celebrities, covering a good 75 years of showbiz greatness, in which Hirschfeld uses simplicity and humor to bring out each performer's most eye-catching strengths.
As usual, it is great fun to search for the Nina's that Hirschfeld always slipped into his portraits - the best is one of Whoopi Goldberg, whose dreadlocks are made up almost entirely of Nina's. This book is well-supported by an outstanding essay on the Harlem Renaissance by Gail Lumet Buckley, as well as commentary by many black entertainers who have been moved by Hirschfeld's documentation of their culture, and who sure don't treat him like any sort of outsider. This is truly a winning collection not just of great artwork, but of its place in culture and history. [~doomsdayer520~]
Hirschfeld's Harlem.......2004-01-10
This book is a must for any Hirschfeld fan. A great addition to my Hirschfeld collection of books.
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Sol LeWitt: Seven Basic Colors and All Their Combinations in a Square Within a Square
Heinz Liesbrock , and
Sol Lewitt
Manufacturer: Richter Verlag
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Sol Lewitt: Bands Of Color
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Richard Serra Sculpture: Forty Years
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Sol LeWitt: Incomplete Open Cubes
ASIN: 393757235X
Release Date: 2006-03-01 |
Book Description
Josef Albers and Sol LeWitt are split by fundamentally different understandings of their work, but united by a powerful, overarching and defining goal, the avoidance of emphatic ideas of authorship and the de-emphasis, even, of the star system inside an author's own oeuvre. Both keep their works from getting uppity by making each one part of a serial long-term study, rather than an individual potential masterpiece. LeWitt acknowledges and pays tribute to Albers's significance in his artistic development, and to the two men's connections, in Seven Basic Colors and All Their Combinations in a Square Within a Square, the title wall drawing, installed in the Josef Albers Museum Quadrat in Bottrop and reproduced here in its entirety.
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Breaking down the boundaries: Artists and museums
Manufacturer: Henry Art Gallery, University of Washington
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Binding: Unknown Binding
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ASIN: 0935558241 |
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Chesapeake- The Eastern Shore: Gardens and Houses
Taylor Lewis
Manufacturer: Simon & Schuster
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Binding: Hardcover
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A Zombie Called Christ
Eric Mays
Manufacturer: PublishAmerica
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ASIN: 1424100119 |
Book Description
Persistent Vegetative State-Those three words changed our world with the Terry Schiavo crisis. When Bruce Spannick's wife suffers a similar fate, his world begins to unravel. Soon, everyone-from the Pope, to a Christian militant, to a renegade governor-wants to weigh in on the situation. In an act of pure retaliation, Bruce publishes a series titled The Gospels of a Zombie Called Christ. But when the desired effect is far from achieved, Bruce must face a firing squad of religious zealots, and even worse, the in-laws! A Zombie Called Christ is a quick-witted, fast-paced read filled with rich emotion and clever dialogue that takes jabs at the Christian church, Dan Brown, Judaism, politics, sex, and everything in between.
Customer Reviews:
Offensive and FUNNY!.......2005-10-11
Zombie Called Christ does not answer the question, "What would Jesus do?" It doesn't ask questions about religion, nor does it pretend to weave a tale within the confines of Christian dogma. What it does is take the ol' time religion, that people are so apt to sling in your face, and throws it right back at them in grenade format.
Eric Mays has crafted a brilliant debut novella that would be the equivalent of "collegiate South Park". It is offensive - and Mr. Mays is quick not to leave any group, individual, or religious sect out - but thought-provoking. Certainly he captures the truth, and those offended should examine themselves in a mirror, for Eric Mays has simply called them out for what they are.
A Zombie Called Christ is a top-notch satire, on par with Christopher Buckley. What on Earth is making Bruce Spannick depressed, crazy, insane? Well, it could have something to do with his wife, Claudia, being trapped in a hospital room, hooked up to tubes and monitors galore, stuck in a persistant vegetative state. Or, perhaps it's the variety of religious zealots camped out on his front yard of his Hampden house. Maybe, even, it's the in-laws. Who knows. All Bruce knows is that his wife's last will and testament was to never be placed on life-support, though never documented.
Engorged in a legal battle with the in-laws and their top-notch, high-dollar attorney, Reginald Kingston, Bruce suffers the trials and tribulations of a "right to die" case. Simultaneously he suffers the media frenzied battle at his front door. Christians insist on using his wife as a poster child for their battles against evil. In an act of pure vengeance, Bruce composes a series of "Gospels" that satirize Jesus Christ, Lord and Savior, as a zombie - as well as numerous other, very funny but, very offensive things.
Thrown into the mix, for good fun, are a Pope, who wants nothing more than to just die, a corrupt Cardinal with a malicious scheme, a Jerry Falwell-esque reverend, willing to take his own life to make a point, a Christian militant group known as ASS, and a half-witted Maryland State Governor.
Mr. Mays has a true gift for crafting witty, believable dialogue and vibrant, larger-than-life characters. And, his storytelling ability is in the same realm with such bizarre authors as Eric Garcia and Kurt Vonnegut - though, his style reminds me of early Tom Robbins books. While the story is neither deep, nor exceptionally moving - Mr. Mays tries, but falls short - the read is certainly fun. This is a nice, simple, gem of the literary world. The true gift here is that the reader is treated to these wonderful characters and watching them interact is enough to bring you back for more. Mr. Mays, congratulations. We await your next book.
Book Description
Texas Music was born at the crossroads of America. And it has reached out from there to touch the world. Texas has been a remarkably fertile seedbed for music coming from every point of the compass, and few places on any continent have produced musical styles and musicians whose artistic and cultural impact have been so profound on a national and international scale. Name virtually any style of music and there is a Texas musician whose popularity and influence have been enormous and pivotal in that genre-from the ragtime of Scott Joplin to the Tejano music of Selena, the electrifying blues guitar of T-Bone Walker to the distinctive country vocal styling of Willie Nelson, the bluesy wail of rocker Janis Joplin to the frantic rockabilly drive of Buddy Holly and the subtle piano jazz of Teddy Wilson.
The Handbook of Texas Music documents all of these and many more. It is a comprehensive, authoritative source on Texas music-an encyclopedia and biographical dictionary that covers all aspects of Texas music, including over 125 striking illustrations of performers and musical artifacts.
For centuries Texas has been a musical and cultural crossroads, and The Handbook of Texas Music carefully documents the complex convergence of numerous musical and cultural traditions in this state where east meets west, southern plantations meet high plains ranches, and where an ethnically diverse American culture shares an international border with Mexico. The music of American Indians, Anglo-Americans, African Americans, Mexican Americans, and numerous immigrant groups-Germans, Czechs, and Cajuns, among many others-was brought to Texas from every direction. These groups crossed paths, and for centuries have been swapping songs and styles ranging from ancient fiddle tunes to lively polkas and boogie-woogie piano stomps. The stories of Texas music are as powerful as the music itself, and The Handbook of Texas Music tells those stories well.
Customer Reviews:
Packed with history, trivia, and critical insights.......2004-05-03
125 illustrations add spice to The Handbook Of Texas Music, an encyclopedia-style reference of famous Texas composers, performers, musical artifacts, and much more. Packed with history, trivia, and critical insights on the evolution of Texas music, from tradition to popular culture and much more, The Handbook Of Texas Music is a resource guaranteed to foster new fascination and appreciation for this Texas musical and cultural expression.
A NOTEWORTHY COLLECTION.......2004-04-03
Believe it or not, Texas music is not all twangin' or "I'm A Lone Cowhand" - music of the Lone Star State reflects the diverse cultural backgrounds from which it sprang - American Indians, Anglo- Americans, African Americans, German Americans, and various other immigrant groups. Representatives of this musical heritage are as different as Janis Joplin and Van Cliburn, yet all share one thing in common - the great state of Texas.
Here, in The Handbook of Texas Music one finds alphabetical listings of all that has contributed to this rich musical background. Beginning with Elmer Akins, a radio announcer and gospel music promoter who formed the Royal Gospel Quartet in the early 1940s, and concluding with Zydeco, "a type of music that evolved from an acoustic folk idiom known as la-la, dating back to the 1920s and unique to black Creoles..."
In between there is a plethora of information. We learn that the "Yellow Rose of Texas" is a song about a slave who was supposed to have assisted in winning the battle of San Jacinto, and that musician and composer Roger Miller had no formal training on any of the instruments he played nor did he ever learn to read music.
The roster of notables included is lengthy, including Buck Owens, Stevie Ray Vaughan, ZZ Top, Willie Nelson, Selena, the Light Crust Doughboys, and the list goes on.
A bonanza for scholars and music lovers alike The Handbook of Texas Music is 390 pages of facts and noteworthy (pun intended) information.
- Gail Cooke
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Holt music: Grade 1 TTAS handbook with essential elements tests
Mollie Tower
Manufacturer: Holt, Rinehart and Winston
ProductGroup: Book
Binding: Unknown Binding
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Holt music: Grade 5 TTAS handbook with essential elements tests
Mollie Tower
Manufacturer: Holt, Rinehart and Winston
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Binding: Unknown Binding
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ASIN: 0030254280 |
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Holt music: Grade 2 TTAS handbook with essential elements tests
Mollie Tower
Manufacturer: Holt, Rinehart, Winston
ProductGroup: Book
Binding: Unknown Binding
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ASIN: 003025423X |
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Holt music: Grade 3 TTAS handbook with essential elements tests
Mollie Tower
Manufacturer: Holt, Rinehart and Winston
ProductGroup: Book
Binding: Unknown Binding
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ASIN: 0030254248 |
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Holt music: Grade 4 TTAS handbook with essential elements tests
Mollie Tower
Manufacturer: Holt, Rinehart and Winston
ProductGroup: Book
Binding: Unknown Binding
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ASIN: 0030254272 |
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Holt music: Grade 6 TTAS handbook with essential elements tests
Mollie Tower
Manufacturer: Holt, Rinehart and Winston
ProductGroup: Book
Binding: Unknown Binding
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ASIN: 0030254299 |
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Deconstructing Ireland
Colin Graham
Manufacturer: Edinburgh University Press
ProductGroup: Book
Binding: Paperback
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ASIN: 0748609768 |
Book Description
Deconstructing Ireland examines the course by which the history of modernity and colonialism has constructed an idea of "Ireland," produced more often as a citation than an actuality. The author's approach -- using Derridean deconstruction in alliance with positions in postcolonial and Subaltern Studies -- illuminates the way in which national identity is constructed and reconfigured through a fascinating range of material, including literature, political writing, and popular cultural forms such as television, film, and advertising.
Book Description
This digital document is an article from Irish University Review: a journal of Irish Studies, published by Irish University Review on March 22, 2003. The length of the article is 1063 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Deconstructing Ireland: Identity, Theory, Culture. Series: Tendencies: Identities, Texts, Cultures. (Book Reviews).(Book Review)
Author: Eugene O'Brien
Publication:
Irish University Review: a journal of Irish Studies (Refereed)
Date: March 22, 2003
Publisher: Irish University Review
Volume: 33
Issue: 1
Page: 222(3)
Article Type: Book Review
Distributed by Thomson Gale
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2000 Us Master Human Resources Guide
Donald W. Myers
Manufacturer: Commerce Clearing House
ProductGroup: Book
Binding: Paperback
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ASIN: 0808003895 |
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