The time of the architecture in the last century is a live time for the "architecture eminence" Philip Johnson. In his book you get closer look of his changing architecture from introducing the International Style to America in the early thirties to Post-Modernisms. A great book about a great man.

Shows his view over the architecture and over his own work. Very well ilustraded.

Tolkien, in a letter to George Sayer as recorded in his biography JACK: A LIFE OF C. S. LEWIS, says that this is "a great book, the only one of his [Lewis's] that gives me unalloyed pleasure." Coming from Tolkien, this is very high praise indeed. Originally published as ENGLISH LITERATURE IN THE SIXTEENTH CENTURY EXCLUDING DRAMA and for some inexplicable reason recently renamed, this book, Lewis's longest work, will not be found in the libraries of the causal C. S. Lewis fan for the simple fact that it is a textbook and is aimed not at the general reader but instead the academic world (even in those days there was that damned phenomena of 'publish or perish!'). For those who are studying this material, however, will find the book a very remarkable one at that. As a previous reviewer noted, Lewis began referring to this text as "O Hell!" as the writing process became very tedious to him. This book was ten years in the writing, and by the time it was ended Lewis wanted to concentrate more on theology and Narnia than this "critical nonsense." The end sections of the book do not shore this weariness, however, so have no fear.

Although books of this sort always, by necessity, impose artificial time lines on literature which, in the long run, do not have a lot to do with the true literary history. To study literature in the sixteenth century, one should not confine oneself to going behind or in front of the time line to get a fuller understanding of the significance of the text. However, this is not really a fault of Lewis and it is a very difficult error to correct for literary historians. However, Lewis pulls off this artificial time limit very well by clearly illustrating the many strenghts and the many weaknesses of this century's literature.

Because it is for the student of literature, much of the more radical elements of this text will be lost without a general knowledge of the preconceptions the academic world has in regard to the literature in question. The opening chapter ("New Learning and New Ignorance") stands as one of Lewis's most famous academic writing because of the sheer implications and challenges set forth in the chapter. He debunks many of the fashionable scholarly trends, focusing on how much of what the scholars say is off base. Lewis argues that the during the sixteenth century much of the literature proved extremely dull, saying the authors wrote like "elderly men". Toward the close of the century, however, something radical began to take place. There was a renewal and an elevation in quality from drab to gold, as Lewis puts it. Most literary scholars and historians think the Renaissance is responsible for this, but Lewis says this theory has no truth, because the humanists who were responsible for the Renaissance were terrible scholars and brought death to the literature they presented, presenting the classics' virtues as ills and instead focused on the way the classics said what they said. The humanists focused on the language and left the literature itself alone. Everything else about the literature they hated. Lewis continually attacks the humanists, stating that "the new learning [that of the humanists] created the new ignorance." His belief that the Renaissance never occurred in England, and if it did it was of no literary importance, is as radical a literary belief as accepting the Book of Mormon to the Bible would be to a Christian.

The rest of the book reads as a survey of the literature of the period. All major and quite a large number of minor authors are represented in this. As a textbook, this stands as fascinating reading, for Lewis constantly illuminates the strengths and weaknesses of whoever he is dealing with, and his numerous quotations from the texts dealt with show the true skill of selection to prove a point. All of the quotations give a further understanding in context of Lewis's prose. If all textbooks were written with such skill and wit, there would not be the incredible resentment (myself included) of the price tag on most college text books.

Lewis's 1938 on Donne, published in SEVENTEENTH CENTURY STUDIES PUBLISHED IN SIR HERBERT GRIERSON has made him the heretic and central enemy of all Donne scholars and fans. Here he does not attack him but helps readers deal with Donne's metre. However, Lewis only gives five pages to Donne, and he was fond of saying that "Donne's place is that of a minor poet."

The reception of this book was fair, although the most resentment came from the academic circle. People accused Lewis of, as Sayer says in his biography, grossly oversimplifying by presenting only two classifications: drab and gold. Yvor Winters goes to the extreme when she says that "Mr. Lewis has simply not discovered what poetry is."

Of all the volumes in the series this still sells the most. Sayer notes in the aforementioned biography that "many Oxford tutors still warn their students that it is 'unsound but brilliantly written.' Nevertheless, or perhaps partly because of this warning, it outsells all the other volumes in this series." While it does not enjoy the monumental place in criticism of THE ALLEGORY OF LOVE, which many would argue is Lewis's most significant piece of criticism, partly because of the radical ideas mentioned above, this work stands as one of the most brilliant and enjoyable survey books every written.

Commissioned as a volume in "The Oxford History of English Literature", "English Literature in the Sixteenth Century Excluding Drama", as it was originally titled, proved such tedium to write that Lewis took to referring to it by the acronym "OHEL". The sixteenth century ends as one of the great ages - arguably the greatest - of English literary genius, but it began dismally. Except in Scotland, where a vigorous Medieval tradition lived on, "authors seem to have forgotten the lessons which had been mastered in the Middle Ages and learned little in their stead. Their prose is clumsy, monotonous, garrulous; their verse either astonishingly tame and cold or, if it attempts to rise, the coarsest fustian. . . . Nothing is light, or tender, or fresh. All the authors write like elderly men."

This period of "bludgeon-work" gave way to something almost worse, "the Drab Age" - "earnest, heavy-handed, commonplace", a time when England did not shine and the peripheral light of Scotland guttered out.

The story would scarcely be worth telling, save for the happy ending, a true eucatastrophe: "Then, in the last quarter of the century, the unpredictable happens. With startling suddenness, we ascend. Fantasy, conceit, paradox, color, incantation return. Youth returns. The fine frenzies of ideal love and ideal war are readmitted. Sidney, Spenser, Shakespeare, Hooker . . . display what is almost a new culture: that culture which was to last through most of the seventeenth century and enrich the very meanings of the words England and Aristocracy. Nothing in the earlier history of our period would have enabled the sharpest observer to foresee this transformation."

Had the scope of his labors not been set by his commission, Lewis would doubtless have preferred to skip the clumsy and drab, to delve into the riches of the Age of Gold. Still, despite his preferences, he was an apt choice to mine the less precious veins. Unlike many of his academic colleagues, who then as now regarded literature as merely a "job", Lewis read avidly in the most obscure corners. Little though he admired the early and drab writers, he was familiar with their work and could tease out virtues as well as point to flaws.

Three points about this history stand out as unexpected or significant. First is the fine opening chapter, "New Learning and New Ignorance", which contests the commonplace view that the medieval period was a vale of ignorance from which mankind was happily rescued by the Renaissance. That opinion is no longer prevalent in scholarly circles (where Lewis is now sometimes derided for expounding the conventional wisdom - much like accusing Shakespeare of writing in cliches!), but most general readers take it for granted. Lewis' presentation is one-sided, but it is a side that needs to be heard.

Second, Lewis devotes considerable space to Scotland, a territory absent from most of our literature classes. Though the Scots dialect is not easy to parse, Douglas and Dunbar and Lyndsay and their ilk are worthy of acquaintance.

Third - a slighter point than the preceding but interesting in its own right - there is Lewis' treatment of John Donne. As a young man, Lewis wrote a notorious essay on Donne, dispraising the quality of his love poetry and hinting that his vogue was due more to fashion than merit. For these heresies he became the stock villain of every introduction to Donne's work.

The "OHEL" volume takes a different tack. Lewis' appreciation of the "Songs and Sonnets" is warm and perceptive, with a useful disquisition on how to catch the rhythm of Donne's eccentric versification. It was not only, apparently, in matters of faith that Lewis was capable of casting off his youthful skepticism.

Within its genre - the comprehensive academic history - Lewis' effort is as good as a single mind and hand can produce. Similar tomes are nowadays parceled out chapter by chapter, gaining no doubt in narrow expertise but losing personality and perspective. Both are present in plenitude here.

I work in the creative department of a New York based advertising agency whose name most in the business would instantly recognize. Lewis's book was recommended to me as an interesting and valuable read. I bought it and found it immensely helpful. Wonderful! Not sure why more people in the "biz" don't know about it! I wholeheartedly agree with the review that appears above....this is an exquisite book. THIS is the book they should be using in graduate level communications courses. On the other hand, forget it. I want to keep my job! A TRUE GEM OF A BOOK - GET IT!

Let me say right from the beginning that I have been writing copy for more than a dozen years. Everything from broadcast to direct mail. And after you read all the essential classics in the field (and those copywriting for less than 5 years MUST first read the classics by Bly, Caples, Ogilvy, and yes Lewis too) I can't think of any other book better suited than this one for refining and fine tuning the more experienced copywriter! Power Copywriting takes us on a wonderful journey through the refinements of the copywriting craft. Things professionals have always instinctively known but LOVE seeing corroborated in print - and - things we've perhaps never considered and will try FIRST THING TOMORROW! Very little actual narrative. It's just pages and pages of sophisticated tips, secrets, and wisdom served to you in bite size chunks. A book not really meant for the novice because it presumes the reader can really tell the difference between a feature and a benefit and already understands all the basics. This book BUILDS UPON the basics. To stay sharp, I've read this book twice a year since I've purchased it. I've seen my copywriting "pull" significantly better after reading Lewis' Power and so will you. If you've already read the classics and have more than 4 or 5 years experience in copywriting - GET THIS BOOK!

This book is without a doubt one of the best books written on the subject. It serves both as an introduction as well as a practical guide to implementing the theory. Most books on the subject can be very academic and dry (some are downright dehydrated) but this presents the material in a very pleasant and conversational style. Highly recommended!

There are two types of people in this world, those that have read Practical Digital Image Proccessing, and those that have not. I you are one of those that has not, then you must become one of those that has. This book covers all that you'll ever need to know about Practical Digital Image Proccessing and I highly recommend it for all ages whatever you are interested in.

It is strange why more books of this kind dont get written in Laboratory Medicine, however the basic principles and premises of the practice of Hematology, nee Haematology, stand the same as its first edition in 1950. Whenever I have to teach a new summer student how to draw and stain a blood smear or count cells in a Neubauer's Chamber I take recourse to this book. Don't even throw away your old copies of books as with each new edition there is considerable attrition of valuable trouble shooting advice,like setting up a simple Autohemolysis Test for diagnosing Hereditary Spherocytosis, from old hands due to pressure for space with the advent of new Technology. This book is meant for the practicing hematologist in the field, he be a Prince or a Pauper.

As it's title suggests, this is the book for the practical haematologist--at all levels.

It's THE essential reference book full of THE principles, THE methods and techniques, THE intepretation of results...need I go on?

No serious haematology laboratory should be without it. I know colleagues with 20+ years of experience who constantly refer to it.

If you can't afford it for yourself, demand your laboratory manager buy it. If he/she won't, find one that will!

This is an exquisite table top book that you won't want to shelve anytime soon. Lavish in detail the book has 275 paintings that are world famous. The time period covered is the 12th right up through the 20th century. No easy task to get a sampling from the Prado, one of the greatest museums in the world. The author manages just that as he doesn't over emphasive the "known" masters and unveils some of the lesser and even unknown artists.Since the author, Santiago Alcolea Blanch, a renowned art historian, is Spanish, there is a leaning towards the works of the well known Spanish masters like El Greco and Velasquez, right up to the more modern Picasso. This is not to say that it only features Spanish artists as it includes the masters from throughout Europe. Anyone interested in art will love and benefit from this book. There is much to be learned from superb works that have withstood world wars and other atrocities of mankind and been viewed by millions of people. The first paintings revealed are those painted on murals and board, eventually working its way to oil on canvas. Since much of the works from the masters is of a religious nature one will find superb paintings inspired from the divine, mans earliest works as manifested through his interpretations of God and his glory. Marveling at these works leaves no doubt about the everlasting impression this subject matter must have had on the artists. That we would be given the opportunty to view such inspirational works from the comforts of our living rooms is an additional blessing. The works are not limited to religious themes as there are countless portraits of the nobility and loyalty that shaped the world events of their time and even directed the course of history. These were the photographs of their day, long before digital images could be loaded instantly on a computer, only the wealthy could afford such a luxury. The works, as percieved through the eyes of the artist are uncommon and magnificent testimonials of a bygone era. As an additional bonus the book is also a history book. The first 139 pages are a concise explanation of the origins of the Royal Collection and the Academy of Fine Arts. Included in the historical tour are great black and white photographs of the Prado in various time periods, including draft plans for the additions. Each director is profiled in story book fashion to illustrate the achievements and problems encountered during their time as directors. Captivating and informative, the written word in this book is an excellent source of information for the art historian. Follow the trial and tribulations of those most influential in giving the world one of it's greatest museums. For furhter exploration there is also a pretty extensive bibliography. This is a quality book that any lover of art will cherish, highly recommended for those that like the works of the masters.

Take a tour of the fabulous Prado museum with this lavishly illustrated volume. Featuring over 300 full page photos, this work reveals the astounding depth of the Prado's collection. The book is arranged by "schools" of nationalities, just as the museum is, and features many of the most classic and cherished paintings Europe has produced from medieval triptychs to Picasso's "Guernica". These aren't the only paintings featured, however. The reader is invited to see the collection longitudinally. I really enjoyed, for example, seeing the wonderful variety of Velasquez' paintings - those he did in the employ of the royal court were markedly different than his early work.

The book is not just colorplates, though. The first 125 pages give a detailed history of the museum itself, which is very fascinating (especially the travails of the building and the collection during the civil war). There is also included a reprinting of the royal proclamation establishing the museum in 1432.

The book is published by Abrams' reprint service, but the quality is still exceptional. The colors are beautiful and the binding is very nice and durable as well. Enjoy it!

Thank you so much for finally releasing a biblical book. I just can't thank you enough. I thought this was wonderful. The Prince of Egypt was awesome. thanks again.

The Prince of Egypt Movie Scrapbook by Thomasine Lewis is an excellent account of the inspiring behind the scenes account for young and old alike about the classic story of Moses as revealed in the Old Testament. The targeted audience in this book is ages 9 to 12 however all ages will enjoy its richly illustrated pages and accompanying text. If the forthcoming (December 1998) animated movie by DreamWorks is as good as this scrapbook indicates then it shall certainly be a truly classic animated movie.

Some of the topics covered in this book include the story of how the film was conceived and developed, the voice cast for the movie, the music (which appears to be excellent), creating the design for the movie, the animators, special effects and how all of this was orchestrated into a completed animated movie.

Of paraticular interests to those interested in history is the apparent attention to detail the animators have given to the cultures of both ancient Egyptians and the ancient Hebrews. The story appears to closely parallel the account in the Old Testament and also includes some of the best creative conceptulizations of the the other classic Hollywood produced movies based upon the story of Moses and The Ten Commandments.

This book will serve as an excellent companion to both the movie, associated printed material and most certianly the forthcoming soundtracks which are scheduled for release in mid-November.

Reviewed by Michael C. Turner

This novel recounts events leading to the fall of Constantinople to the Turks in 1453. The legendary "wandering jew", in guise of a "Prince of India" aids in bringing about the downfall of the city and its empire by aiding and advising the Turkish Sultan Mehmed II.

The viewpoints of both the Greek and Turkish sides are shown in detail, with sympathy for both. Added to this are many vivid descriptions of the city and the important characters of the day. All in all, an interesting read.

The central character of the Jew/Prince is a fascinating portrait. I found it much more effective than the other 19th century treatment of the legend by Eugene Sue, "Le Juif Errant."

In many ways, this mature work resembles his "BEN-HUR": it covers
a period of many years, and its plot is built by putting together
historical and geographical facts, and by weaving in a thread of
romance. The "boat race" introduced in this story suggests the
famous "chariot race" in "BEN-HUR". This property has value in
awakening interest in a fascinating period of history, and fixing
in the mind of the audience many historic events and customs,
while its treatment of the religious questions involved is both
broad and comprehensive. (Helen Rex Keller)

This was, by far, the best textbook in my entire undergraduate education. The book was used for my Cell Biology class at SFSU, but I referred to it endless times during subsequent courses where the required texts just couldn't help. I used this book as a supplement for: General Microbiology, Immunology, Genetics, and Microbial Physiology. Buy this book!

Dr. Kleinsmith used to be my teacher at the University of Michigan. He taught me Biology of Cancer. The way he taught was excellent and this book of his really represents his talent in teaching. For those who do not have solid background in cell and molecular biology but want to learn more about it, this book is specially written for you. The material presented here, though not advanced, covers everything needed as a prerequisite for higher level biology. It is worth reading. I am sure that after you finish one chapter in this text, you will feel yourself know some biology better. Try it for yourself.

Wolpert's developmental biology textbook is evidently an excellent text in its field. The authors are all well recognized in thier research areas. The organization of the text is also very well written. The summary of the concept presented at the end of each chapter is helpful. The figures presented througout the text are clear and the language used to explain them is simple but very understandable. Compared with the well-known Gilbert's text, this text may be less in dept but you can get the concept from this book for only half of the time reading Gilbert's. It is a nice book to have both for the new beginner in the field and for just a quick reference.

@I read this book for 2 months. Chapters of regeneration is more impressive than any other chapters.Moreover, I impressed that this bppk is best for beginners and students. Composition is also excellent.