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The Career of Dona Ines De Suarez, the First European Woman in Chile: The First European Woman in Chile (Latin American Studies)
Ann Keith Nauman
Manufacturer: Edwin Mellen Press
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ASIN: 077347739X |
Book Description
In all of her roles -- athlete, wife, mother, role model, and cancer survivor -- Olympic gold medalist Peggy Fleming has relied upon the discipline she cultivated as a young skater. Now in this intimate memoir, she eloquently reveals her fascinating life story and shares her secrets to serenity and success.
The long Program
In the 1968 Olympic Winter Games Peggy Fleming not only captured the United States? only gold medal, but a country?s collective heart as well. A young woman who embodied both stunning athleticism and magnificent grace, Peggy Fleming reluctantly became an instant celebrity. In the decades that followed, she also triumphed off the ice -- commentating for ABC Sports and nurturing a long-standing marriage while raising two delightful sons.
But Peggy?s toughest challenge came in 1998 when she was diagnosed with breast cancer. Here, Peggy candidly details her courageous physical and emotional battle. She also explains how she ultimately prevailed, and why she became an outspoken, highly visible promoter of breast cancer awareness. Most important, she relates how every person?s life has its own version of the long program, those precious years that take little girls and turn them into wives, mothers, grandmas, and survivors. A compelling memoir that deserves the highest marks, The Long Program is both a portrait of a remarkable woman and a collection of inspiring lessons on how each of us can be our best.
Customer Reviews:
A bit impersonal .......2005-12-12
I love Peggy Fleming -- she was talented, unspoiled, and professional as an athlete. But folks who want to get to know Peggy in depth willl need more than this autobiography. Fleming writes in a very impersonal tone, as if she is telling the story of another skater. While it is chockful of details about skating programs and locations, it lacks any real insight into what it FELT LIKE to be a 1960s Olympic athlete and her views on the skating world today. Fleming barely mentions the pressures that skating must surely have placed on her formative years, family life, social and personal development, and self esteem. The impact of the family's Peggy-focus on her sibilings is only lightly mentioned in brief paragraph. Indeed, the most interesting struggle Fleming appears to have had was finding skating outfits that were both pretty and modest. There is also little indepth analysis of the strengths and weaknesses of the skating world today. Her commentary about the Harding/Kerrigan incident could have easily been made by a nonprofessional spectator. Fleming comes across as a nice person who speaks well of others and the sport, but lacks (or chooses to surpress) any kind of a critical eye to the controversies that have surfaced in the skating world (e.g., excessive pressure to excel, anorexia/bulimia, inside politics, etc.). It is a "nice" book, but Ms. Fleming remains a very private person which is not what one expects when the personal account of someone's life story!
Fleming's lack of depth is disappointing.......2003-10-28
Fleming's autobiography, The Long Program, does a poor and inadequate job of telling a potentially profound story. Fleming's words and descriptions do not give justice to the depth of many of the stories told throughout the novel. Tragedies such as the unexpected death of her coach in a plane crash, and the deaths of her parents are stated in a sentence or two, never getting into the emotions that surely surrounded the experiences. Readers looking for a first-hand recount of Fleming's experience with competitive skating should also beware. She just barely skims the surface of the pressures and glory of being an Olympic medal winner and World Championship title holder. Humorous and detailed stories that often liven up autobiographies are also few and far between. Due to the shallowness and straightforwardness of this book, I would not recommend it for anything higher than purely recreational reading when a few hours can be spared.
Insightful But Not Fascinating.......2003-06-01
When I first started reading this novel. I wasn't keen about reading it because The book seemed to be like A How to Skate book. Who is her favorite skaters and me this and me that. Until I read the chapter about Being Mom and the chapter about her fighting breast cancer. Those chapters were truly inspirational. Then I felt I knew the Real Peggy Fleming. So I'm giving it three stars.
Peggy wrote an excellent book!.......2002-05-05
A truly great book--I could hear Peggy's voice in her words as I read each page! Peggy not only goes through her personal history but the last chapters are devoted to her cancer struggles, and her advice on fitness/health. She wants to help us all get through our own "long programs" in the healthiest ways possible. Peggy is very candid and open in her narrative and keeps your interest, even if you don't know much about the sport. Buy this book!
Positive, Classy, and an Inspiring Read for Everybody.......2001-03-28
Positive and upbeat, this delightful biography could only come from somebody like Peggy Fleming, a skating icon and national treasure. Her writing is honest, candid, and refreshingly unpretentious. What I like about this book is that it is written in Peggy's voice--you feel as if she is actually talking to you. Even if you're not a skating fan, you'll enjoy this book enormously.
Book Description
One of the most distinctive voices in film criticism explores relationships between narrative style and sexual politics. Robin Wood, well known for his books Hollywood from Vietnam to Reagan and Hitchcock's Films Revisited, probes the political and sexual ramifications of fascism and cinema, marriage and the couple, romantic love, and representations of women, race, and gender in contemporary films from the United States, Europe, and Japan. He looks closely at the works of Leo McCarey and Jacques Rivette, Ozu's "Noriko Trilogy," and the recent Generation X films Before Sunrise and The Doom Generation. In a chapter on fascism and cinema that juxtaposes Leni Riefenstahl's Triumph of the Will and Alain Resnais's Night and Fog, Wood finds that what is most important is not these films' record of another time and place but "the light they can throw on our contemporary cultural situation." Wood's central concern in these chapters is the ways in which the films relate to sexual politics and the organization within our culture of gender and sexuality. Seeing humanity as a "battleground" of a struggle between forces for Life and those of Death, Wood holds out hope for a joining of the forces of feminism, antiracism, lesbian and gay rights, and environmentalism necessary for authentic movement toward liberation.
Customer Reviews:
In The Interest of 'Balance'..........2006-07-17
As a long-term admirer of Robin Wood, I feel compelled to answer the neagtive review of his book here, and attempt to provide a contrasting (balancing) view.
Firstly, this book, and Wood's 'world of film criticism,' is described in the first paragraph as 'pessimistic and one-sided.' True, as the review notes, the introduction lays out Wood's personal view of the ills of contemporary capitalist society, and granted it is extreme in its despair at the state of the planet. However, given that the book comprises a series of essays on films and filmmakers very dear to Wood's heart - works that can highlight social ills and help point a path towards liberation - it is difficult, I think, to conclude that it is, as a whole, negative or pessimistic. He is dealing with many filmmakers, such as Mizoguchi, Ozu, Ophuls and Rivette, that themselves highlight oppresion and injustice in their work. It is this that Wood analyzes (very convincingly, in my view); and thus it seems that the problem the reviewer has with the book is its fundamental basis, its reason for being (as it were): not, as is implied in the review, Wood's particular treatment. In any case, there are several essays here - particularly of the wonderful Before Sunrise - of films that Wood clearly believes are life-affirming, so it's not the simplistic doom-mongering the reviewer makes it out to be.
Secondly: as to the charge that Wood is a 'snobbish elitist,' I can only say that he has always tended to aim his work (going back to his early books on Antonioni, Hitchcock and Arthur Penn) at an educated audience who are not newcomers to serious film criticism and academic close-analysis. This is not so much a dig at the reviewer. Rather, I am saying that, unless you are a serious and commited student of the cinema (in other words, studying to at least a degree level), Wood's detailed, rigorous analyses and sometimes dense prose can be heavy-going. OK, I concede that his references to older, more high-brow art forms in connection with and validation of certain films and directors (there is a piece in this book about Renoir and Mozart) can be a little OTT. In this, it is the case that Wood comes from a generation of critics (along with V.F. Perkins, Richard Dyer, Noel Burch, etc) who were writing at a time when film studies was in its infancy, and when films were not widely allowed the status of serious art. This is something he and others have always fought for, and I peronally find it stimulating and refreshing. I thus repeat, in the interest of objectivity, that only those seeking very passionate, challenging and detailed academic criticism should seek out this book.
Thirdly, if the chapter on the two Gaslights is imbalanced, it is because Wood is correcting a perceived imbalance himself - the myth (as he says) that Dickinson's version is better than Cukor's. Regardless of whether you agree with this or not, it is the case that the essay is about Cukor's film more than Dickinson's. Once again, the book is criticised here for not doing something that it never sets out to do and never claims to be doing.
Fourthly, and most importantly, i come to the curious assertion that Wood's writing 'only forces us to see his point until the very end.' I confess, I'm not sure what is being argued against here, or why this is a bad thing. Surely the point of film criticism is to explicate a personal position regarding a film. Why should a critic feel duty bound to add balance (by which I can only presume, as the reviewer doesn't make it clear, that what is meant by this is that all analyses should allow for good and bad points in a film)? This is what a tabloid reviewer of films should be concerned with; NOT a serious critic engaging in academic close-analysis. One should always read critics critically (a point Wood actually makes in this book, in the chapter on Ozu), and if one doesn't, that is not the critic's fault. If you don't agree with Wood's valuation of a film, fine: just know that it is not, nor should it be, his problem to allow for contradictory views in his work. That is your own responsibility, not the critic's!
In one sense, however, it is true what the review says: that if you are entirely new to serious film criticism, there are better places to start than with Robin Wood. However, this should not be a criticism of his work: he is unapologetically concerned with serious analysis, and for me that is something there is too little of today, as mags like Sight and Sound continually dumb down. He is a passionate, engaging and challenging critic, and this is a passionate, engaging and challenging book.
Feminist chicks dig Gaslight!!.......2005-03-02
I must admit, this is my first time walking into the world of famed film critic Robin Wood and his interesting standings on some of our most famous and remarkable films. I was interested in reading as much as I could about the film world, so upon a random wandering through a university bookstore, I found this book. I remember thinking, "there is no better to place to start", so I picked up Mr. Wood's book and dove headfirst into his very pessimistic and one-sided world of film criticism.
To begin, this is his last book on film criticism, so I though that he may take a step into the nostalgic factor and remember some of the good films that he has watched in the past and perhaps how they may influence the face of cinema today. Boy, was I wrong. Instead, the opening introduction to this book is nothing more than negative regurgitation about our already failing planet. If anyone has picked up this book, nine times out of ten they have seen several films and want to challenge themselves mentally. We do not need this depressing, over-the-top tirade bringing us into the pages of cinema while speaking about things that we already know. I thought that Wood was doing nothing but speaking to the choir with this opening. Also, it left this horrible, "I am better than you" taste in your mouth. As I read his essays on certain films that he has seen, I kept thinking (from the introduction) that he was speaking above me, never to me. I never saw him as a teacher of film, but instead a snobbish elitist that hated the world for what it is doing and decided to force it upon us. From this point on, the book went downhill for me.
The second issue that I had Mr. Wood's book was the fact that he doesn't bring in too many outside sources during his arguments. I provide to you the example of his dissection (and forced decision) as to which of the two Gaslight films were better. While I am under the utter belief that the 1940 (or 1939) version is far superior to the 1944 version, I am always interested in seeing how another feels about this heated debate. Reading Wood's comments on this issue infuriated me. He compared the two, but never truly focused any sort of debate on the 1940s version. He would allow one line for the 1940s version, while allowing several paragraphs for why the 1944 version is better. I felt as if I was watching FOX with his so called "fair and balanced" arguments. I needed more, but sadly it never arrived. While his comments about feminism and these films made me laugh (because I think he was a bit off base), I continued to think about the opening paragraph and the bitterness that opened this book.
Finally, I would like to say that his comments on The Doom Generation just didn't seem to match the rest of the book. While I do see the aesthetic value in the film, I do not think it deserves an entire essay to. The argument in this case was worse than the Gaslight moments mentioned above. Again, we are provided with one sided arguments that force us to believe (and hear) only one side of the story, while the other is left untouched throughout his words. While I agree that critics need to make their individual point to the masses, they need to allow for, again, a "fair and balanced" debate that allows everyone to see their side while allowing the participants to decide for themselves how they feel about the topic. Wood did no such thing, only forcing us to see his point until the very end.
Overall, this is not the first book that you should get to get into film criticism. Wood's final book seemed like he was unloading his negative personal issues from his chest to ours, and he did so with no remorse or continuity. Perhaps I should have started with one of Robin Wood's other books, but chance brought this one to me and ultimately disappointed my feelings on the wild, wonderful world of film.
It is up to you if you would like to read it, but for me there are better stories and stronger arguments about film.
Grade: * out of *****
Book Description
Don't believe what you see because you're about to encounter all sorts of things that aren't quite what they seem. This collection of incredible optical illusions may look like just one book, but it's really two! When you reach the end of the first one, you really aren't done--flip it over and start again with yet another book of challenging puzzles. Between the covers you'll find amazing tricks for the eye as well as for the mind. Behold gray spots that appear and disappear, solid objects that can't exist, and straight lines that wave and bend. Circles shake and patterns pulsate. Mazes baffle and pictures with hidden objects dazzle. Create your own 3-D viewer, create rainbows, perform magic by making a scarf disappear, and more. Incredible--but real--you're in for some astonishing surprises.
Book Description
This landmark treatise of 1817 formulated the guiding principles behind the market economy. Author Ricardo, with Adam Smith, founded the classical system of political economy, a school of thought that dominated economic policies throughout the 19th century and figured prominently in the theories of John Stuart Mill and Karl Marx.
Download Description
Ricardo's classic development of his ideas in economics
Customer Reviews:
Is it over yet?.......2006-01-22
I don't want to insult Ricardo. He was unequivocally brilliant. But this book was painful to read. Granted, I am not an economist, so maybe this just wasn't for me. I found it dry and devoid of all emotion. I understand that it is intended to educate and to promote an economic theory, not to entertain, but God man, show your readers some mercy! I am a firm believer that if a book is too boring to read, the author's message will never get out, regardless of its merits.
Principles of Political Economy and Taxation by Ricardo.......2003-10-29
This work is a masterpiece of economic theory only second to
the Wealth of Nations by Adam Smith. Ricardo states that value
is a function of effort and not the price paid for labor. He
reminded us that labor plus the tools to assist labor affected
the creation of value. Therefore; increases in value were in
direct proportion to increments in labor. Value was also a
function of the time it took to bring the goods to market.
Surprisingly, the cultivation of inferior land resulted in a
higher exchangeable value of raw produce because more labor
was required in its production. If we become more efficient in
land cultivation, rents will go down because more can be
cultivated with less land. In addition, the exchangeable value
of commodities is undisturbed by natural or accidental causes.
Laborers derive their greatest pleasure when the market price
of labor exceeds the natural price. Therefore; wages will
increase in response to increases in the demand for labor.
Rises in rent are accompanied by increments in the share of
produce because landlords want more rent when harvests are
greater. Accordingly, the price of corn is a function of the labor to produce it. If wages go down, then prices must fall.
As the price of labor goes down, profits increase but the
price of the commodity may not go down. Taxes on profits
tend to increase the price of a commodity . If money is not
taxed, then all commodities will be subject to price increases.
Ultimately, a tax on land begets a tax on produce. In addition,
a tax on labor will raise its price. In addition, the price of
provisions determine the price paid to the worker. If money
decreases in value, all commodities will be subject to steep
price increases. This was seen in modern times with the
fluctuation of the Russian currency. Ultimately, bounty
lowers the price to foreigners because the government subsidizes
the bounty paid to the local merchants to stimulate trade.
The theory of rent transfers value but does not create it.
Ultimately, wages are determined by the price of food and
cost of production.
This theory of wages differs from Adam Smith who said that
wages were a function of the ease or hardship to do work, the
difficulty or expense of learning a trade, the constancy
of employment, the trust reposed in the workmen, the probability
of success or failure of the venture or the fear of misfortune.
David Ricardo's work is an important milestone in the theory
of economics and comparison to the work of Adam Smith.
Told the truth.......2003-08-18
David Ricardo was never one to mince words.
"The opinion entertained by the labouring class, that the employment of machinery in frequently detrimental to their interests, is not founded on prejudice and error, but is comfortable to the correct principles of political economy." Unlike today, the ruling class and their intellectuals of the 19th Century were not affraid to say what they were up to.
Divers Typos.......2003-03-04
The publisher should be convinced that the automatic spell checker should not be so heavily relied upon. The cover art is an expression of how an armchair graphic artist can be innovative with Photoshop. If a book of such high esteem be put out for public enrichment its presentation should not be so insincere.
A must for the student of Social Sciences.......2003-02-12
Along with Adam Smith, the Englishman David Ricardo is one of the fathers of the so-called Classics school of economic thought, and the Principles is his major opus, one he was very much reluctant to write, but only did so at the urgings of James Mill and his son John. Written in the first half of the 19th victorian century, he was nonetheless, a very freed mind, who did not accept or indulge in the extravagancies of the beginning of the industrialization proccess in England. To David Ricardo, Karl Marx owes a good share of his theory of labour, something essential in the labour movements of then. The concepts adapted and created by David Ricardo is transported to the text in a dry and concise style, not too much worried in polemics, but only interested in address the topics he raises in a very precise way. IF you are a student of Social Sciences, this book is a must.
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Principles of Political Economy and Taxation
David Ricardo
Manufacturer: Adamant Media Corporation
ProductGroup: Book
Binding: Paperback
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ASIN: 054395823X
Release Date: 2001-06-21 |
Book Description
Edited by E.C.K. Gonner. This Elibron Classics book is a facsimile reprint of a 1908 edition by George Bell and Sons, London.
Book Description
There can be no rise in the value of labor without a fall of profits. If the corn is to be divided between the farmer and the laborer, the larger the proportion that is given to the latter the less will remain for the former -from "On Value" Friend to, colleague of, and influence on the likes of James Mill, Jeremy Bentham, and Thomas Malthus, revolutionary British writer DAVID RICARDO (1772-1823) was one of the foundational thinkers of classical economics, developing theories of rent, wages, profits, value, and labor that continue to dramatically impact economic philosophy today. Principles of Political Economy and Taxation, first published in 1817, is his major work. Here, he introduces the concept of comparative advantage, explores the impact of taxes, examines the effects of accumulation of profits and interest, discusses trade, currency, and banks, and much more. ALSO FROM COSIMO: Ricardo's Classics of Economics: The High Price of Bullion and An Essay on Profits
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The Economics of Taxation: Principles, Policy, and Practice
Simon R. James , and
Christopher Nobes
Manufacturer: Financial Times/Prentice Hall
ProductGroup: Book
Binding: Paperback
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ASIN: 0273646303 |
Customer Reviews:
Brian Wayne Wells, Esquire, reviews Principles of Pol. Econ.......1998-01-18
David Ricardo was an English economist who simplified and refined Adam Smith's theory of working capitalism outlined in "Wealth of Nations." The present book, "Principles of Political Economy and Taxation" written in 1817 was Ricardo's most important work.
Ricardo strips away all of Adam Smith's assumptions that the owners of the means of production in society had any inherent right to profit from the labor of the working masses. Indeed, Ricardo laid out the conflict in modern capitalist society as clearly as anyone before or since his time. For Ricardo, the struggle in society was very plain. Capitalists made money off the surplus value created by workers, plain and simple. Therefore, capitalists needed to take as much of the surplus value as they possibly could with out any need for philosophical shilly-shallying. Capitalists need to recognise that their interests conflicted directly with the workers before it was too late. To increase profits capitalists should understand that they needed to reduce wages. Ricardo was elected to the pre-reform Parliament in 1819.
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Principles of Political Economy and Taxation
David Ricardo
Manufacturer: Synergy International of the Americas, Ltd
ProductGroup: Book
Binding: Hardcover
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ASIN: 9997995058 |
Book Description
This book, first published in 1817 is the most important writing of David Ricardo. Ricardo, was the founder of the classical school of economics and his writings are a foundation for modern economics. His theory of value as well as the function of wages and trade had a great influence on the economic philosophies of Karl Marx, John Stuart Mill and many others. A must reading for those who want to understand economics. A Collector's Edition.
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- The Roosevelts and the Royals: Franklin and Eleanor, the King and Queen of England, and the Friendship that Changed History
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