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While still in his early twenties, Allen Tager was one of the 9 leaders in the largest artistic avant-garde movement in the long history of the former Soviet Union. In St. Petersburg (The Cultural Capital of Russia), this group of 300 artists gave regular art exhibitions of "new" art five years prior to the rise of Mikhail Gorbachev. As history notes, Mr. Gorbachev instigated the global shift of the totalitarian Russian regime to the new Russian Democracy. It is commonly believed that this "Avant-Garde Movement" in St. Petersburg and this group of artists which risked their lives giving these art exhibitions created a foundation for change in the cultural and social climate of the country.

Mr. Tager is internationally recognized for his successful and unique approach to art studies, as well as his ability to elicit remarkable levels of creativity from his students. His students from Europe and USA have repeatedly been recognized for top honors in international-level art competitions.

Mr. Tager’s method was developed during his career as a modern artist in Russia, where, through working with fellow artists and students, he uncovered a strong demand to inspire promising young artists with his visionary philosophy, style, and approach to art education. Honoring prestigious European traditions and fine art academies, his classes and workshops offer an incredible opportunity for authentic artistic development.

• Sales Rank: #1376747 in eBooks
• Published on: 2012-09-14
• Released on: 2012-09-14
• Format: Kindle eBook

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1 of 1 people found the following review helpful.
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This is a 4 disc speech lab CD that accompanies Speaking Clearly Impproving Voice and Diction.

• Sales Rank: #1035249 in Books
• Published on: 2002
• Binding: Audio CD

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1 of 1 people found the following review helpful.
Good Information
By C-Mar
I read what I had to read to get through class. I can see that it is a good book, but as a college student, you only want to read what you have to, and move on with life.

89 of 92 people found the following review helpful.
Great CDs for Practicing Diction
By Charlotte K. Howard
My speech was getting sloppy--wasn't enunciating clearly & my mouth felt lazy. So I bought this book & CD set. I play the CDs in my car while commuting to & from work, & I find they are wonderful. The exercises involve repeating words that are grouped by vowel & consonant sounds, then progressing to repeating phrases, then to repeating sentences. The pace is fast (so you don't lose interest), the sentences are pretty complex (so you have to be attentive & not lazy) and there are are several CDs too, (so you don't get bored). Doing the CD exercises has definitely helped remove the marbles from my mouth, and to iron out certain bad habits I was getting into pronunciation-wise. I'm sure the book is great too, though I haven't used it yet (I picked this package mainly for the CDs, as I'm forever buying "Improve Your Speech" books & not doing much with them). I'm a native English speaker, so I've no idea how helpful this set would be to someone who is switching from another language.

43 of 44 people found the following review helpful.
Indespensible for actors and singers too, not just speech therapists!
By The Actor
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A reviewer recommended this book for speech therapists, but I would also recommend it for actors, singers, frequent public speakers, and for other people who use their voice professionally, and even for help with stuff like accent elimination.

This book also helped me learn IPA (International Phonetic Alphabet), which I've found to be a tremendously helpful tool.

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Things I Meant to Say to You When We Were Old [Paperback]

• Sales Rank: #513728 in Books
• Published on: 1977-04-06
• Released on: 1977-04-06
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Binding: Paperback
• 132 pages

Most helpful customer reviews

11 of 11 people found the following review helpful.
Where are you when you're needed most?
By faja@soltec.net. Lisa Sanders
Again, I would like to thank Merrit for another lovely book...that doesn't describe what it means to me though...When I got married...several of these poems spoke to me as a mother should speak to her child. You helped me grow into the woman I am today...with love...with caring...and with a bit of sarcastic wit. Thank you...thank you...thank you...

9 of 10 people found the following review helpful.
Nobody writes poetry like Malloy
By A Customer
Her work is contemporary, and starkly honest. I have always loved poetry, both reading it and writing it, and have never found a poet I liked anywhere near as much.
Merrit Malloy is not afraid to write about any subject. Her thoughts on men, children, relationships, pets, parents and everything in between will strike a cord with any reader, male or female. She has a way of writing that makes you wonder if she read your mind.

1 of 1 people found the following review helpful.
Totally Italics Print
By Ms. Kitt
Typical brilliance of Malloy! Throughout the book the poems are in italics print which I found distracting, but the verses are wonderful once getting used to it. Great book to take along anywhere, since it can be read at varying intervals, long or short.

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Elucidates the major components of Gadamer’s philosophical hermeneutics found in his later work.

Dealing extensively with Gadamer’s later writings, Hermeneutics and the Voice of the Other shows neglected and widely misunderstood dimensions of Gadamer’s hermeneutics: historicity, finitude, truth, the importance of the other, and the eminence of the poetic text.

“…Risser’s book, with its reliable and insightful expositions, its tracing of the philosophical sources of Gadamer’s thought, and its cogent replies to major critics, offers a guidebook to hermeneutics of enduring value both to novice and expert.” — International Studies in Philosophy

“…the volume is … the best introduction to philosophical hermeneutics in English and should be widely used. It firmly establishes Risser as an impeccable interpreter of Gadamer’s thought.” — Review of Metaphysics

“In this text, Risser has heard Gadamer’s own voice. Here is a study of Gadamer that presents him as neither a proto-pragmatist, nor a Heideggerian epigone, nor as a half-hearted ‘post-modern’ but as an independent thinker with a position of his own. Risser makes it admirably clear that although Gadamer has his roots in many of the same sources as those philosophers and philosophical positions with which his work is often confused, he nevertheless points to possibilities of interpretation of these sources that present challenging alternatives to the reigning orthodoxies. This is a work that anyone who wishes to avoid caricaturing Gadamer should read.” — Brice Wachterhauser, St. Joseph’s University

“At last, here is a well balanced book sympathetic to Gadamer’s philosophical hermeneutics that deals extensively with his later writings. It carefully elucidates and clarifies key concepts in Gadamer’s philosophical hermeneutics, beginning with the often neglected elements of finitude and facticity in Gadamer and their roots in Heidegger and culminating with a chapter on ‘The Voice of the Poet,’ again returning to an emphasis found in the later Heidegger. A particularly valuable dimension of the book is Risser’s effort in each chapter to specify how his reading of Gadamer differs from those offered by various critics who have reproached hermeneutics on various grounds.” — Richard E. Palmer, MacMurray College

• Sales Rank: #903676 in Books
• Brand: Brand: State University of New York Press
• Published on: 1997-03-06
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .73" w x 6.00" l, .86 pounds
• Binding: Paperback
• 292 pages

Features

• Used Book in Good Condition

About the Author
James Risser is Professor of Philosophy at Seattle University.

Most helpful customer reviews

9 of 9 people found the following review helpful.
A perspective on Gadamer
By Michael J. Mazza
"Hermeneutics and the Voice of the Other: Re-reading Gadamer's Philosophical Hermeneutics," by James Risser, is, on the whole, a well-written and accessible text. As the book's subtitle indicates, it is a look at the work of 20th century thinker Hans-Georg Gadamer, whose 1960 book "Truth and Method" looms large in academia. In his introduction, Risser notes that the "aim of this book [...] is to treat philosophical hermeneutics in a more encompassing way, in a way that takes account of the complexity and breadth of the project of philosophical hermeneutics."
Risser reflects on the relationship of Gadamer's work to the work of such related thinkers as Heidegger, Kant, Husserl, Kierkegaard, and Derrida. He addresses the concerns of Gadamer critics John Caputo and Richard Bernstein. Risser looks at some specific controversies surrounding Gadamer's work, such as the debate over Gadamer's concept of "prejudice."
I found one of the more interesting parts of the book to be Risser's look at the relevance of "Buber's distinction between an I-It relation and an I-Thou relation" to Gadamer's work. I was also intrigued by Risser's thoughts on "the concept of play" ("Spiel" in German) in Gadamer's work.
If you're turned off by phrases like "an Aristotelico-Hegelian metaphysics of infinity," you might want to avoid this book. But on the whole I found Risser's prose quite engaging. My main disappointment with the book stems from my expectations regarding the book's title. Risser talks about the voice of the "other," but I didn't see anything in the book which really explored what makes an "other" an "other." In particular, I finished the book wondering what relevance Risser's work (and Gadamer's by extension) has on postmodern debates over difference in race, gender, class, etc. Significantly, such terms as "race," "gender," etc. don't even appear in the index. My advice: supplement your reading of this book with Adrienne Rich's "Blood, Bread, and Poetry" or Audre Lorde's "Sister Outsider."
Risser's prose gets a bit "touchy-feely" towards the end, as he reflects on commonalities between poetry and philosophy and waxes poetic himself on such concepts on grace, kindness, friendship, and the "radiant word." (But I admit: I liked the "touchy-feely" stuff.) Not a wholly satisfying book, but nonetheless an admirable achievement.

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Juvenile Delinquency: A Sociological Approach, by Jack E. Bynum, William E. Thompson

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Taking a sociological approach, this text discusses delinquency as it relates to and emerges from the youth's family, neighborhood, school, peer group, social class, and overall cultural and social environment. The authors incorporate contributions from psychologists, social workers, criminologists, and other specialists who have sought to understand, explain, control, and prevent juvenile delinquency.

• Sales Rank: #4562329 in Books
• Published on: 1992-01
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x 8.00" w x 1.00" l,
• Binding: Hardcover
• 1040 pages

From the Back Cover

Juvenile Delinquency: A Sociological Approach, 7/e

• Jack E. Bynum, University of Southern Oregon (HEPM ID: 414004)
• William E. Thompson, Texas A&M University, Commerce (HEPM ID: 414005)
• ISBN: 0205499112

In Juvenile Delinquency: A Sociological Approach, 7th edition, the authors continued to provide a thorough and thoughtful examination of this very serious social problem.  Their over-arching sociological perspective traces  this anti-social behavior to the youth’s family, neighborhood, school, peer group, social class, culture, and other components of his/her social context.  At the same time, major contributions from psychologists, social workers, criminologists, and specialists from other disciplines are incorporated. The integrative approach of this text carefully presents the classical theoretical explanations and social control strategies as foundational initiatives for newer and contemporary theoretical insights and treatment programs.

About the Author

    William E. Thompson was born and raised in Tulsa, Oklahoma, and was the first member of his family to receive a high school diploma.  He received his bachelor's degree from Northeastern State University, a master's degree from Missouri State University, and a Ph.D. from Oklahoma State University.  Professor Thompson has authored and coauthored more than 30 articles in professional journals, including several reprinted in sociology textbooks and readers.  He has coauthored a textbook on juvenile delinquency.  Thompson also is the author of The Glass House, a nonfiction account of his mother's two year battle with cancer and the lessons about life and living learned from her death and dying.

    Professor Thompson began his college teaching career at the University of Tulsa.  He spent the next ten years at Emporia State University in Emporia, Kansas.  He is currently a professor of sociology and criminal justice and Director of Mayo College, a residential learning community for first-year students, at Texas A&M University - Commerce.  He has also taught in the British Studies Program at Kings College, University of London.  In 1993 Thompson received an Outstanding Teaching Award from the Texas Association of College Teachers, and in 1994 he won the Distinguished Faculty Award for Research and Teaching at Texas A&M University - Commerce.  For fun and relaxation Thompson plays the drums.

 

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Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically.

Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film . In the first section, "A Woman Scored," Kassabian analyzes desire and agency in the music of such films as Dangerous Liaisons, Desert Hearts, Bagdad Café, Dirty Dancing and Thelma and Louise. In "At the Twilight's Last Scoring," she looks at gender, race, sexuality and assimilation in the music of The Hunt for Red October, Lethal Weapon 2 and Indiana Jones and the Temple of Doom. And finally, in "Opening Scores," she considers how films such as Dangerous Minds, The Substitute, Mississippi Masala and Corrina, Corrina bring together several different entry points of identification through their scores.

Kassabian ensures that modern film criticism has a new chapter written through this book. Her important and long-overdue analysis is not to be ignored. Also includes eleven musical examples.

• Sales Rank: #2323415 in Books
• Published on: 2000-12-07
• Released on: 2001-01-11
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .46" w x 6.00" l, .74 pounds
• Binding: Paperback
• 200 pages

Review

'Refreshing in dealing with films of the 1980s and 1990s. It is also relatively rare to find film music books that seriously explore scores that rely to a large extent on popular music tracks. Hearing Film is a useful volume.' - Senses of Cinema

'No longer an esoteric domain limited to a few specialists, the world of film sound tracks has finally come into its own, thanks to books like Anahid Kassabian's Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Turning her attention from the (traditional, male, European) realm of classical Hollywood composers to the (contemporary, female, American) sphere of music supervisors and compiled scores, Kassabian brilliantly shows how contemporary film music anchors a gendered identification process. Hearing Film is not just first-rate scholarship, it's exciting reading!' - Rick Altman, University of Iowa Professor of Cinema and Comparative Literature

From the Back Cover
Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically. Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film.

After outlining the history of film scoring and discussing some basic techniques, Kassabian focuses on contemporary film sound tracks and the issues that they raise. In A WOMAN SCORED, Kassabian analyzes desire and agency in the music of such films as Dangerous Liaisons, Dirty Dancing, and Thelma and Louise. In AT THE TWILIGHT'S LAST SCORING, she looks at gender, race, sexuality, and assimilation in the music of The Hunt for Red October, Lethal Weapon 2, and Indiana Jones and the Temple of Doom. And, finally, in OPENING SCORES, she considers how films such as Dangerous Minds, Mississippi Masala, and Corrina, Corrina represent the best in contemporary scoring.

About the Author
Anahid Kassabian is Director of Postgraduate Research in the School of Music at the University of Liverpool, James and Constance Alsop Chair, and Editor of Music, Sound, and the Moving Image. She coedited the book Keeping Score: Music, Disciplinarity, Culture (1997) and has written numerous articles and book chapters on popular music, film music and feminist theory.

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