Senin, 22 Oktober 2018

Free Ebook , by Leo Tolstoy

Free Ebook , by Leo Tolstoy

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, by Leo Tolstoy

, by Leo Tolstoy


, by Leo Tolstoy


Free Ebook , by Leo Tolstoy

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, by Leo Tolstoy

Product details

File Size: 1783 KB

Print Length: 596 pages

Page Numbers Source ISBN: 153779793X

Simultaneous Device Usage: Unlimited

Publisher: Forward2 (November 11, 2010)

Publication Date: November 11, 2010

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B004C058OW

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Amazon Best Sellers Rank:

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I have, at various times, tried to read four different editions of War & Peace (Penguin, Signet, Barnes & Noble, and now this) and by far, this is the best edition I've seen. This edition is everything I was looking for in a copy of War & Peace and I cannot recommend it highly enough.Pros:It is highly readable. Translating texts is always difficult, because you want to retain the feel of reading a Nineteenth century work but use language that makes the work accessible. Personally, I found some editions (Barnes & Noble, Penguin) to be hard to read and comprehend, especially when you first begin. This edition is a relative breeze to read.It has French translations. When reading the Signet edition, I found myself using google translate to understand sentences or phrases left in the book in French. Other editions translated most of the French but left phrases here and there untranslated and in the text, without footnotes. I understand in the original, Tolstoy wrote entire passages in French but provided translations in the foot notes. This edition follows that pattern. There are entire passages in French, but they are translated in the footnotes on the page.It has historical end-notes and an index. I am not unfamiliar with European and Russian history, but I, like most people, have no more knowledge than what I learned in my freshman world history class. This work has end notes in the text to provide context. Though it slows me down, I find myself flipping to the back of the book and reading every end note when the text provides it. I cannot stress enough how helpful this has been. The index is likewise helpful. It is an alphabetical list and short biography of the historical characters and places mentioned in War and Peace.It includes a short chapter summary. At the very end of the book, there is a chapter summary for a collection of chapters sharing a theme or describing the same event. The summary is no more than a sentence long and provides a nice refresher when you are trying to recall what happened when.Cons:Compared to editions that translate all the French, reading in the footnotes can be burdensome. I personally don't mind, but I can see how that might trip some people up.If you are looking for a copy of War and Peace, this is the one to get. Trust me.

It is unlikely that anyone who has the endurance to finish this book would give it a poor review. That would still be true, however, if it were one-third the length. It is, if not the best novel ever written, certainly on a very short list of great works of literature.The beauty of the prose, for me, is the fact that Tolstoy speaks through subtlety. His powers of description are beyond comparison, and in fact there is relatively little dialogue given the length of the book. But the focus of his descriptive powers is not the scenery or the landscape, as is often the case, but the gesture, the look on the face, the social context of the event. This is a subtlety that is lost in our dialogue-heavy, action-packed world today, and is almost foreign to most contemporary authors.Which, in part, also explains why War and Peace seems inapproachable to many contemporary readers. Many of us have lost touch with subtlety and if you are one of those, reading this book would be the greatest gift you can give yourself in the months ahead.“Helene was so good-looking that there was not only not a trace of coquetry to be seen in her, but, on the contrary, it was as if she was embarrassed by her unquestionable and all too strongly and triumphantly effective beauty. It was as if she wished but was unable to diminish the effect of her beauty.” When was the last time you read such a descriptive passage that used so few descriptive adjectives?One of the common criticisms of the book is that the characters often speak in French, which is retained in this translation. This is more true in the beginning, however, and, in total, the French represents a small portion of the total prose. And translation is provided, although the electronic version requires a certain amount of digital (as in fingers) dexterity that I don’t seem to have.Tolstoy, however, is sensitive to the inconvenience and I can’t recall a single passage in which the French was central to either the theme or the storyline. It is mostly there for context, so even if you pass over the short phrases you will miss little other than the full experience that Tolstoy intended. Also remember that French and English are not all that foreign to each other and the most important words in French can be easily guessed by English readers with a little lingual abandonment.Similarly, the complexity of Russian naming conventions need not be the burden it often is to the English reader. Tolstoy most definitely wrote a novel, not a mystery thriller, although he claims that it is not a novel. The storyline is not the book; it serves the theme. That, along with the rich context provided by Tolstoy’s prose, means that you don’t have to recognize each name before you complete the sentence. Nine times out of ten the identity will become obvious before the scene ends. And for that exception there is a handy reference guide. My advice: when you encounter a name that you don’t immediately recognize, read on for a bit before you look it up.As a thematic novel, it is not Tolstoy’s intent to document the Napoleonic wars, although that is the rough timeline of the book. He uses the history more to reveal the cultural themes he seeks to reveal—the culture of the Russian aristocracy at the time.While that culture contrasts sharply with the way in which most Americans are inclined to think of Russia, the themes are quite timeless. There are many passages which could as easily be describing today’s aristocracy—the wealthy elite. As Yogi Berra reminded us, “The more things change, the more they stay the same.”Tolstoy is particularly philosophical about war. When I asked a friend of mine who was a Marine veteran who served in the jungles of Vietnam what he thought about the movie, “Saving Private Ryan”, he noted that no one has ever been able to capture the sheer chaos of war on film. Tolstoy, however, does capture it in prose and it is moving without being graphic or overly detailed. You nonetheless feel that you are immersed in the same situational context as the young infantryman thrown about in the chaos of futility and death.In the end, this book easily earns its reputation as one of the best novels ever written. Through his grasp of subtlety and his incomparable ability to build intangible impressions with tangible prose, Tolstoy takes us through the full range of human emotions, accomplishment, and vacuity.Unlike most contemporary authors, Tolstoy actually “tells” us little. As many great novels do, he merely puts themes out there for us to consider and mold to our own experience and our own lives. You will be surprised at how much of yourself you find in early 19th Century Russian characters and events. If not timeless, the insight and the human revelation are universal. As Tolstoy himself wrote, “We can know only that we know nothing. And that is the highest degree of human wisdom.”Indeed!

The two stars are not about the book but Amazon's mislabeling of the translation.This Kindle edition is now the Anthony Briggs, not the Rosemary Edmonds translation. I have the paperback version of the Anthony Briggs translation and it matches up perfectly with this kindle edition. I really wish Amazon would do a better job of labeling who translates their Kindle editions, different translations can make all the difference in your enjoyment of the book.

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Minggu, 14 Oktober 2018

Free PDF Visions of the Apocalypse: Spectacles of Destruction in American Cinema

Free PDF Visions of the Apocalypse: Spectacles of Destruction in American Cinema

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Visions of the Apocalypse: Spectacles of Destruction in American Cinema

Visions of the Apocalypse: Spectacles of Destruction in American Cinema


Visions of the Apocalypse: Spectacles of Destruction in American Cinema


Free PDF Visions of the Apocalypse: Spectacles of Destruction in American Cinema

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Visions of the Apocalypse: Spectacles of Destruction in American Cinema

Review

"Wheeler Winston Dixon's Visions of the Apocalypse explores American cinema and its fascination with spectacles of destruction, while simultaneously commenting on the ways in which Hollywood has created a culture of sameness where conformity rules. Lucid and eloquent and a relatively easy read for those unaccustomed to film academia, Dixon's knowledge and reasoned argument provide an intelligent and endlessly fascinating examination of some of the key issues that face us as we confront an increasingly insecure future." - Kirsty Fairclough, Popmatters"By unflinchingly critiquing the contemporary culture of self-destruction, Wheeler Winston Dixon presents a serious contribution to the heroic effort for which he calls. The book deftly negotiates between moments of personal reflection and presentations of factual information, between precise analyses of single texts and broader generalizations about cultural dynamics. In this way, Dixon provides an engaging and provocative argument about the contemporary cultural setting and its underlying propellant forces. If the book presents a challenge to the reader, it is not a result of the style of the book, as the writing is clear and accessible throughout. The challenge of this book is to follow Dixon in thinking beyond commercial culture and creating alternatives to our own annihilation." - Daniel Herbert, Film-Philosophy

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About the Author

Wheeler Winston Dixon is the James Ryan Professor of Film Studies, Coordinator of the Film Studies Program, Professor of English at the University of Nebraska, Lincoln, and, with Gwendolyn Audrey Foster, editor of the new book series Quick Takes: Movies and Popular Culture for Rutgers University Press. He is the author of more than thirty books on film history, theory and criticism, as well as more than 100 articles in various academic journals. He is also an active experimental filmmaker, whose works are in the permanent collection of The Museum of Modern Art.His recent books include Black & White Cinema: A Short History (2015); Streaming: Movies, Media and Instant Access (2013); Death of the Moguls: The End of Classical Hollywood (2012); 21st Century Hollywood: Movies in the Era of Transformation (2011, co-authored with Gwendolyn Audrey Foster); A History of Horror (2010); and Film Noir and the Cinema of Paranoia (2009). Dixon's book A Short History of Film (2008, co-authored with Gwendolyn Audrey Foster) was reprinted six times through 2012. A second, revised edition was published in 2013; a third, revised edition was published in 2018. The book is a required text in universities throughout the world.Visit wheelerwinstondixon.com for more details on Dixon's books, films, and articles.

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Product details

Paperback: 192 pages

Publisher: Wallflower Press; 1st Paperback Edition edition (September 17, 2003)

Language: English

ISBN-10: 1903364744

ISBN-13: 978-1903364741

Product Dimensions:

6 x 0.8 x 9 inches

Shipping Weight: 12.8 ounces (View shipping rates and policies)

Average Customer Review:

2.7 out of 5 stars

3 customer reviews

Amazon Best Sellers Rank:

#1,640,865 in Books (See Top 100 in Books)

Those readers looking for a book solely about apocalyptic films will only be partially satisfied by this intelligent, incisive book. While it does delve into the ways apocalypse is presented in American films, covering quite a few of them, it's more an examination of American culture itself & its fascination with destruction. Nor does the author restrict himself to images & fantasies, which he demonstrates are both fed by a consumerist culture while helping to create & maintain that same culture. He goes more deeply, examining the power of the almighty dollar in creating increasingly shallow but visually spectacular films that have immediate visceral appeal, much as a roller coaster does, while avoiding any food for thought afterwards. These films aren't designed to make the viewer think, but simply to feel -- as intensely & vividly & shallowly as possible. In their pursuit of pure sensation, they approach a kind of emotional pornography of immediate gratification: raw, exhilarating, and constantly lowering the lowest common denominator. This, the author suggests, is indicative of our consumerist culture as a whole.Further, he shows how this seething rush of garish, giddy trauma affects political & social discourse -- or more precisely, how it short-circuits rational discourse in favor of an easily manipulated blaze of jittery emotion in need of a focus, a target, a scapegoat. And of course there are more than enough groups ready & eager to provide that focus, in order to serve their own financial & political purposes. One of the artistic prices of this approach, of course, is the death of film as potential art & its replacement as nothing but commodity. He even delves into the physical replacement of film by digital technology, and how that adds to both the profit margin & the fear margin.While this is fascinating material for any thoughtful reader, let me hasten to add that the author never succumbs to convoluted jargon. He has the knack of handling complexity in an accessible manner, never dumbing it down, always making it quite clear & succinct. Considering the spate of jingoistic films we've been getting from Hollywood lately, this is vital reading for anyone concerned about the political & military excesses of the post 9/11 world. Highly recommended!

I always found it fascinating how American audiences (and film makers) love the cinematic spectacles of self destruction. From the great San Francisco to the discreet On the Beach all the way to the more recent Deep Impact (Special Collector's Edition),The Day After Tomorrow (Two-Disc All-Access Collector's Edition),Cloverfield [Theatrical Release] and I Am Legend (Widescreen Two-Disc Special Edition) (not forgetting the once-controversial The Day After, naturally).I, for example, freely admit that I love those films. And I love them perhaps because of my personal taste for (among many other things) the radically different premise they put in front of us: the vision of a world you dot see every day. And more important: it's not for real... no strings attached.And if we decide to focus our study just on that angle alone, I am sure we can identify many trends going on today. And they all represent big meals for those who care to dine. They would all make great subjects for serious study.That was exactly what I was expecting when I bought this great book.Mr. Dixon has a great knowledge of films, meaning that he is an experienced viewer... and he backs everything he says with the right data and the actual numbers. I will not try to summarize the book... but basically, what he offers is a long and valid (but somehow debatable - that's what I think) reflection on how the Hollywood film industry in particular (and all the other cultural industries in general) function today AND they way they drive (and shape) its audience towards certain... let's say "tastes".And Mr Dixon does that very well.The big major flaw, in my modest opinion, is that... from page one all the way to the end, Mr Dixon's very precise analysis left a bitter taste of prejudice and discrimination under my tongue against commercial Cinema. Maybe that's because I myself teach Film Production (and work in that area) and therefore (maybe), have a different view on the matter. What I feel is that Mr. Dixon violently criticizes an Industry (and a system of things) he clearly dislikes without taking some time and distance to see a bigger, broader picture.And that analysis make up for 90% of the book. It IS a great analysis... but it comes from someone who seems to have picked just one side. I agree with him on most everything. But I miss the other side. I believe the things Mr. Dixon criticizes have their own reason of existing. They do fill some void. He and I may not like them (it may not be our personal taste). But we have to understand why they are there.Sometimes, the great scholar becomes a (I wish I wouldn't have to use the word) snob critic when he starts throwing adjectives like "awful" to films that are much more than JUST that. At a certain point, several films and people get classified upon adjectives and terms that seems prejudicial. I'm not saying one cannot express his own feelings. But hardly that easily in the middle of such a great analysis.I was expecting a different book... specially because the analysis of today's big self destruction spectacles was not fully accomplished.BUT I still strongly recommend this book because (even after all I've pointed) Mr. Dixon DOES give us an astounding job. Really. It's a great book. His reflections on 9/11, its media coverage and the impact it had on American Cinema is top notch. His views on War Cinema are quite excellent.Again: a great book.

The title of this book is misleading. The author discusses the Cold War (including films of the Cold War period), the contemporary threat of terrorism, the decline of the film industry and U.S. society in general, contemporary politics, and dozens of films that have nothing to do with the apocalyptic genre. However, he barely discusses what he title proclaims, "visions of the apocalypse / spectacles of destruction in American cinema," and he discusses no recent apocalyptic films whatsoever. I wonder if the title was chosen just to make the book sell better.

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