This third edition is a basic textbook on the development of pipe organ composition in geographically diverse schools. Its nineteen chapters include charts of organ composers and a historical background of contemporary events and figures for each organ composition school. Chapter bibliographies cover readings published in the seventies, eighties, and early nineties. A listing of Bach organ compositions with pagination of various editions is also included.
A Student's Guide to Wuthering Heights by Emily Bronte is a general introduction to one of the great English novels of the nineteenth century. Misunderstood by most critics and commentators upon its publication in 1847, the story of Catherine and Heathcliff and their peers and descendants slowly became recognized as the work of a genius and is now on nearly every list of recommended books for both high school and college students. However, many students today find the novel difficult to read and understand because of its language and its setting; especially challenging to some are the sections in which characters speak in the Yorkshire dialect. This guide provides an easy-to-use glossary of that dialect and translations of the dialogue. It also includes discussions of the social, economic, and political background of the period (the last part of the eighteenth and the first part of the nineteenth centuries). Combined with a thorough coverage of language and background, this guide offers a list of questions about the reading that are intended to lead the students to independent thinking about the work. Unlike some better-known guides, this text contains no detailed summary of parts of the novel. Students must read chapters of the novel itself in order to answer the questions. In a few instances, readers must go outside Wuthering Heights to answer a question; that is, some basic research is required. In addition, the appendices contain materials intended to enrich the novel and to deepen the appreciation of each student for this outstanding work. It is the desire of the author to make Wuthering Heights more readily accessible to students and at the same time to challenge them to engage in independent critical reading.
Essential Structures is a guide for any student of English who wishes to become more familiar with the basic structures of the language. It provides authoritative and essential information about: * The Parts of Speech * Sentence and Paragraph Structures * Structures of Larger Forms * English Usage * Critical Thinking * Denotation and Connotation * Problems in Writing * The Development of English Guidelines and exercises are provided in this handy book written for both native and non-native speakers of English. Essential Structures might be used for individual study or as a supplement in a high school or college English developmental course. It assumes a high degree of maturity on the part of the reader; readings and exercises are taken from materials written for a general educated audience. Many of the insights provided herein will not be found in any other English textbook or handbook.
An investigation of the phenomenon of the framed formal center in literature of the last 180 years, illuminating both the works and correspondences among works of different genres, periods, and nations.
Concepts and Choices is a new approach to teaching writing, one that incorporates recognized concepts and techniques with some neglected ones and some entirely new ones. The assumption is made that extensive practice without attending to such concepts provides nothing more for students than the opportunity for frequent repetition of error. Therefore, this book calls for smaller, manageable units of instruction. In addition, the so-called "process" model of writing used extensively by teachers today has emphasized the "discovery" of arguments (neglecting almost entirely descriptive/narrative writing) at the expense of more important elements, including the quality of content. Writing is a complex activity that cannot be reduced to an analogy in which it is compared to an assembly line at a factory. Good writing indeed requires a rigorous apprenticeship, one that goes beyond a few hours a day in a classroom. This book attempts to provide a guide to good writing.
Since its publication in 1860, critics have questioned the artistic value of Hawthorne's The Marble Faun. A revival of critical interest during the 1950's and 1960's has done little to change a generally unfavorable opinion of the work. With a few notable exceptions, most recent critics believe The Marble Faun to be inferior to Hawthorne's other completed romances. Such opinions, however, usually seem to be based upon the personal taste of the individual critic rather than upon any sort of objective artistic standards. The purpose of this study is to examine and evaluate the various critical approaches to The Marble Faun. These interpretations provide the basis for a re-appraisal of the work. A study of the structure, the main themes, and the characters of The Marble Faun reveals that it is not an inferior work of art. In many respects, The Marble Faun reflects the maturity of Hawthorne's artistic and philosophical beliefs. The Marble Faun is a work capable of standing on its own merits. Some critics have misunderstood Hawthorne's aesthetic principles. Hawthorne thought that art should be used to suggest moral values. The power of art, he believed, was in its suggestiveness. The creation of an ideal beauty which has no exact counterpart in the material world suggests the reality of an unknowable divine providence. However, the value of a work of art depends upon the mood of the viewer. The viewer must assist the artist with his sympathy and imagination in an act of continual creation. The work of art will reflect back only those qualities which are brought to it by the viewer. Hawthorne's view of life is similar to the philosophy expressed by modern Christian existentialists. Throughout his writings, Hawthorne's concern for humanity is evident. In The Marble Faun, Hawthorne explores a problem which has become almost an obsession of modern man. This problem is the question of man's moral position in what seems to be a meaningless, if not hostile, universe. The most important theme of The Marble Faun is a consideration of the consequences of man's alienation from other men, from God, and from nature. The structure and the themes of The Marble Faun are developed through the actions of the major characters. Hilda, Miriam, Donatello, and Kenyon are each transformed by a fall from relative innocence into a world of suffering humanity. Donatello's transformation from faun to man is more striking than the transformations of the other three characters, and it is his fall which leads to the question of the felix culpa. Although Hilda and Kenyon are ultimately less mature characters than Donatello and Miriam, they also benefit from their experiences in Rome. Hawthorne's belief in the brotherhood of all men is demonstrated by the experiences of the major characters in The Marble Faun. Whether or not it is their wish, each of these characters must accept the responsibility for his own actions and each must become involved with humanity. It is Hawthorne's deep concern for the human condition, profoundly expressed in his art, which makes The Marble Faun a work of enduring importance to our civilization.
Recognizing the urgent need for an up-to-date review of new and innovative research on growth hormone (GH) secretagogues, this exclusive work furnishes the state of the art on the mechanisms of action, design, synthesis, evaluation, and clinical applications of GH secretagogues, including orally active and xenobiotic GH-releasing compounds. Beginning with a thorough historical perspective on the discovery and evolution of GH-releasing peptides (GHRPs) as therapeutic agents, Growth Hormone Secretagogues in Clinical Practice analyzes structural requirements for GH secretagogue efficacy demonstrates the use of mathematical models to predict differential values of individual stimuli for GH secretion from the pituitary reports on the development of a simple screening system based on polyclonal antibodies discusses laboratory synthesis of agonistic analogs intended for human and veterinary use proposes applications in managing conditions such as Turner's syndrome, acromegaly, diabetic retinopathy, glomerulosclerosis, tumors, and cancer provides physiological evidence for the effects of GHRP on behavior with a series of trials involving voluntary and forced exercise describes a new diagnostic test for evaluating pituitary function in slowly growing children and aging adults explores the interactions of GH secretagogues with other hormones and endogenous substances from sex steroids to interferons and much more!
There are great differences between the oral use of figurative language and its written use. Nevertheless, the only separately published textbook for figurative language is almost entirely concerned with oral figurative language, offering such examples as "you have a heart of stone" or "you make my blood boil." Much, if not most, oral language consists of long, repetitious portions of cliche and platitude, and not surprisingly, the figurative language used follows the same pattern. Writing teachers generally ask their students not to use cliches and platitudes, even though they may (mistakenly, I think) advise students to "write like you speak.
Recovering Argument is a textbook or handbook that sounds a revolutionary call to teachers and students of rhetoric, asking, as it implicitly does, for a return to reason as the basis of all argument. The implied purpose of the book is to recover argument from its current status among teachers, who often view composition as a merely personal exercise, with an emphasis upon "invention" (now the most important part of so-called "process" writing). It attempts to provide a framework for understanding discourse and its position and function in a democratic society. In addition to calling for a return to reason, Recovering Argument suggests new models and approaches to the teaching of writing. A model of communication (a "humanistic" model) is offered as a replacement for the widely-accepted analogy that would turn writer and audience into radio transmitters and receivers. A new treatment of "audience" clearly and succinctly demonstrates that the writer does not need to be a slave to demographics, but rather that the writer of any argument must search for truth, however unpalatable that truth may be to the audience. A much-needed review of the differences between spoken and written language is provided herein, and the reader is shown the placement of argument within the Western rhetorical tradition and the importance of the continuing dialogue that began with Plato and Aristotle. This brief text could be used in a college or upper-level high school course in rhetoric or writing as a supplementary text or as the core text in addition to supplementary readings. The freshness of the material is sure to stimulate thought and discussion. The examples of argument in the appendix provide a foundation for individual response and for further study.
In this highly original study of Italian baroque master Guido Reni (1575-1642), Richard Spear paints a compelling portrait of the artist - his complexities, his formative experiences, his cultural surroundings, and his unique sensibilities. Spear views Reni's career from a wide variety of perspectives and sets his life and works in social, economic, historical, artistic, religious, and psychological contexts. The author focuses first on Reni's peculiar character: a man at once deeply religious, rabidly misogynist, reportedly virginal, neurotically fearful of witches, and addicted to gambling. The author considers the enduring charisma of Reni's Crucifixions, weeping Marys, and repentant saints in the light of the Catholic doctrinal meaning of grace in Reni's time, the Church's attitude toward Mary and women, and the gendered implications of visual grace. Chapters on Reni's pricing policies, selling strategies, use of assistants, and attitude toward what constituted an "original", expose the motivating importance of money for Reni, and the concerns, even among seventeenth-century collectors, about how to distinguish original paintings from studio replicas or copies. The book investigates the ways renaissance and baroque attitudes toward art-making affected Reni and closes with a fresh view of Reni's unfinished canvases and last style, including the Divine Love, the beautiful and unusual painting that remained in Reni's studio at the time of his death.
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