[J711.Ebook] Ebook Download History of Far Eastern Art (5th Edition), by Sherman Lee

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History of Far Eastern Art (5th Edition), by Sherman Lee

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Covers Himalayan areas--Ladakh, Kashmir, Tibet, and Nepal. New chronologies in Stone age and Bronze Age, China, Korea, and Japan.

• Sales Rank: #101903 in Books
• Brand: Lee, Sherman E.
• Published on: 1994
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 11.74" h x 1.48" w x 9.14" l, 5.26 pounds
• Binding: Hardcover
• 576 pages

From the Publisher
This extensively-illustrated, comprehensive survey history of ALL of Far Eastern art -- from 5000 B.C. to A.D. 1860 -- follows a chronological, geographical/cultural, medium organization throughout.

About the Author
Lee is former director of the Cleveland Museum of Art.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Nice Book, but to narrow focus
By B O.
Nice book that covers a wide breadth of Asian art. The only issue I have with this text is that is focuses almost exclusively on ancient art from the Bronze Age until about 1000. This book is not of much interest to collectors since most of the current interest is in Asian arts from the last 300 years now.

2 of 9 people found the following review helpful.
Zzz.
By Sparkleigh
It's not very useful for students in that it completely lacks concise and emphasized relevant information. There isn't even a glossary in the back! UGH. Bullet points and summaries, please!

74 of 74 people found the following review helpful.
A comprehensive, flawed survey of the subject
By Joe the Critic
I'm reading this book for an Asian Art class, and I find it has both significant strengths and significant weaknesses.
Its major strength is the integrated approach: Sherman Lee organizes the book chronologically and thematically, rather than geographically. Instead of writing a section on Chinese art and a section on Indian art, Lee organizes his material by stage of development (Stone Age pottery) or by cultural movement (Buddhism), for example tracing the development of Buddhist styles in India, the adoption of those styles in China, Japan, and S.E. Asia, and the eventual synthesis of the Indian influences into local styles incorporating indigenous themes. Lee writes eloquently and even passionately about his subject, letting us know which cultures, styles, and artworks he admires. He covers a vast amount of cultures and time periods, easily enough material for dozens of books.
The book does have significant flaws, however. Most frustrating are the black and white photos (presumably a cost-saving measure). Roughly 90% of the images in the book are black and white, and they cannot do justice to most of the subject matter. A second weakness is Lee's writing style, which is sometimes more eloquent than comprehensible. At times I had to reread a section several times in order to figure out what Lee was trying to say. He sometimes seemes to be addressing himself to an audience of art critics who are already familiar with the material, rather than students encountering it for the first time. He will tell us that a particular art work is hieratic in style, or is an example of Daoist style, without explaining why. Also the thematic, rather than chronological, approach means that some topics are fragmented into parts of different chapters. The material on Korea, Southeast Asia, and the Tang Dynasty seemed especially disjointed. The sections on China in particular need more development: Lee provides only a single page of text on the historically pivotal Qin Dynasty, and does only a fair job explaining the influences of Confucianism and Daoism.
One alternative text that deserves consideration is The Art of East Asia, edited by Gabriele Fahr-Becker. Almost of the photographs are in color, and the text is both more comprehensive and more comprehensible than Sherman Lee, in particular the section on China. The text is written by several different authors, one for each region, which has both advantages and disadvantages -- it avoids the fragmentation of Lee's approach, at the expense of integrating it all into one consistent framework. The key disadvantage of The Art of East Asia (compared to Sherman Lee's History of Far Eastern Art) is that it doesn't include India, which contributed some of Asia's most impressive sculptures, and whose religions had tremendous influence on the rest of Asia.

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[D261.Ebook] Free PDF The LEGO Technic Idea Book: Wheeled Wonders, by Yoshihito Isogawa

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The LEGO® Technic Idea Book: Wheeled Wonders is a collection of hundreds of mechanisms for cars, trucks, motorcycles, and other vehicles that you can build based on their pictures alone. Each project uses color-coded pieces and is photographed from multiple angles, making it easy to see how the models are assembled without the need for step-by-step instructions. Every model illustrates a different principle, concept, or mechanism that will inspire your own original creations. You're encouraged to use these elements as building blocks to create your own masterpieces.

The Technic models in Wheeled Wonders spin or move things, drag race, haul heavy gear, bump off walls, wind up and go, and much more. You'll discover how to build differential gears, implement steering and suspension, and design clutch and transmission systems to use in your own vehicles.

This visual guide, the second in the three-volume LEGO Technic Idea Book series, is the brainchild of master builder Yoshihito Isogawa of Tokyo, Japan. Each title is filled with photos of Isogawa's unique models, all of which are designed to fire the imaginations of LEGO builders young and old.

Imagine. Create. Invent. Now, what will you build?

NOTE: The LEGO Technic Idea Book series uses parts from various Technic sets. If you don't have some of the pieces shown in a particular model, experiment by substituting your own parts or visit the No Starch Press website for a list of the special parts used in the book.

• Sales Rank: #120792 in Books
• Brand: Brand: No Starch Press
• Published on: 2010-10-25
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .42" w x 8.00" l, 1.03 pounds
• Binding: Paperback
• 144 pages

Features

• Used Book in Good Condition

About the Author

Yoshihito Isogawa is a LEGO luminary with 42 years of experience. He began writing computer manuals while at the Tokyo University of Science and founded Isogawa Studio, Inc. soon after. He has twice won the grand prize in the Japan Manual Contest held by the Japan Technical Communicators Association and he has won outstanding performance awards many times. He currently lives in Tokyo.

Most helpful customer reviews

25 of 26 people found the following review helpful.
Thinking in LEGO -- where to find those pesky parts
By William Pollock
There are hundreds of models in these books and, unless you've got a massive storehouse of LEGO Technic parts in your 10,000 square foot basement, you may not have all of the parts you need in order to build a particular model.

We want to help you find those parts. To that end, Yoshihito Isogawa has prepared a hyperlinked list of the more unique parts in the books to help you to find them at the Bricklink website. We can't post a direct link to that list here, but here's how to find it on our website:

(1) Go to the main No Starch Press website
(2) Search for the word "technic"
(3) Click the first search item that comes up ("LEGO Technic Idea Book Complete Set")
(4) When you reach that page, click the link that says "See the parts list for the books," which you'll see just underneath the red text that says "Buy the whole set and save . . ."

or, if you can read between the lines, try:

nostarch dot com /technic

Please remember that these are idea books; buying these books is not like buying a pre-packaged LEGO set. As such, you're encouraged to explore and invent with LEGO. Many of our readers draw considerable inspiration from the pictures of Isogawa's models alone and I hope that you will, too.

Sincerely,

William Pollock, Founder
No Starch Press

17 of 19 people found the following review helpful.
Cookbook vs. Idea Book (And what about LEGO pieces?)
By Laurens Valk
I've had all three of Isogawa's Technic Idea books for a while now. After reading some of the reviews and comments here, I felt compelled to contribute some information to this discussion. The point I want to make is that these books are *Idea Books*, not *cookbooks*. You would have guessed that from the book title, but reading through the reviews here, it appears that this isn't obvious, so let me explain.

But before I do, in Mr. Isogawa's own words: "This book is full of little seeds for ideas. It is you who will cultivate these seeds so they will grow into wonderful masterpieces." This means that this book is full of ideas, not ready made recipes that you would find in a cookbook. There's no list of ingredients, and also no step-by-step instructions to make everything. If you want full instructions, this may not be the right book for you.

This book has numerous examples that show the essential principles of building LEGO vehicles. It also shows how you can use LEGO motors to make your vehicles move. And here's where "all those expensive rare components" come in. Truth is, you really don't need all these pieces.

The best example is the use of motors. Pages 4-17 show you many working examples of motor powered vehicles. All of these vehicles do the same: move when you switch on the motor, so you really need to build only one of them. Now, all these vehicles illustrated on these pages use *6 different types* of LEGO motors (to be clear, only one motor per vehicle). The author has done this so that literally *anyone with any LEGO motor* can build this little car.

So you really need just one motor. And once you've followed Mr. Isogawa's suggestions on how to mount your particular motor on a (any) LEGO construction, you're ready to add this motor to all of the other special vehicles in this book - even if it doesn't picture your motor. All motors do the same. Just plug and play.

Clearly the same goes for wheels. Every wheel will work. And if your wheels are too big to fit the example car, just make the car bigger. After all, that's the point of this book: inspire you to build your own creations.

While the author has kindly provided a parts list that show the pieces used in this book, I actually do not recommend to buy pieces based on this list. Rather, I would suggest that you buy one of the bigger LEGO Technic Sets, especially one with at least one motor. That's much more pieces for your money, plus you can build an awesome truck or bulldozer when you're done building wheeled wonders.

And instead of going to Bricklink to hunt down rare pieces, search for "Peeron", which is a site that shows which pieces can be found in each LEGO set. Just enter the part number of the LEGO set and find what's in it. You can still buy that great looking truck, but be sure to use this site to check that it includes some gears, wheels and a motor so you're good to go to build the vehicles in this book.

And as with any LEGO related product, a child may need a little guidance. A child won't read this review, but if you read it, just build something together with your kid and show them what I said here. They'll get it, and I'm sure you'll like the LEGO experience too.

8 of 8 people found the following review helpful.
For the LEGO car builder...
By Joseph Meno
Some of the most sought after LEGO sets from the past include the Technic supercars. Built to a larger scale than the usual LEGO sets, these models had many of the same functions of a real sports car, such as steering, suspension and transmissions. However, building a model of that complexity without having built one of the sets has been a major challenge. As a result, there are only a few fan supercars out there.

The LEGO Technic Idea Book: Wheeled Wonders is a book that shows builders how to make such features in LEGO fashion. Using photos and some simple diagramming, the book shows in a very clear way how to make motorized models that can drive, steer, and do other things, thanks to some gearing. Different motors are used in the models, so adapting from one type to another is not difficult.

What's amazing is that some of the models are wonderfully elegant. Using basic parts, a car can be built that hugs table edges. No computers needed! Another model uses a polarity switch for a car that reverses when it hits a wall. Ingenious solutions are throughout the book and provide inspiration for both the beginning builder and experienced Technic builder.

This is the second of the LEGO Technic Idea book trilogy, so this is only about wheeled models. Butas the others, this is a good reference and inspiration for building things with movement. Highly recommended for any builder!

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• Sales Rank: #27440 in Books
• Brand: Verou, Lea
• Published on: 2015-07-03
• Original language: English
• Number of items: 1
• Dimensions: 9.70" h x .80" w x 7.90" l, .0 pounds
• Binding: Paperback
• 392 pages

About the Author

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Most helpful customer reviews

71 of 76 people found the following review helpful.
Aang = air bending. Katara = water bending. Lea = CSS bending.
By Vicente d'Avila Melo Sarmento
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18 of 18 people found the following review helpful.
and the way it is written allows for its encyclopedic contents to be read like a novel— each secret getting better and better
By Irfan Mir
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14 of 14 people found the following review helpful.
A must-read for web designers and developers
By Adrian H.
Absolutely fantastic. A must-read for web designers and front-end developers. It's packed with actionable ideas and techniques, many of which I'd never seen before. (Context: I've been a web developer since 1999ish, co-created the Django web framework and have been wrestling with CSS for 15 years or so.)

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The best part is that Lea talks through her thought process in developing each technique, "teaching a man to fish." In that sense, this book is great on two levels: it'll teach you specific techniques, and it'll teach you how to think when developing your *own* techniques for future web design problems.

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• Sales Rank: #5258751 in Books
• Published on: 2011-07-01
• Original language: English
• Number of items: 1
• Dimensions: 10.35" h x .59" w x 7.52" l, .0 pounds
• Binding: Paperback
• 176 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
fun ideas and techniques on crafting your own types and fonts
By liberal sprinkles
If you like lettering, typography and crafting, this book will be right up your alley! Charlotte Rivers has picked a range of type designs and designers to showcase in Handmade Type Workshop. The typefaces in the book are created through various media: hand drawn on pen and paper or illustrated; stitched, cut out on paper or drawn on the computer; crafted in 3D form from materials like food, ribbons, clay and even bicycle tyre; made from found objects. There are also chapters on creating a font (with tips and technical information like how to extract letter forms from photographs or convert characters to vector graphics) and creating a font family (a guide on using FontLab or Fontographer).

There is a lot of useful information for font lovers in the book. More than 20 designers are profiled and they each briefly describe their work and work processes; several of their letter forms are showcased and best of all, most of the profiles are accompanied by a tutorial from the designer so you can pick up techniques and start creating your own typefaces and fonts. Just how handcrafted, digital or free form is up to you! I started doodling before I hit page 30 and have had many hours of fun since - something I'm sure I'll continue to enjoy doing.

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Everybody is talented, original and has something important to say.

And it may comfort you to know that the only people you might suspect of not having talent are those who write very easily and glibly, and without inhibition or pain, skipping gaily through a novel in a week or so. These are the only ones who did not seem to improve much, to go forward. You cannot get much out of them. They give up working presently and drop out. But these, too, were talented underneath. I am sure of that. It is just that they did not break through the shell of easy glibness to what is true and alive underneath--just as most people must break through a shell of timidity and strain.

Everybody Is Talented

Everybody is talented because everybody who is human has something to express. Try not expressing anything for twenty-four hours and see what happens. You will nearly burst. You will want to write a long letter or draw a picture or sing, or make a dress or a garden. Religious men used to go into the wilderness and impose silence on themselves, but it was so that they would talk to God and nobody else. But they expressed something: that is to say they had thoughts welling up in them and the thoughts went out to someone, whether silently or aloud.

Writing or painting is putting these thoughts on paper. Music is singing them. That is all there is to it.

Everybody Is Original

Everybody is original, if he tells the truth, if he speaks from himself. But it must be from his true self and not from the self he thinks he should be. Jennings at Johns Hopkins, who knows more about heredity and the genes and chromosomes than any man in the world, says that no individual is exactly like any other individual, that no two identical persons have ever existed. Consequently, if you speak or write from yourself you cannot help being original.

• Sales Rank: #347084 in eBooks
• Published on: 2010-04-21
• Released on: 2010-04-21
• Format: Kindle eBook

Amazon.com Review
This book so speaks to the contemporary writer that it is nearly impossible to believe that it was originally published in 1938. In If You Want to Write, Brenda Ueland sets forth not just a philosophy about how to write or how to create, but also about how to live. Beginning writers will certainly be encouraged by Ueland's words, but even the most experienced have much to glean from Ueland's simple wisdom. "Everybody," writes Ueland in the opening chapter, "is talented, original, and has something important to say." Finding that something important involves embracing creative idleness ("the imagination needs moodling--long, inefficient, happy idling, dawdling and puttering"), freeing "what we really think, from what we think we ought to think," and "thumb[ing] your nose at all know-it-alls, jeerers, critics, doubters." One must think, she says, "of telling a story, not of writing it." And when revising one's writing, she advises, "do not try to think of better words, more gripping words.... It is not yet deeply enough imagined." Finally, "whenever you find yourself writing a single word or phrase or page dutifully and with boredom, then leave it out.... If what you write bores you, it will bore other people." And just because If You Want to Write is passionate, sincere, and even spiritual, do not think it is not also witty. One footnote bluntly declaims, "No doubt my terms would horrify a psychologist but I do not care at all." Elsewhere Ueland titles a chapter "Why Women Who Do Too Much Housework Should Neglect It for Their Writing." Amen, sister!

From Publishers Weekly
Ueland argues that anyone can write well once the imagination is freed from self-consciousness, anxiety and fear of failure. This is a fresh and vivid approach to creative endeavors.
Copyright 1987 Reed Business Information, Inc.

Review
"It's a perfect book for both beginning and advanced writing students. It's wonderfully inspirational and can be coupled with just about any teaching technique."—Erin Cressida Wilson, Duke University

"The finest book written on the art and spirit of writing."—Shann Ferch, Gonzaga University (Spokane, WA)

"I have consistently used If You Want to Write for eight years now in English 241, and the students have loved it every semester."—Mel Livatino, Truman College (Chicago, IL)

"If You Want to Write does a superb job of reassuring student writers whose schooling has often robbed them of any confidence in their own voices. Nothing else I know does a better job of explaining to first-year college students the necessity of passion in the writer."—Shelby Grantham, Dartmouth College

"I was with [Ueland] right up to the end and wanted to shout, 'Amen.'"—Andrei Codrescu, poet, author, and National Public Radio commentator

"I only have to read a few sentences and I am infected with the desire to follow her."—Women's Review of Books

Most helpful customer reviews

354 of 359 people found the following review helpful.
The book of a lifetime
By Nigey Lennon (nigella@earthlink.net)
I found this book by accident while browsing through a now-defunct Los Angeles bookstore/cafe. It was the luckiest accident of my life. At that point I had been a professional writer for more than twenty years, but I rarely enjoyed my work, and I felt all of it was disposable in one way or another. At first, reading "If You Want to Write" gave me an incredible, if unfamiliar, feeling of joy and self-confidence. Afterwards, I began to surprise the hell out of myself in terms of what I was able to accomplish. This simply written book states some of the most profound truths about life and creativity I have ever read. Whenever I get stuck on a project I go back and re-read it, and its warmth, generosity, and brilliance always inspire me to go on. It should almost be titled "If You Want to Live", because far more than being a how-to book on writing, it makes an eloquent argument that we all can live creative lives as long as we're true to ourselves.

142 of 147 people found the following review helpful.
This Book Led Me to EPIPHANY
By Theresa Williams
I will admit from the start that this book is not for everyone. It won't appeal to all writers and artists. However, I believe the book was written for people who are looking for a way to lead an authentic life and to achieve authenticity in their art. As with Natalie Goldberg's WRITING DOWN THE BONES, this book feels as though it was written just for me, and that's the true beauty of IF YOU WANT TO WRITE. If the book speaks to you, as it did to me, you may find yourself having the first great epiphany of your artistic life. Her book sits in a prominent place in my home and in my heart. I have read it many times and underlined countless passages. As I struggled to finish my first book, I looked to Ueland for support and confidence. By far the two most memorable passages for me are the one in which she describes a time she was playing the piano and was told her playing wasn't "going anywhere." She then discusses the relationship that MUST exist between the artist and the person experiencing the art. (Her philosophy is strongly influenced by the observations of Tolstoy.) She points out that this relationship is necessary in order for us to produce meaningful art. The second passage that is extremely meaningful to me is related to the first passage. She describes the time Vincent Van Gogh wrote a letter to his brother and drew a tender image of a streetlight that he was looking at outside his window. The drawing is beautiful because it came out of his intense love for his brother and his desire to share something beautiful with him, not from a desire for recognition or fame. This is what Ueland means by authenticity, which she, like Blake, connects to the divine source existing within each individual. This book changed forever the way I view the artistic expression.

70 of 72 people found the following review helpful.
Read it 'til you can't anymore
By Jeremy
Read this book. Read it all the way through. You might say to yourself "this is juvenile. This is naïve." But read it. Press on. Read it thoroughly. Set your mind on "accept" and let the book be right all the time.
Then, read it again. Keep reading it when you are not writing. Randomly pick a page and start. Read it out of order. Perhaps you'll find the Blake, or the Van Gogh; one of her students, or one of her tirades against the niggardly busy-busy world. Read it while watching T.V.(but not while driving a car!)
Soon, you just can't read it anymore. Because it's tedious? Because you've memorized it? Because its pages are stained with finger oil and falling apart?
Because you will be too damn busy furiously writing. And rewriting, then writing again. You will fear--with a creaky feeling in your gut--that a short break may jettison the idea you're blessed with off into the unexpressed void, then banish the next one, and the next one, like a home-run slugger on a roll at batting practice, all which demand permanence--because they all got that something. And you don't dare stop typing (at 75 W.P.M, with pauses of concentrated, exacting thought between) because you must, you absolutely soulfully must, capture this thought perfectly, then quickly move on to the next antsy thought tapping its toe impatiently behind, before it gets insulted and walks out to planet nowhere in a huff.
So read it. And I hope you read it so much that you just don't have the time to read it anymore, and it is gathering dust while your page is gathering words.

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First published in 1886, this book has held its place as the classic work on the Moors in Spain: a scholarly, wonderfully readable and sweeping tale of splendor and tragedy.

• Sales Rank: #54912 in Books
• Model: 4686847
• Published on: 1996-12-05
• Original language: English
• Number of items: 1
• Dimensions: 8.47" h x .92" w x 5.52" l, .88 pounds
• Binding: Paperback
• 295 pages

About the Author
Surname is hyphenated in modern bibliographies, though not in this book.

Most helpful customer reviews

2 of 5 people found the following review helpful.
History not taught in American school.
By Charles E. Carroll
I thought this was an excellent view of Spain, not found in American schools. We learn such a narrow vision of history when taught by the conquerors.

22 of 39 people found the following review helpful.
Truth Hurts
By Christine
This book is excellent and very enlightening, despite what some of the critics say. It discusses many hisorical things, such as a Moor named Tarif, who played a significant role in the Moors' conquering of Spain. It also talks about the many positive contributions the Moors brought to Spain after their conquest.

It never ceases to amaze me how many Caucasians will constantly go to great lengths to take credit for any major and significant civilizations/empires, events, or creations in history. Their pseudo sense of superiority is so dependent upon their view of blacks as inferior that they feel threatened by anything that challenges that identity or reveals otherwise. As a result, they try to manipulate, scoff at, and discredit anything to uphold their beliefs and pseudo-identity. It's been acceptable for people of African descent to be taught and to accept the false belief that the world and universe revolves around Caucasians. Yet, to give Blacks even an ounce of credit in that world/universe is too much for the egos of many Caucasians to accept/handle, even those with supposedly "good intentions." Nevertheless, the obvious lack of credit to people of African descent for any constructive contribution (not slavery) to history is a red flag as NO group has existed on this planet without having some positive influence or impact. And you will not convince me that Africans have existed in that part of the world for centuries without having civilizations, government, inventions, culture, etc. The author of this book has done a great job in depicting the identity of the Black Moors, as well as their contribution to Europe and history in general.

When it was FINALLY realized that the Egyptians couldn't have been Caucasian, some Caucasians decided to consciously incorporate the present-day phenotypically lighter Arabs (but with a genotype revealing African heritage) as White, as they have done with many other groups over the years. God forbid that black people be credited with building pyramids, being kings and queens, inventing things, dominating, etc., right? Are you truly going to convince me that those people, who have lived in that part of the world side-by-side and mixed for CENTURIES, with both faint and strong African features, do not have African heritage? As Caucasians in America feel they are the minority, they will consciously and unconsciously incorporate a new group as white. Welcome Latinos/Hispanics (those light enough to be deemed acceptable) and Asians.

The constant audacity of Caucasians, especially Americans, whose "civilization" (let's speak honestly) has basically existed FAR LESS longer than those in AFRICA, Asia, and the Middle East, to try to be more "experts" about the aforementioned regions' history, than the people within those specific regions or civilizations is baffling. What's funny is, despite all the manipulating of history that's been done, the truth continues to come to the surface, specifically from a source that's been present all the time: DNA.

You can play as gods, but you will never be God.

14 of 19 people found the following review helpful.
Classic text. Poor Introduction.
By zegri
Stanley Lane Pool's book is a classic example of the Reinhardt Dozy school of scholarship in the field of Hispano-Arabic studies. However, the introduction by Stanley Jackson is extremley misleading. The term Moor is not meant to denote black Africans, it was a term used by Christians to describe the Muslim inhabitants of Iberia not any specific racial group. The Arabs which crossed the straits of Gibralter into Iberia were originally from the Arabian peninsula. Also, they did not make up the majority of the troops who invaded Spain. The majority of the Islamic peoples who came to Iberia were north African Berbers of what anthropologists classify as the Hamitic branch of the caucasoid race. Furthermore, the indigenous Iberians always outnumbered the Arab, Berber and black African contingent. The Indigenous Iberians were simply islamized, adopted the Arab culture and were thus called Moors by the Christians. It was not until the coming of the Almoravid empire which arrived in Iberia in the 12th Century, where large numbers of black Africans came to Iberia, being that the Almoravids (al-murabitun) originated from present day Senegal and southern Morocco. Black Africans did make very important contirbutions to Iberian history, such as the great medieval, Spanish linguist Juan Latino who helped unify the Castillian language, however, he was a freed slave and a Christian not a Moor. To say that the Moors were of any specific racial group as Stanley Jackson posits is misleading and irresponsible pseudo-scholarship.

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This new edition further clarifies health policy formulation, implementation, and modification. The policymaking process is brought to life through excerpts from congressional testimony, news stories, executive orders, legislation, and other documents related to real-world policy issues. Students will acquire the background they need to analyze the effects of health policies and influence the policymaking process. The book also provides a framework for understanding the development of today s health reform legislation.

• Sales Rank: #326259 in Books
• Brand: Brand: Health Administration Press
• Published on: 2010-05-15
• Format: Sega
• Original language: English
• Number of items: 1
• Dimensions: 10.20" h x 1.30" w x 7.20" l, 2.45 pounds
• Binding: Hardcover
• 431 pages

Features

• Used Book in Good Condition

About the Author
Beaufort B. Longest, Jr., PhD, FACHE, is the M. Allen Pond Professor of Health Policy & Management and director of the Health Policy Institute at the University of Pittsburgh. Dr. Longest has authored or coauthored ten books and twenty-eight chapters in other books.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Awful
By Woodstocker
This textbook is insufferable. Dry and ciruitious in delivery, you will be exposed to cool and nifty frameworks and models without actually learning anything substantive. If I didn't have a great instructor who deviated from the text and expanded on the substance, I would have been lost. There is also a glaring typo on page 124.

3 of 3 people found the following review helpful.
Health Policy Textbook
By A. T. Goddard
Purchased as a required text for a Health Policy class.
very dry- but easy to understand-
lots of examples from Pennsylvania since author is from Pittsburgh
lots of up to date information from 2009-2010.... but that is where it stops- so be prepared- some things are out of date already.

0 of 0 people found the following review helpful.
I have found the text to be very helpful and an easy read.
By Ann S
I purchased this book for a class I am taking this semester. I purchased the text because it was required for the course. I have found the text to be very helpful and an easy read.

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[Y873.Ebook] PDF Ebook Stiff: The Curious Lives of Human Cadavers, by Mary Roach

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"One of the funniest and most unusual books of the year....Gross, educational, and unexpectedly sidesplitting."—Entertainment Weekly

Stiff is an oddly compelling, often hilarious exploration of the strange lives of our bodies postmortem. For two thousand years, cadavers—some willingly, some unwittingly—have been involved in science's boldest strides and weirdest undertakings. In this fascinating account, Mary Roach visits the good deeds of cadavers over the centuries and tells the engrossing story of our bodies when we are no longer with them.

• Sales Rank: #11738 in eBooks
• Published on: 2004-05-17
• Released on: 2004-05-17
• Format: Kindle eBook

Most helpful customer reviews

1 of 1 people found the following review helpful.
Funny, thoughtful, profound, and surprisingly enjoyable for a book about dead bodies
By Josh Mauthe
Having read Mary Roach’s newest book, Grunt, in which she talks about the science of keeping soldiers alive, I decided to read her first one, Stiff, for two reasons. One was to see how much she’d changed as an author, but two – and the bigger reason – was a fascination with the subject. Stiff‘s subtitle is The Curious Lives of Human Cadavers, and the book is about exactly that: what happens to our remains after we die? Like she did with Grunt (and, I’m presuming, all of her books), Roach divides the book into independent chapters, each focusing on different aspects. There’s the bodies that end up in mortuary schools, as well as those that end up dissected by medical students. There are cadavers used as crash testers, those that end up at the Body Farm (where decay is studied, among other things), those that are used to help understand airplane crashes…and those that were used to understand what happened to Jesus and others who were crucified. And there’s much more to be found here, including bodies as compost, as art, and more.

It’s a fascinating subject, and one that put Roach on the map – and having read the book, it’s not hard to see why. Done wrongly, the book could seem insensitive, ghoulish, or just depressing. But Roach celebrates these cadavers, reminding the reader just how much has been gained from this research and just how important these bodies have been to not only medicine, but to our society as a whole. At the same time, she never shies away from the discomfort people feel; indeed, one of the most compelling threads in each chapter is discussing with the various people she meets how they manage to maintain a proper emotional balance when they’re working with the dead all the time.

Roach is more of a presence in Stiff than she is in Grunt; it feels like more of a first book, and something she might grow away from as she went. But that also feels like a key part of why the book works; after all, death is a fundamentally personal event, and there’s little way to read Stiff and not spend time thinking about what you would want done with your own remains, be it cremation, burial, donation, or more. And Roach builds her own debate into the book, concluding the book with a chapter that finds her pondering what to do with her own remains, having done all these studies and researches into our possible fates.

But lest that sound too heavy, Stiff is every bit as engaging and fun as you would hope from Roach’s reputation. Her digressive footnotes and odd asides are still evident, her willingness to ask questions no less charming, and her ability to bring a light tone to even heavy subject matters no less welcome. More than that, she finds depth and thoughtfulness to discuss beyond what you would expect, to the point where you get the impression that she could write a whole second book about bodies and never run out of things to say. That she does all this while being incredibly informative, demonstrating a gift for conveying complex things quickly, and managing to even tell stories, is just testament to her skills as a writer, and the deservedness of her reputation.

1 of 1 people found the following review helpful.
Terrific Book
By J. Kazi
Mary Roach is my favorite non fiction author and this is the first book I read by her. I completely devoured it in just 2 days. it perfectly balances the absurdity of the facts and well as the myths. it draws the readers attention to the humor in something as somber as death. I learned a lot from this book and it's one of my favorite reads. each chapter focuses on a different aspect of death from the scientific standpoint. it's full of facts, fallacies, and there's even pictures. if I could give it a sixth star, I would

0 of 0 people found the following review helpful.
Could Not Put It Down!
By aubie99_98
I Love, Love, Love this book! I cannot speak highly enough about this one. I loved it so much I bought the book, bought a second copy for a friend and got it on kindle. I loved all the history behind the story, her amazing research, and humor she was able to bring to such a serious subject matter. It made me think about my own body and what I want to do with it once I leave my earthly home for my Heavenly one. Right now I am down to donating to science and The Body Farm. If you have a curious mind, and want to read something intriguing, odd, and well written, this is the book for you. I could not put it down!

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