Sabtu, 26 Februari 2011

[X720.Ebook] Ebook Discover Ham Radio, by Harold Kramer WJ1B, Ward Silver N0AX, ARRL Inc.

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Amateur Radio will surprise you with all its different activities. If you’ve encountered Amateur Radio in a public service role or if someone you know has a ham radio in their home or car, then you already have some ideas. Maybe you have seen ham radio in a movie or read about it in a book. Are you a part of the growing “do-it-yourself” or maker communities? If so, you’ll really enjoy getting involved with one of the most “hands-on” hobbies of all. Amateur Radio is the most powerful communications service available to the private citizen anywhere on Earth — or even above it!

This booklet is an overview of Amateur Radio and all it has to offer. It discusses the various aspects of the fascinating hobby, provides information about how to pursue your first ham radio license, and how to get started.

About ARRL: Founded in 1914 by Hiram Percy Maxim, ARRL (American Radio Relay League) is the national association for Amateur Radio in the US. Today, with more than 161,000 members, ARRL is the largest organization of radio amateurs in the world. ARRL's mission is based on five pillars: Public Service, Advocacy, Education, Technology, and Membership.

  • Sales Rank: #539808 in eBooks
  • Published on: 2015-09-16
  • Released on: 2015-09-16
  • Format: Kindle eBook

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0 of 0 people found the following review helpful.
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Jumat, 25 Februari 2011

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  • Published on: 2010-04-01
  • Format: MP3 Audio
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Minggu, 20 Februari 2011

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Inside-Out Leadership goes to the core of “how to” be an effective leader. Inside-Out Leadership powerfully demonstrates that leadership is not only something we do, but who we are. Unless we first master our ability to lead ourselves, we can’t expect to master leading others. This book highlights the mindsets effective leaders adopt and includes the proven leadership approaches, processes and tools to help you master leading self and leading others to achieve sustainable organisational success. By reading and working through this book, become the leader others choose to follow.

  • Sales Rank: #4626843 in Books
  • Brand: Brand: XLIBRIS
  • Published on: 2012-12-18
  • Released on: 2012-12-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .39" w x 6.00" l, .52 pounds
  • Binding: Paperback
  • 156 pages
Features
  • Used Book in Good Condition

About the Author
Specializing in leadership development, Bernard Desmidt is one Australia's leading executive coaches. With over 20 years' of executive leadership experience, in the financial services, manufacturing, IT, FMCG, retail, logistics and media industries in Australia, UK, USA and Asia.

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0 of 0 people found the following review helpful.
Insightful and practical book on the "how-to" of effective leadership
By Paul McDonald
I was impressed with both the content and design of this excellent book. It takes the reader (e.g. an aspiring executive, a CEO, a management consultant, an executive coach) on an insightful and practical journey through the 4 Principles of Effective Leadership - what the author calls "the timeless and universal principles that guide how effective leaders think and behave".

The book draws on the author's extensive executive leadership experience and also on the wisdom of other leaders and teachers (such as Jim Collins, Stephen R. Covey, Myles Downey, Daniel Goldman, Patrick Lencioni and David Maister) who I've utilized to good effect over my many years of management consulting and leadership coaching. The book captures much of what I regard as the essentials of good leadership and, at the same time, it is an excellent guide for leadership coaches who believe, as I do, the author's premise that "leadership begins from within".

Importantly, the book addresses the "how-to" of effective leadership and is generous in its use of well constructed self-help exercises and tools that the reader can utilize to test leadership attributes and capabilities associated with each of the 4 Principles.

0 of 0 people found the following review helpful.
A leading read
By Paul Hassing
As someone who isn't into self-help books, I didn't expect Inside-Out Leadership to light my fire. But Bernard Desmidt's finely written work proved me wrong.

First, this book isn't just about leading teams; it's about leading yourself. The lessons are as much about life as work - which makes them doubly valuable.

Second, Bernard doesn't ram his points down your throat. Rather, he explains, illustrates and supports them in such a way that learning is far easier than other books in this field.

Speaking of other books, it's clear Bernard has read them all. Yet rather than merely name drop, he distils the essence of writers he admires with a quiet confidence born of reflection, understanding and experience.

One gets the strong impression Bernard puts his new learnings into practice. The book's many interesting case studies save it from becoming too dry and clearly show that the author `walks the talk'.

In short, this is a practical, accessible, authoritative and even enjoyable work that well rewards the read.

0 of 0 people found the following review helpful.
The Ultimate "How to" guide to developing your leadership
By Ogden
This is a great book for those who are interested in growing their leadership abilities. What I like about it is its clarity and simplicity. Bernard brings together much of the essential (and practical, common sense) wisdoms of the great thought leaders, and presents them in a simple, easy-to-understand framework of leadership.

Although easy to read, the book is challenging to those who are prepared to use the self-analysis tools that Bernard provides. If you utilise these properly you'll come away with a clear understanding of your own leadership strengths and weaknesses, and how to change your behaviour so you start to BE a better leader. This is definitely not for those interested in "one-minute" leadership, but it will be invaluable to those who understand that developing leadership is an ongoing process.

As a regular reader of management/leadership literature, I highly recommend this book.

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Jumat, 18 Februari 2011

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  • Sales Rank: #9697867 in Books
  • Original language: French
  • Dimensions: 10.63" h x 1.73" w x 8.27" l,
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Jumat, 11 Februari 2011

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  • Published on: 1600
  • Binding: Paperback

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Selasa, 08 Februari 2011

[N900.Ebook] Ebook Download Mother Tongues: Sexuality, Trials, Motherhood, Translation, by Barbara Johnson

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Mother Tongues: Sexuality, Trials, Motherhood, Translation, by Barbara Johnson

Charles Baudelaire, Walter Benjamin, and Sylvia Plath make up the odd trio on which this book is based. It is in the surprising and revealing links between them--links pertaining to troublesome mothers, elusive foreign languages, and professional disappointments--that Barbara Johnson maps the coordinates of her larger claims about the ideal of oneness in every area of life, and about the damage done by this ideal.

The existence of sexual difference precludes an original or ultimate "one" who would represent all of mankind; the plurality of languages makes it impossible to think that one doesn't live in translation; and the plurality of the sexes means that every human being came from a woman's body, and some will reproduce this feat, while others won't. In her most personal and deeply considered book about difference, Johnson asks: Is the mother the guardian of a oneness we have never had? The relations that link mothers, bodies, words, and laws serve as the guiding puzzles as she searches for an answer.

  • Sales Rank: #3892223 in Books
  • Published on: 2003-11-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.66" h x .86" w x 5.66" l, .88 pounds
  • Binding: Hardcover
  • 224 pages

Review
Mother Tongues is a work of psychological depth and poetic organization. It builds on Johnson's oeuvre by developing new ways of conceiving language and world, most valuably through reinterpretations of Baudelaire, Benjamin, and their reception. Johnson's turn and return to these authors, and the subtle inquiry into the ontological dimensions of language that results, should be of interest to anyone concerned about modernity and its reifications. This book is an elegant, important, and subtle addition to Johnson's searching work, a valuable contribution to Benjamin scholarship and scholarship on modern sexuality, and an idiosyncratic and inventive work of contemporary literary theory and comparative literature.
--Rei Terada, author of Feeling in Theory

Mother Tongues offers a set of brilliant, interwoven readings of Baudelaire, Benjamin, and Plath, affirming once again Barbara Johnson's reputation as the most extraordinary of contemporary theorists. In poetry and prose alike, she finds the animated working of a default address, and traces an implicit appeal to the lost maternal or, indeed, to the irrecoverable conditions of language itself. This text weaves its reader into a fine web of writing from which one wants no escape.
--Judith Butler, author of Gender Trouble

Barbara Johnson has the most beautiful mind -- subtle, fearless, funny, logical, preternaturally alert to words and their worlds. Mother Tongues encounters central figures of modern culture and the great questions of culture--- why do we read, why do we write, why do we use a mother tongue? Her illuminations are vital and deep.
--Catharine Stimpson, author of Where the Meanings Are

About the Author
Barbara Johnson taught in the departments of English and Comparative Literature at Harvard University and was the Frederic Wertham Professor of Law and Psychiatry in Society. She is the author of The Critical Difference, A World of Difference, and The Wake of Deconstruction.

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2 of 2 people found the following review helpful.
A Masterpiece of Literary Criticism, Poetic in its Own Right
By P. D. Blanchfield
The scholarship of the late Dr. Barbara Johnson, Professor of English and Comparative Literature and Frederic Wertham Professor of Law and Psychiatry in Society at Harvard, has played a fundamental role in shaping the contours of literary criticism, critical theory, and gender studies in North America and beyond, and represents a touchstone and testimonial history for those seeking to understand the public, cultural, and ethical engagements of the humanities since the late 1970s. From her days at the Yale School under Paul de Man (a figure whose complex legacy is at much frank question in her work, and here in particular) to her pioneering translations of Derrida to her arduous interventions as the premiere (and most nuanced) interpreter of Deconstruction in the so-called 'Culture Wars' to her renowned classroom teaching, Dr. Johnson has brought her unique voice to reflectively examine and influence debates in the academy, legal scholarship, psychoanalytic theory, and cultural life at large. "Mother Tongues: Sexuality, Trials, Motherhood, Translation" (2003), one her last published works, takes up and addresses many of the questions and topics - poetic language, sexual difference, translation, ideology - that have driven her best work thus far, but does so with an unmatched personal candor and capacity for earnest reflection, and demonstrates how Dr. Johnson's fundamental commitment to a radically rigorous and ever-critical practice of reading has been distilled into a thinking of incomparable insight, graceful sensitivity, and urgent emotional power.

"Mother Tongues" offers an intricate architectonics of readings. Most prominent among these are treatments of Sylvia Plath, Charles Baudelaire, and Walter Benjamin, figures on whose works and biographies Dr. Johnson has herself spent a life of loving attention and scholarly reflection. Interweaving history with textual commentary, Dr. Johnson less collapses oppositions between intra- and extra-diagetic claims (that is, between stances that respectively emphasize a sola scriptura close-interpretation of literary texts "on their own terms" and a consideration of the historical and cultural contexts of their authors' composition of them ) than shows how each perspective sheds productive light on the other and challenges our hasty assumptions of what reading and writing should or shouldn't be or do. "Is there any relation, then, between the writing of scholarship and the writing of letters?" Johnson asks, "Does the existence of an addressee-and an address-change the nature of writing and also its relation to history? What are the correspondances in correspondence?" The limits of authorial authority and readerly insight themselves are open and ever-probed questions in Dr. Johnson's work, and it is trademark of her style and critical commitment here that the texts Dr. Johnson reads emerge not reduced in meaning but rather enlarged. Indeed, Dr. Johnson's erudite portraits of the lived experiences of the authors she reads, and of the dramas that haunted them (Plath's often misunderstood relation to her parents and roots in a German language she could never bring herself to learn ; Baudelaire's tangled and erratic relations - financial as well as emotional - with his mother ; Benjamin's friendship with Gershom Scholem, his obsessions with Paris' architecture, and his own, ever-deferred, and ultimately unrealizable pledges to learn Hebrew and leave Europe entirely) make the poems and prose Dr. Johnson reads take on an added poignancy and existential force that even jaded readers will be unable to gainsay. And it is a mark of the depth of Dr. Johnson's thought that while there are figures who "Mother Tongues" addresses at less length (Sappho, Lowell, Flaubert, Mallarmé, Woolf, Sexton, Derrida, Adorno), their inclusion never feels unnecessary, rote, or unproductive - rather, in each instance, these and other authors play cogent roles and receive concise, clear, and oftentimes strikingly persuasive original treatments that lack neither in depth nor in complexity, and which clue the reader in to roads of inquiry yet to be taken, suggestive challenges of thought yet to be embraced.

To the extent that the nature of reading and the question of interpretation are fundamental concerns for Dr. Johnson, the stakes are high - because a rigorous questioning of what it means to read and interpret what someone else has written cannot ever stop at questioning those assumptions about the nature of writing others might take to be given. As does Deconstructionist thought at its best, "Mother Tongues" proceeds ever-ready to reflect back on its methods and terms (and the terms of literary scholarship as a whole) with an eye towards unsettling our hidden assumptions-even when questioning those assumptions can provoke discomfort and incomprehension. Indeed, Dr. Johnson is equally at home contesting what, exactly, we fail to say when we invoke a dislike of 'realism' as gritty or somehow scandalous ("If any reality were desirable, why would we need realism to see it?") as she is challenging a knee-jerk reaction to 'art for art's sake' (formalism, Johnson notes, was also an aesthetic anathema for Nazis). Rigorously capable of thinking the ambiguities of our common assertions of meaning-making and textual understanding through to conclusions that are no less striking and revolutionary for being initially paradoxical, Dr. Johnson takes as a particular targets modes of thought marked by a foundational yearning for a lost unity - of a universal language before Babel, of a poem's 'meaning' before it is put on paper, of self-same coherence before a text is translated from one language to another, of a unified and harmonious complementarity between man and woman, of undifferentiated and blissful connection between mother and child - and asks what work these pleas for holism lost do and what wishes and relations they deny. With a lucid understanding of the claims and commitments of other disciplines and discourses (from Marxism to sociology to a lucidly explained and deeply understood psychoanalysis that includes not just striking readings of Freud and Lacan, but of Klein and Winnicott as well), Dr.
Johnson does not shirk from asking us to reverse and reconfigure the basic conceptual formulas that structure how we think and read: "Might poetry be an attempt not to address the mother, but to hear her voice? Is poetry a way of being addressed?" and "How might a language unmediatedly refer if reference itself is mediation?" And she is likewise unafraid of suggesting answers of simple elegance and jaw-dropping provocativeness - thus, in response to the question of language and mediation above, Dr. Johnson writes: "The problem, I think, is that we tend to think of Adam's language as similar to God's. But God's speech is creative to the extent that it is not based on similarity. Not, at least, until the creation of man. A God that tries to make a being similar to himself is already a God that takes himself as an object, a God who is well on his way to the sin of self-consciousness."

That 'Mother Tongues' addresses questions of foundational import and steps with wide-ranging fluency from questions of sexual to linguistic difference, or from between several key texts, does not mean, as one might worry, that arguments are abandoned once their immediate use dissipates or that concepts drop out in the name of rhetorical momentum - nor does the text ever grow dry or stale. Rather, with an ear for language and precision of vocabulary on par with the poets she reads, Dr. Johnson weaves her text's many themes and players together such that each thread progresses and recurs, warp and woof, enriched and ever more textured as the book proceeds. Dr. Johnson writes with pointed humor (reading the charges in Baudelaire's censorship trial, she notes "[the indictment's use of] 'religious' and 'public' make as strange an opposition as 'self' and 'full' in gas stations") and a plentiful real-world wisdom beautifully phrased (on Baudelaire and his mythos of intoxication: 'Boredom is the flip side of intoxication: the more you take a drug, the more of it you have to take to get the same effect, the mere repetition and routinization of an addiction becomes more and more necessary as it becomes less and less effective - the quest for stimulation becomes the incapacity to feel"; on the marriage of Ted Hughes and Sylvia Plath: "It was simply that perfect complementarity between was stifling. In a perfect fit between two people, there is really only room for one. But everything depends on who we think that one is."). And it is when Dr. Johnson's reflections turn most personal, and touch on the essence of what it means teach and to learn, to compose literature and to help others read it, that her prose grows most achingly beautiful ("The failure of the most gifted teacher is precisely to censor the student through the act of always being right"). It is in these moments of frank pathos that 'Mother Tongues' shines not just as a brilliant reading of a set of challenging and influential authors, nor as a unflinching meditation by one of America's greatest readers and teachers on recent intellectual history (and in which she has been a key player), but as a profound and original literary work in its own right.

It is hard to resist using, particularly in praise, a language of mastery - especially when confronted with a masterwork (albeit one whose ethos gives little credence to fictions of power). Those familiar with the disciplines Dr. Johnson has so impacted, of course, need no introduction and little encouragement to eagerly await her work, but it would be to enact precisely what Dr. Johnson teaches against if other potential readers were to be lead astray by the too-easy labels of movements and controversies - for Dr. Johnson's writing offers a profundity and humane relevance with an accessibility
and elegance that reaches well beyond the academy in appeal and implication. "Mother Tongues" asks, with earnestness and rigor to the end, what it means for us to live and read embodied as we are, and of how we can hope to proceed, linked to the languages that Mother and other us alike, more fully into the reflections and relations that give our lives and our literatures their felt power. Particularly in the wake of Dr. Johnson's death (she passed away in August 2009), "Mother Tongues" stands as an eloquent testimony to the power of her own work and thought.

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Rabu, 02 Februari 2011

[Y493.Ebook] Ebook Download The Magic Tower and Other One-Act Plays (New Directions Paperbook), by Tennessee Williams

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The Magic Tower and Other One-Act Plays (New Directions Paperbook), by Tennessee Williams

A wonderful collection of never-before-collected one-acts: "The peak of my virtuosity was in the one- act plays. Some of which are like firecrackers in a rope" (Tennessee Williams).
Here are portraits of American life during the Great Depression and after, populated by a hopelessly hopeful chorus girl, a munitions manufacturer ensnared in a love triangle, an overconfident mob dandy, a poor couple who quarrel to vanquish despair, a young "spinster" enthralled by the impulse of rebellion, and, in "The Magic Tower," a passionate artist and his wife whose youth and optimism are not enough to protect their "dream marriage." This new volume gathers some of Williams's most exuberant early work and includes one-acts that he would later expand to powerful full-length dramas: "The Pretty Trap," a cheerful take on The Glass Menagerie, and "Interior: Panic," a stunning precursor to A Streetcar Named Desire.

The plays include:
     * At Liberty
     * The Magic Tower
     * Me, Vashya
     * Curtains for the Gentleman
     * In Our Profession
     * Every Twenty Minutes
     * Honor the Living
     * The Case of the Crushed Petunias
     * Moony's Kid Don't Cry
     * The Dark Room
     * The Pretty Trap
     * Interior: Panic
     * Kingdom of Earth
     * I Never Get Dressed Till After Dark on Sundays
     * Some Problems for The Moose Lodge

  • Sales Rank: #1028084 in Books
  • Published on: 2011-04-25
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .80" w x 5.20" l, .69 pounds
  • Binding: Paperback
  • 304 pages

Review
"These plays are a welcome addition to the Williams library, and this volume receives them beautifully, with a warm foreword by Terrence McNally, and a brief yet detailed scholarly appendix to each play by Thomas Keith."
                                                                        --Benjamin Morris, Southern Quarterly

"I Never Get Dressed Till After Dark on Sundays (1973) is a mind-bending play-within-a-play that served as a study for the later Vieux Carré."

                                                            --Garrett Eisler, American Theatre Magazine

"These new "fantasies" (as Williams called them) span the arc of his long career, affording a view of his transformation from young neophyte finding his voice to master craftsman at the height of his powers."
                                                                                              --Nick Coccoma, Full Stop

“Within his early one-acts there are intriguing prototypes of characters and seeds of ideas Williams developed more fully in his later, larger dramas.” (The New York Times)

“Williams was always confronting the future; a shaman with a typewriter, he dug into the darkest depths of the American psyche in search of dramatic truths.” (Randy Gener - American Theater Magazine)

“Just as young painters make their stabs at impressionism and cubism, in his early one-acts Williams tried his hand with political satire, expressionism, social realism, and even drawing-room comedy.” (Eli Wallach and Anne Jackson)

“The peak of my virtuosity was in the one-act plays. Some of which are like firecrackers in a rope.” (Tennessee Williams in a 1950 letter to Elia Kazan)

“Reading these plays of the very young Tennessee, then of the successful Tennessee Williams, and finally of the troubled man of the 1970s he had become, we are offered a panoramic yet detailed view of the themes, the demons, and the wit of this iconic playwright.” (Terrence McNally, from his foreword)

About the Author
Tennessee Williams (1911-1983) is the acclaimed author of many books of letters, short stories, poems, essays, and a large collection of plays, including The Glass Menagerie, A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, Orpheus Descending, The Night of the Iguana, and The Rose Tattoo.

Terrence McNally is the author of a dozen one-acts and over thirty full-length plays. He has been honored with four Tony Awards―for Love! Valour! Compassion!, Kiss of the Spider Woman, Master Class, and Ragtime―four Drama Desk Awards, two Obie Awards, and an Emmy.

Born in Cleveland, Ohio, in 1961, Thomas Keith is an editor, as well as production manager and art director, at New Directions Publishing. He lives in New York City.

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1 of 1 people found the following review helpful.
The artist's workbench
By A Reader
This is a collection of one-act plays by Tennessee Williams, most from the late 1930s to `40s. These are sketches and slighter works by a great dramatist, but there is enough here to fill an evening. Student and amateur or small theater groups, scholars, and anyone with a serious interest in Williams will appreciate this offering. If you are new to Tennessee Williams, this is not the volume to start with. Some of the plays have appeared in an actors' edition or in journals, but are more readable and accessible here, and several are appearing in print for the first time.

The quality of the early short sketches varies. They reveal a young Williams developing his craft in comedy, melodrama, tragedy, and social commentary. We might not be interested in all of them if we didn't know they were written by Williams. "At Liberty," "Honor the Living," "The Dark Room," and "Every Twenty Minutes" show his gift for dialogue. "The Case of the Crushed Petunias" is a highly enjoyable playlet written after Williams' first major play production failed in Boston. It features a young shopkeeper in the town of "Primanproper," Massachusetts and a young man who encourages her to explore new things and advises that "Boston's a state of mind that you'll grow out of."

"The Pretty Trap" and "Interior: Panic" present the characters and ideas of "The Glass Menagerie" and "A Streetcar Named Desire," but with more optimistic outcomes than the famous plays. "Kingdom of Earth" also exists as a full-length play, and "I Never Get Dressed Till After Dark on Sundays" is a somewhat experimental treatment of characters who appear at greater length in "Vieux Carre."

One of the most powerful pieces in this collection is the 1980 play "Some Problems for the Moose Lodge." It was expanded into a full-length play ("A House Not Meant to Stand") but works well as a one-act. The aging and probably dying mother Bella, becoming more incoherent as the play proceeds, speaks with unintended poetry at the end, expressing Williams' insight, stated in his plays in so many different ways, that her life and everyone's life is "a question of time."

It's too bad that the one-act play "American Gothic" did not make it into this collection. It premiered at the 2010 Provincetown Tennessee Williams Theater Festival. In it, Williams brings the Midwestern farm couple from the famous Grant Wood painting to life, the husband with a pitchfork and the wife who observes that thirty dry summers have made her hard. Their son, a bank robber on the run from the law, arrives with his "floozie" wife, followed not long after by the police. In the notes, the editor states that the existing drafts of this play are unfinished or incomplete, but readers and audiences will certainly enjoy this play, even in an incomplete or somewhat reconstructed form. Let's hope that it appears in a future volume.

Thanks to New Directions and all involved who are promoting the rediscovery of Tennessee Williams.

0 of 0 people found the following review helpful.
Why are They Doing This?!?
By Kenneth Dosch
Here we have another collection of Tennessee Williams' fringe output...which would've been cool had this book chose a focus. What we have is 3 of the 5 plays from the "American Blues" collection. The two left out? ...plays that were early drafts of larger works...but wait! the main draw of this collection is that it contains 5 early drafts of other Williams plays...so wouldn't the inclusion of those two missing plays work to the better good? Plus there are two other early shorts that became major works floating around only available recently with the purchase of "Sweet Bird of Youth" and "The Rose Tattoo" separately. (of note one of the missing "American Blues" plays is tagged up with the "Camino Reel" release.) Why not include those plays in this collection also? I guess I don't get why three previously published plays made the cut when thematically the other 4 plays should have been included here. I'd rather just read these plays at the public library and hold out hopefully for a "Theater of Tennessee Williams Vol. 9 and 10" instead.

0 of 0 people found the following review helpful.
Delightful and Surprising.
By David H Cohen
As a huge Tennessee Williams fan I was tickled with this collection of one-acts. Some are rough sketches and/or lighter, funnier versions of his more famous works while others are delightfully surprising. I bought the book because I'm looking for several of his short plays to string together for an evening of Williams. I'm struggling with which ones to choose because they all deserve to be experienced. If you're a fan like I am, you won't be disappointed by this lovely collection.

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