Leo Strauss is known primarily for reviving classical political philosophy through careful analyses of works by ancient thinkers. As with his published writings, Strauss’s seminars devoted to specific philosophers were notoriously dense, accessible only to graduate students and scholars with a good command of the subject. In 1965, however, Strauss offered an introductory course on political philosophy at the University of Chicago. Using a conversational style, he sought to make political philosophy, as well as his own ideas and methods, understandable to those with little background on the subject. Leo Strauss on Political Philosophy brings together the lectures that comprise Strauss’s “Introduction to Political Philosophy.” Strauss begins by emphasizing the importance of political philosophy in determining the common good of society and critically examining the two most powerful contemporary challenges to the possibility of using political theory to learn about and develop the best political order: positivism and historicism. In seeking the common good, classical political philosophers like Plato and Aristotle did not distinguish between political philosophy and political science. Today, however, political philosophy must contend with the contemporary belief that it is impossible to know what the good society really is. Strauss emphasizes the need to study the history of political philosophy to see whether the changes in the understanding of nature and conceptions of justice that gradually led people to believe that it is not possible to determine what the best political society is are either necessary or valid. In doing so, he ranges across the entire history of political philosophy, providing a valuable, thematically coherent foundation, including explications of many canonical thinkers, such as Auguste Comte and Immanuel Kant, about whom Strauss did not write extensively in his published writings.
An art historical epic for dangerous times What do artworks look like in extreme cases of collective experience? What signals do artists send when enemies are at the city walls and the rule of law breaks down, or when a tyrant suspends the law to attack from inside? Art in a State of Siege tells the story of three compelling images created in dangerous moments and the people who experienced them—from Philip II of Spain to Carl Schmitt—whose panicked gaze turned artworks into omens. Acclaimed art historian Joseph Koerner reaches back to the eve of iconoclasm and religious warfare to explore the most elusive painting ever painted. In Hieronymus Bosch’s Garden of Delights, enemies are everywhere: Jews and Ottomans at the gates, witches and heretics at home, sins overtaking the mind. Following a paper trail leading from Bosch’s time to World War II, Koerner considers a monumental self-portrait painted by Max Beckmann in 1927. Created when Germany was often governed by emergency decree, this image brazenly claimed to decide Europe’s future—until the Nazis deemed it to be a threat to the German people. For South African artist William Kentridge, Beckmann exemplified “art in a state of siege.” Koerner shows how his work served as beacon during South Africa’s racialist apartheid rule and inspired Kentridge’s breakthrough animations of drawings being made, erased, and remade. Spanning half a millennium but urgent today, Art in a State of Siege reveals how, in dire straits, art becomes the currency of last resort.
With his 95 Theses, Martin Luther advanced the radical notion that all Christians could enjoy a direct, personal relationship with God—shattering years of Catholic tradition and obviating the need for intermediaries like priests and saints between the individual believer and God. The text of the Bible, the Word of God itself, Luther argued, revealed the only true path to salvation—not priestly ritual and saintly iconography. But if words—not iconic images—showed the way to salvation, why didn't religious imagery during the Reformation disappear along with indulgences? The answer, according to Joseph Leo Koerner, lies in the paradoxical nature of Protestant religious imagery itself, which is at once both iconic and iconoclastic. Koerner masterfully demonstrates this point not only with a multitude of Lutheran images, many never before published, but also with a close reading of a single pivotal work—Lucas Cranach the Elder's altarpiece for the City Church in Wittenberg (Luther's parish). As Koerner shows, Cranach, breaking all the conventions of traditional Catholic iconography, created an entirely new aesthetic for the new Protestant ethos. In the Crucifixion scene of the altarpiece, for instance, Christ is alone and stripped of all his usual attendants—no Virgin Mary, no John the Baptist, no Mary Magdalene—with nothing separating him from Luther (preaching the Word) and his parishioners. And while the Holy Spirit is nowhere to be seen—representation of the divine being impossible—it is nonetheless dramatically present as the force animating Christ's drapery. According to Koerner, it is this "iconoclash" that animates the best Reformation art. Insightful and breathtakingly original, The Reformation of the Image compellingly shows how visual art became indispensable to a religious movement built on words.
Birds of a feather flock together. We're all in the same boat. Great minds think alike. While just figures of speech to some, they reflect a simple truth--it's the company we keep that often determines the level of personal growth and professional success we achieve in life. Business leaders exchange information and ideas. They network to make deals and build partnerships. They work together to optimize best practices, and they reach out to leaders outside their companies to accelerate growth. Simply put, CEOs and business leaders provide value to one another that they can't find anywhere else. In The Power of Peers, authors Leon Shapiro and Leo Bottary introduce peer advantage, a concept that transcends peer influence. This is what CEOs and business leaders experience when they are more selective, strategic, and structured in the way they engage their peers. Peer advantage gives CEOs the insights to compete and the courage to act. The Power of Peers features stories of business leaders from a range of industries to illustrate the five essential factors for peer advantage, how it impacts personal growth and why it has proven so effective in helping leaders identify future opportunities and challenges. It's what top, growth-oriented executives have relied upon for decades to be successful in business and in life.
This study explores the interrelationship between spatiality and subjecthood in the work of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with various modes of poetry and drama, it also examines the cross-pollination that can occur between these modes, focusing on a range of core texts including Mallarmé's Igitur and Un Coup de dés; Apollinaire's 'Zone' and various of his calligrammes; Maeterlinck's early one-act plays: L'Intruse, Les Aveugles, and Intérieur; and Jarry's Ubu roi and César-Antechrist.. The poetic and dramatic practices of these four authors are assessed against the broader cultural and philosophical contexts of the fin de siècle. The fin de siècle witnessed a profound epistemological shift: the Newtonian-Cartesian paradigm, increasingly challenged throughout the nineteenth century, was largely dismantled, with ramifications beyond physics, philosophy, and psychology. Chapter 1 introduces three foundational notions—Newtonian absolute space, the unitary Cartesian subject, and subject-object dualism—that were challenged and ultimately overthrown in turn-of-the-century science and art. Developments in theatre architecture and typographic design are examined against this philosophical backdrop with a view to establishing a diachronic and interdisciplinary framework of the authors in question. Chapter 2 focuses on the spatial dimension of Mallarmé's Un Coup de dés and Apollinaire's calligrammes—works which defamiliarise page-space by undermining various (naturalised) conventions of paginal configuration. In Chapter 3, the notion of liminality is implemented in an analysis of character and diegetic space as constructed in Jarry's Ubu roi and Maeterlinck's one-acts. Chapters 4 and Chapter 5 undertake a more abstract investigation of parallel inverse processes-the subjectivisation of space and the spatialisation of the subject—manifest not only in the works of Mallarmé, Maeterlinck, Apollinaire, and Jarry, but in the period's poetry and drama more generally.
The drug laws in this country- the drug laws IN THE WORLD - all stem from this attitude that pleasure is a bad thing... In 2015, acclaimed British playwright Leo Butler accepted an invitation from former Government drugs tsar, Professor David Nutt, to be a guinea pig in the world's first LSD medical trials since the 1960s. Monty Python, Being John Malkovich, and Alice in Wonderland all resonate in this exhilarating and original comedy as we watch Leo jump down the rabbit-hole of a medical trial in search of enlightenment - and a good story. Along the way he meets an array of characters from Aldous Huxley and The Beatles, to Steve Jobs and Ronald Reagan, whose own stories in the history of LSD are hilariously and poignantly uncovered. Does the world still need a psychedelic revolution? And will Leo make it back home in time for tea? Part history, party wild fantasy, this darkly humorous new play illuminates the drugs debate that won't go away and examines the freedom we have to make our own choices in life, and death.
Ultimately, Katz argues, the law, as well as our conscience, is surprisingly uninterested in final outcomes and astonishingly sensitive to how we get there, which is why sins of commission are so much more weighty than sins of omission.
Carolus Deene, history master at Queen's School, Newminster, manages on the side to dabble in the art of gentlemanly detective work. In Leo Bruce's beloved A Bone and a Hank of Hair, Deene is approached by Mrs. Chalk, who is convinced her heiress cousin has been murdered. The suspect is, of course, Mr. Rathbone, the lady's wily widower. On the way to the truth, Deene encounters a host of friendly characters and oafish constabulary, leading readers in a delightful romp through the English landscape.
This illustrated work is intended to acquaint readers with the early maps produced in both Europe and the rest of the world, and to tell us something of their development, their makers and printers, their varieties and characteristics. The authors' chief concern is with the appearance of maps: they exclude any examination of their content, or of scientific methods of mapmaking. This book ends in the second half of the eighteenth century, when craftsmanship was superseded by specialized science and the machine. As a history of the evolution of the early map, it is a stunning work of art and science. This expanded second edition of Bagrow and Skelton's History of Cartography marks the reappearance of this seminal work after a hiatus of nearly a half century. As a reprint project undertaken many years after the book last appeared, finding suitable materials to work from proved to be no easy task. Because of the wealth of monochrome and color plates, the book could only be properly reproduced using the original materials. Ultimately the authors were able to obtain materials from the original printer Scotchprints or contact films made directly from original plates, thus allowing the work to preserve the beauty and clarity of the illustrations. Old maps, collated with other materials, help us to elucidate the course of human history. It was not until the eighteenth century, however, that maps were gradually stripped of their artistic decoration and transformed into plain, specialist sources of information based upon measurement. Maps are objects of historical, artistic, and cultural significance, and thus collecting them seems to need no justification, simply enjoyment.
More than a quarter of a century ago, Leo Rosten published the first comprehensive and hilariously entertaining lexicon of the colorful and deeply expressive language of Yiddish. Said “to give body and soul to the Yiddish language,” The Joys of Yiddish went on to become an indispensable tool for writers, journalists, politicians, and students, as well as a perennial bestseller for three decades. Rosten described his book as “a relaxed lexicon of Yiddish, Hebrew, and Yinglish words often encountered in English, plus dozens that ought to be, with serendipitous excursions into Jewish humor, habits, holidays, history, religion, ceremonies, folklore, and cuisine–the whole generously garnished with stories, anecdotes, epigrams, Talmudic quotations, folk sayings, and jokes.” To this day, it is considered the seminal work on Yiddish in America–a true classic and a staple in the libraries of Jews and non-Jews alike. With the recent renaissance of interest in Yiddish, and in keeping with a language that embodies the variety and vibrancy of life itself, The New Joys of Yiddish brings Leo Rosten’s masterful work up to date. Revised for the first time by Lawrence Bush in close consultation with Rosten’s daughters, it retains the spirit of the original–with its wonderful jokes, tidbits of cultural history, Talmudic and Biblical references, and tips on pronunciation–and enhances it with hundreds of new entries, thoughtful commentary on how Yiddish has evolved over the years, and an invaluable new English-to-Yiddish index. In addition, The New Joys of Yiddish includes wondrous and amusing illustrations by renowned artist R.O. Blechman.
This book deals with the broader theoretical and philosophical context of performance art in former Yugoslavia, focusing on more than three decades of politically engaged performance activity of the Montažstroj group. Their activity is only a starting point for a deeper analysis of some of the key notions of contemporary “art-ivism” in a much broader post-political and globalized context before, during, and after Yugoslavia and its Socialist paradigm collapsed. The author analyzes and sets notions of agonism, engagement, terrorism, post-war trauma, political populism, social Darwinism, participation and publicness, and the public sphere into different theoretical matrixes.
In each of the films discussed in this study - 'Le Mepris', 'All About My Mother', 'The Thin Red Line' - something extraordinary is proposed. Or if not proposed, then shown, visually, by stranger and more powerful means than narrative or argument.
Ranging in scope from lengthy novellas to fables and folktales only a few pages long, Leo Tolstoy’s short fiction provides a marvelous opportunity to become closely acquainted with Russia’s great novelist. Volume 2 of the Collected Shorter Fiction reveals how Tolstoy’s growing spiritual preoccupations flowered into a series of extraordinary late masterpieces that equal anything in the earlier novels for intensity and power. Readers of The Death of Iván Ilých, The Kreutzer Sonata, Father Sergius, Master and Man, and Hadji Murád will recognize the brilliant novelist now transfigured by his passionate quest for salvation and forgiveness. Aylmer and Louise Maude’s classic translations are supplemented by new translations by Nigel J. Cooper of six stories, including two that have never before appeared in English.
In this innovative study, Leo Cabranes-Grant analyzes four intercultural events in the Viceroyalty of New Spain that took place between 1566 and 1690. Rather than relying on racial labels to describe alterations of identity, Cabranes-Grant focuses on experimentation, rehearsal, and the interaction between bodies and objects. His analysis shows how scenarios are invested with affective qualities, which in turn enable cultural and semiotic change. Central to his argument is Bruno Latour’s Actor-Network Theory, which figures society as a constantly evolving web of relationships among objects, people, and spaces. In examining these scenarios, Cabranes-Grant attempts to discern the reasons why the conditions of an intensified moment within this ceaseless flow take on a particular value and inspire their re-creation. Cabranes-Grant offers a fresh perspective on Latour’s theory and reorients debates concerning history and historiography in the field of performance studies.
Literatures, Cultures, Translation presents a new line of books that engage central issues in translation studies such as history, politics, and gender in and of literary translation. This is a culturally situated study of the interface between three forms of transtextual rewriting: translation, adaptation and imitation. Two questions are raised: first, how a broader rubric can be formulated for the inclusion of the latter two forms within Translation Studies research, and second, how this enlarged definition of translation enables us to understand the incompatibilities between contemporary Western theories of translation and East Asian realities, past and present. Recent decades have seen a surge of scholarly interest in adaptations and imitations, due to the flourishing of cinema and fandom studies, and to the impact of a poststructuralist turn that sheds new light on derivative literature. Against this backdrop, a plethora of examples from the East Asian cultural sphere are analyzed to show how rewriters have freely appropriated, transcreated and recontextualized their source texts. In particular, Sino-Japanese case studies are contrasted with Sino-English ones, with both groups read against evolving traditions of thinking about free forms of translation, East and West.
The world's changin', we don't have to just 'make do' anymore. There's stuff out there, there's life, there's ... people and experiencin' somethin' meaningful. California, 'Arry, Woodstock, out on the road like a rollin' bloody stone, it's Dylan, 'Arry, that's who I want to be. Yer seriously think I'm goin' to stick round here. Modern life isn't easy and it never has been. This explosive play by Leo Butler transports us through time, looking at what happens when the next generation begin to find their feet in an ever-changing world. Through a kaleidoscope of characters, we see tensions rocket and values crumble, exposing the best and worst of what it means to be human. This epic roller coaster of a play combines euphoria and despair as different generations of young people ask the same question: where do we go from here? Decades received its world premiere at Ovalhouse, London, on 7 June 2016 in a production by Brit School for Performing Arts and Technology.
The fifth and final volume of essays by Leo Steinberg is devoted to modern and contemporary art. Expertly edited by Steinberg's longtime assistant Sheila Schwartz, this collection includes essays on Cézanne, Monet, Matisse, Ernst, Hans Haacke, Jasper Johns, Jeff Koons, and, in some ways the centerpiece of the collection, Steinberg's landmark essay "Encounters with Rauschenberg." It concludes with a selection of Steinberg's lesser-known occasional humorous pieces. The collection features an introductory essay by noted scholar and curator James Meyer. As with all volumes in the Essays by Leo Steinberg series, it is lavishly illustrated throughout with works by each of the artists Steinberg analyzes"--
Leo Treitler is a central figure in American musicology, both for his writings on medieval and Renaissance music and for his influential work on historical analysis. In this elegant book he develops a powerful statement of what music analysis and criticism in relation to historical understanding can be. His aim is an understanding of the music of the past not only in its own historical context but also as we apprehend it now, and as we assimilate it to our current interests and concerns. He elucidates his views through unique new interpretations of major works from the fifteenth through the twentieth centuries.
The core of this volume is its presentation of Lowenthal's sixty-year-long intellectual career as a critical theorist and sociologist. The book includes some of his speeches on Theodor Adorno and Walter Benjamin and presents excerpts from conversations on his life as a scholar and teacher, as managing editor of the Institute for Social Research's famous journal, as government servant during and immediately after the war, and as observer and critic of contemporary culture and politics. Together these selections present an intriguing biographical panorama of a major intellectual figure.
This book introduces the reader to the ways in which happiness has been explored in philosophy and literature for thousands of years, in order to understand the newest theoretical approaches to happiness. Jeffrey R. Di Leo draws on its long and rich history as a window into our present obsession with happiness. Each of the four chapters of this book provides a substantially different literary-theoretical account of how and why literature matters with respect to considerations of happiness. From the neoliberal happiness industry and the psychoanalytic rejection of happiness to aesthetic hedonism and revolutionary happiness, literature viewed from the perspective of happiness becomes a story about what is and is not the goal of life. The multidisciplinary approach of this book will appeal to a variety of readers from literary studies, critical theory, philosophy and psychology and anyone with an interest in happiness and theories of emotion.
This book is the first volume ever to organize Broadway musicals into groups by major musical awards. One will find the answers to such intriguing questions as what critic called The King and I a "near miss"? Did television stars Bea Arthur (The Golden Girls) and John Goodman (Roseanne) really sing in musicals? What race horse was named for a musical?; and what musical was based on a painting, featured a singing plant, was first an Oscar-winning film? This guide will help you to develop the most complete collection of recordings of unforgettable musicals such as A Chorus Line, Phantom of the Opera, Damn Yankees, Fiddler on the Roof, Annie, West Side Story, Cabaret, Guys and Dolls, Evita, Kiss Me, Kate, The King and I, My Fair Lady, and many more. This book serves as a basic reference work on the musical theater, its history, and its most honored productions.
The author of Ill-Gotten Gains uses philosophy and psychology to examine how human behavior can be questioned under criminal law. Henri plans a trek through the desert. Alphonse, intending to kill Henri, puts poison into his canteen. Gaston also intends to kill Henri but has no idea what Alphonse has been up to. He puncture’s Henri’s canteen, and Henri dies of thirst. Who has caused Henri’s death? Was it Alphonse? Gaston? Or neither? Strange conundrums like this one have fascinated lawyers and no lawyers for centuries, raising problems of causation, intention, negligence, necessity, duress, complicity, and attempt. With wit and intelligence, Leo Katz seeks to understand the basic rules and concepts underlying these moral, linguistic, and psychological puzzles that plague the criminal law. Drawing on insights from analytical philosophy and psychology, he brings order into the seemingly endless multiplicity of these puzzles: many of them turn out to be variations of a few basic philosophical problems, making their appearance in different guises. To test his arguments, Katz moves far beyond the traditional body of exemplary criminal law cases. He brings into view the decisions of common law judges in colonial and postcolonial Africa, famous cases such as the Nuremberg trials, Aaron Burr’s treason, and ABSCAM, as well as well-known incidents in fiction. Praise for Bad Acts and Guilty Minds “Bad Acts and Guilty Minds . . . revives the mind, it challenges superficial analyses, it reminds us that underlying the vast body of statutory and case law, there is a rationale founded in basic notions of fairness and reason. . . . It will help lawyers to better serve their clients and the society that permits attorneys to hang out their shingles.” —Edward N. Costikyan, New York Times Book Review “With its novel combination of theoretical and interdisciplinary learning, its refreshingly new approach to old problems, and the easy accessibility made possible by the lightness of its style, Katz’s book should become a classic in the field for years to come. I would recommend it to beginning law students and lay persons interested in an introduction to the field, as well as to criminal law academics interested in furthering their already well-developed understanding of criminal law theory.” —Michael S. Moore, author of Law and Psychiatry: Rethinking the Relationship
Renewing Socialism opens with an exploration of the contemporary meaning of revolution and reform, beginning by stressing the appropriation of both terms into the rhetoric of the political right. Panitch examines the failure to realize socialisms revolutionary promise through an analysis of social democratic parties and the politics of compromise t
How is it possible to talk or write about music? What is the link between graphic signs and music? What makes music meaningful? In this book, distinguished scholar Leo Treitler explores the relationships among language, musical notation, performance, compositional practice, and patterns of culture in the presentation and representation of music. Treitler engages a wide variety of historical sources to discuss works from medieval plainchant to Berg's opera Lulu and a range of music in between.
Today the Left faces new challenges from political forces amassing on the radical right. The 52nd volume of the Socialist Register presents a serious calibration and a careful political mapping of these forces. It addresses pivotal questions on the reordering of the new right. These essays - very broad in terms of themes and places - speak to the global challenges the new right poses for the left at this historical moment. * What is the nature of the right's populism, nationalism and militarism? * What is the social base and organizational strength and range of far right political forces? * To what extent are they influencing mainstream parties and opinion? * How have they penetrated state institutions?* What role do state security services and police forces play?* Does our political situation today require comparison with 1930s Fascism? * How should the left respond to defend democratic and human rights?
One of the primary reasons for founding the Leo Baeck Institute was to create a place where the remnants of public and family archives of German Jewry could be collected and preserved for study and research. It includes over 4,000 collections.
A new translation into modern American English directly from the original Russian manuscript of 24 of Tolstoy's short stories. This edition contains an Afterword by the translator, a timeline of Tolstoy's life and works, and a glossary of philosophic terminology used throughout Tolstoy's literature and philosophy. These 24 stories are his most profound philosophical narratives across his life, many of whom were unpublished in English until now. From the reflections of a billiard-marker in "Marker's Notes" to the tragic fate of Russian soldiers in "How Russian Soldiers Die," these sharp narratives into the "pity" of human life. Tolstoy's exploration of mortality and death in "Three Deaths" and "The Leap" provide thought-provoking reflections on the consequences of choices and actions. Additionally, stories like "The Blizzard" and "The Surat Coffeehouse" offer vivid portrayals of the transformative power of nature and unexpected human connections. Throughout his short stories, Tolstoy's profound observations and skillful storytelling captivate readers, inviting them to contemplate life from on of the century's greatest thinkers. Many of these short stories are distallations of his greatest works. 1854 - Uncle Zhdanov and Cavalier Chernov (Дяденька Жданов и кавалер Чернов) 1855 - How Russian Soldiers Die (Как умирают русские солдаты) 1855 - Marker's Notes (Записки маркёра) Historically translated under "Recollections of a Billiard-marker", but this is not faithful to the original 1856 - The Blizzard (Метель) 1856 - The Discharged (Разжалованный) 1859 - Three Deaths (Три смерти) 1860 - Excerpts from Stories of Village Life (Отрывки рассказов из деревенской жизни) 1861 - Holstomer (Холстомер) 1872 - The Prisoner of the Caucasus (Кавказский пленник) 1886 - The Leap (Прыжок) 1892 - The Story of an Aeronaut (Рассказ Аэронавта) 1893 - The Surat Coffeehouse (Суратская кофейная) 1894 - It Comes Dearly (Дорого стоит) 1895 - Françoise (Франсуаза) 1896 - Who Is Right? (Кто прав?) 1897 - Karma (Карма) 1900 - The Dream of the Young King (Сон молодого царя) 1903 - After the Ball (После бала) 1905 - Alyosha Gorshok (Алеша Горшок) 1906 - Poor Folk (Бедные люди)1853 - Why? (За что?) 1853 - Korney Vasilyev (Корней Васильев) 1854 - Berries (Ягоды) 1854 - What I Saw in My Dream (Что я видел во сне) 1856 - Father Vasily (Отец Василий) 1857 - The Power of Childhood (Сила детства) 1858 - Three Days in the Country (Три дня в деревне)
The World in a Frame covers the history of popular American films from the 1930s to the 1970s. Braudy gives an account of the histories of visual style and film genres, as well as techniques of characterisation, in an evolving cultural context.
Conundrums, puzzles, and perversities: these are Leo Katz’s stock-in-trade, and in Why the Law Is So Perverse, he focuses on four fundamental features of our legal system, all of which seem to not make sense on some level and to demand explanation. First, legal decisions are essentially made in an either/or fashion—guilty or not guilty, liable or not liable, either it’s a contract or it’s not—but reality is rarely as clear-cut. Why aren’t there any in-between verdicts? Second, the law is full of loopholes. No one seems to like them, but somehow they cannot be made to disappear. Why? Third, legal systems are loath to punish certain kinds of highly immoral conduct while prosecuting other far less pernicious behaviors. What makes a villainy a felony? Finally, why does the law often prohibit what are sometimes called win-win transactions, such as organ sales or surrogacy contracts? Katz asserts that these perversions arise out of a cluster of logical difficulties related to multicriterial decision making. The discovery of these difficulties dates back to Condorcet’s eighteenth-century exploration of voting rules, which marked the beginning of what we know today as social choice theory. Condorcet’s voting cycles, Arrow’s Theorem, Sen’s Libertarian Paradox—every seeming perversity of the law turns out to be the counterpart of one of the many voting paradoxes that lie at the heart of social choice. Katz’s lucid explanations and apt examples show why they resist any easy resolutions. The New York Times Book Review called Katz’s first book “a fascinating romp through the philosophical side of the law.” Why the Law Is So Perverse is sure to provide its readers a similar experience.
From Lemberg to Bordeaux is Viennese war reporter Leo Leixner’s account of his front line experiences, from Poland in 1939 to France in 1940. From Lemberg to Bordeaux went through four editions and sold in the hundreds of thousands of copies by 1942. Leixner was assigned to various infantry companies and documents his moves from one to the next. During attacks he was often at the front. Leixner is an engaging writer. He had a doctorate in German literature from the University of Graz, with a thesis entitled Mohammed in German Poetry, and was himself a poet; indeed, his battle accounts are almost blank verse. Leixner died while crossing the Kuban River in Russia, 14 August 1942, part of a flotilla. At 5 a.m. he was standing upright in a boat when he was killed with a single shot through the head.
Let's Talk is a three-level speaking and listening series that takes students from a high-beginning to a high-intermediate level. A set of two class Audio CDs features all the listening activities from the Student's Book. The engaging task-based listening activities focus student listening and are recorded in natural, conversational American English. The Audio program features interviews, conversations, news reports, and other interesting listening texts. Many of the recorded dialogs are unscripted to ensure that they reflect English as it is actually spoken in a variety of realistic situations. About half of the class recordings are repeated on the self-study CD packaged with the Student's Book, accompanied by additional exercises. The class listening program is also available on Audio Cassettes.
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