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Written in non-technical, everyday language that is accessible to the undergraduate audience, and requiring no background in economic analysis, this acclaimed text provides a unique approach to understanding what the practice of economics is all about. The authors address fourteen current economic issues, covering both micro- and macro-economics, and offer analyses and proposed solutions for each from Conservative, Liberal, and Radical perspectives. This new edition incorporates critical changes in economic policy since the last edition that affect every issue covered in the text. Tables have been updated throughout to include current economic data, and an all-new section on social policy frames the current debate about the Social Security system. The book's unique approach stimulates critical thinking on everyday issues that traditional texts either ignore or present as "settled" debates. It helps students to understand the dual role that ideology and logical/empirical argumentation play in economics. Issues are presented as stand-alone subjects that can be read in any sequence and used to supplement a wide range of principles of economics texts. An instructor's manual with a test bank and discussion questions is available to professors who adopt the text, and Power Point downloads are available as teaching aids. The text is also available in two separate volumes: Microeconomics Today and Macroeconomics Today.

• Sales Rank: #763556 in Books
• Published on: 2005-03-31
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 6.00" w x 1.25" l, 1.58 pounds
• Binding: Hardcover
• 424 pages

Most helpful customer reviews

5 of 5 people found the following review helpful.
A layman's guide to the economic issues of today.
By MrSherlockHolmes
"Economic Issues Today" is the layman's guide to the big economic issues affecting American society in our time. The book covers a wide range of issues from consumer welfare and income distribution to big business and international economics. For each topic (and there are 14 topics altogether) the conservative, liberal and radical views are presented. Given the number of topics there is only limited discussion on each.
Carson, Thomas and Hecht have tried to present the basic arguments of each side, while reserving judgment on what they think is the `right' view. They admit that they were tempted to do this, but decided that the reader should be the final judge as to the merits of each argument. Because of this, the essays read as a debate between three economists, each from a different school of thought, but without the jargon usually involved in such debates. On some issues, one side clearly shines but on others there did not seem to be a winner to me. The only caveat here is not to take the representative views here as that actually held by the sides in real life. The arguments employed by actual conservatives , liberals and radicals are obviously much more thorough and realistic. The essays at time make it seem that some of the sides have very simplistic and unrealistic views on life, and the reader may be tempted to believe it especially if it confirms their prior biases. The authors have written a short bibliography for those readers interested in finding out more about the differing views. The bibliography is short, but it lists the major figures that have had a large influence on their respective schools of thought.
Carson et al. have done an excellent job by not letting their biases show when relating the three different paradigms, I would highly recommend this book to undergraduates in economics or politics or to any general reader who wants to find out more about the economic arguments employed by conservatives, liberals and radicals when they talk about the economic issues of today.

2 of 3 people found the following review helpful.
Three Viewpoints on Burning Economic Issues
By economist
Here is a great way to learn economics without all the mathematics! Carson, Thomas, and Hecht have produced a short, very readable book covering the burning economic issues of our time. The unique thing about this book is that it provides three different viewpoints (Conservative, Liberal, and Radical) for each issue covered!

0 of 0 people found the following review helpful.
book
By Danny Martin
my daughter need this book for college and it arrived before her classes started in the fall of the year and it was a lot cheaper than buying one at the book store on campus very satisfied thanks

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[V639.Ebook] Free PDF Women Artists in History: From Antiquity to the Present, by Wendy Slatkin

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This concisely written book introduces readers to the most recent contributions of women to the history of art from the ancient past to the year 2000. It also focuses on the roles of women as patrons and collectors—along with the ways in which women have been represented in imagery in different periods. Organized chronologically of western civilizations and the roles women have played in their visual cultures, it highlights contributions from the Middle Ages to the present. Coverage includes Europe from 1450-1800; 19th Century France, United States and Victorian England; the Post World War II Era; contemporary art; and a conclusion of global issues for women artists: past, present, and future. For artists, and art lovers looking to truly understand and appreciate the outstanding contributions of women to the field.

• Sales Rank: #89963 in Books
• Brand: Slatkin, Wendy
• Published on: 2000-08-25
• Original language: English
• Number of items: 1
• Dimensions: 8.90" h x .60" w x 5.90" l, .85 pounds
• Binding: Paperback
• 306 pages

From the Publisher
This Third Edition of Women Artists in History: From Antiquity to the Present has been substantially revised to reflect the wealth of recent feminist research in the history of art. Slatkin's goal is to offer students a genuine insight into all phases of women's contributions to visual culture.

From the Inside Flap
Preface

Women Artists in History is a textbook targeted at college students in introductory-level courses focused on women artists and the contributions of women to visual culture, women's studies courses, and surveys of western art history. It is written in a style that is crafted to communicate complex ideas clearly and effectively for this targeted audience. Most students will bring little or no preexisting intellectual framework for comprehending this material. Therefore, whenever possible, I do not discuss a work of art without providing an accompanying illustration. I try to write clearly and succinctly in a manner that is similar to the way I teach, based on more than 25 years of teaching experience in such introductory-level courses. The topics discussed in each chapter have been selected to provide a foundation for these student readers. I hope that instructors of these courses will appreciate the text as a strategy for engaging their students and encouraging them to explore the fully published field, which is so rich and varied in methodologies.

This fourth edition of Women Artists in History provides this author with a welcome opportunity to build on the structure of the third edition and to incorporate a selection of the valuable scholarship published in the years since the last edition was written. In the third edition, detailed analyses of individual works of art, which had been objects of scholarly attention, provided the core structure of the text. This edition retains such focused discussions but incorporates some of the most compelling newly published scholarship. In this edition, readers will find each creator represented by one single illustration. This seemed to me to be the most effective way to balance the existing scholarship addressed in the third edition with the more recently published material.

The topics addressed in each chapter reflect the course of the current state of published research for each historical epoch. The issues vary because the material evidence of different times and places is so diverse. Therefore "feminist interventions into the histories of art," Griselda Pollock's well-known term for this scholarly practice, leads to an exploration of different types of issues for the five millennia of artistic production spanned by the scope of the text.' Feminists have suffered from the tyranny of meta-theories. We should not then seek to impose new methodological priorities for texts, course syllabi, or the research interests of our colleagues. I argue here for a flexible approach to the field of visual culture and art history. In this book I have tried to make selections from the broadest range of the outstanding scholarship in the field, which necessarily reflects a variety of methodological approaches.

It is unarguable that the contributions of women to the visual cultures of their societies go far beyond the small handful of women who became "professional artists." Women have participated in the visual arts on many levels, including the activities of amateur creators and as patrons, critics, and viewers. Whenever possible, I have indicated the roles of such women, especially as patrons, in the appropriate chapters. Such discussions naturally parallel the available published scholarship.

Interpretations of representations of women are also an important area of investigation for scholars studying the construction of gender distinctions in specific historical epochs. Art historians must address issues of "imagery" in their areas of expertise to deconstruct the "natural" categories of "Man" and "Woman" and their implicit power hierarchies. Such intellectual efforts provide us with one of the only escape routes for future generations to reinvent new, more tolerant, and more flexible definitions of gender. This scholarship is extremely valuable and important work. In this text, discussions of the roles of images of women are included in nearly every chapter prior to the eighteenth century.

However, Women Artists in History, does prioritize the works of women creators. The concrete material existence of these works of art by women artists with names attached, whenever possible, is the most direct didactic method to ensure that the contributions of women to visual culture will not be marginalized, minimized, or summarily dismissed. It is unthinkable to permit the art made by women to retreat into the invisibility and anonymity that existed prior to the 1970s. Therefore I believe that there is a responsibility to educate each new generation of college students with the outstanding creations of women artists. Given the limited number of illustrations that can be included in this text, I have chosen to include as many works created by women as is possible and practical. To shift the focus of the text to discussion of images of women, or works of art commissioned by women patrons but created by male artists, would inevitably result in many fewer works by women creators appearing as illustrations in this book.

It is undeniable that the text has a Eurocentric emphasis. This resulted necessarily from two factors, the current state of the literature and the practical limitations of space. There is simply much more scholarship currently in print on the women artists of Europe and the United States than for the creators from other continents. Furthermore, there are the physical limitations on the length of this book. Adding brief and, necessarily cursory, chapters describing women artists from other continents would have forced me to substitute some of the text devoted to the much more detailed and theoretically complex material which I have included. In the conclusion, a summary of the state of research on issues for global women creators has been added. This does not reverse the balance, but it does begin to point students in the directions of scholarship available on women artists of Asia, Africa, Latin America, Australia and New Zealand. As an introduction to this material, an essential part of the text is the updated bibliographies for each chapter. An annotated bibliography of general reference sources is also included. Students should be directed to these additional research materials, in English, which are published as books or essays, in refereed or peer reviewed publications.

Women Artists in History is like a "freeway" or "turnpike" for feminist art historical discourse. Each chapter is a' major "exit" into much more detailed scholarly work. Each subheading within the chapters is a road leading to more specialized studies. It is my intent that students use this book as a beginning point, a road map, to help guide them through what has become a terrain of complex and extremely sophisticated intellectual inquiry. ACKNOWLEDGMENTS

First, I acknowledge my debt to the sustained efforts of the scholars whose work is summarized in these pages. We are now benefiting from several generations of their expertise, that permits this text to become a very different book from the first edition, written in the early 1980s.

No textbook is created without a committed team. At Prentice-Hall I have been fortunate to work with a group of professionals without whose efforts this fourth edition could not have been produced. I would like to thank my revision editor Susan Alkana, whose support and insights moved this edition along at a crucial stage. I also wish to acknowledge Judy Winthrop's Herculean efforts to keep this project on track and on schedule and who knew when to say yes and no. As always, I am grateful to Bud Therien who has sustained this text through four successive revisions, and to the efforts of his assistant, Marion Gottlieb and Wendy Yurash, who were both patient and efficient.

I am most appreciative of the input from the readers who provided valuable suggestions in the earliest stages of this revision.

The students in my classes have constantly been an inspiration to me. Realizing that many were born after 1980 is a sobering lesson to all and reminds us of the need for "reiteration" and remembering that each individual class of students needs to be educated with a fresh perspective.

I gratefully acknowledge all those institutions, libraries, museums, and individuals who granted permission to reproduce the photos included in the text.

I wish to thank my family, Randy, Josh and Sara, who have lived with this revision with patience, tolerance, and good humor. Finally, I would like to recognize the support of my mother and especially, my father, who did not live to see this text printed.

From the Back Cover

This text presents a clear and concise, yet comprehensive survey of the contributions of women to the history of art. Organized chronologically, the book also examines the participation of women as patrons, critics, and viewers. Attention is paid to analysis and interpretation of images of women. Over 110 illustrations illuminate the ways in which visual representations participate in the construction of gender ideologies. Each topic is accompanied by an illustration, so readers can actually see the visual image to aid in the learning process.

The text reflects the most recent and authoritative scholarship in this area. Updated bibliographies are provided to direct readers to this research. This volume provides a map for recent feminist scholarship. It will direct the reader to different methodologies employed by scholars in each period.

The new introduction provides the reader with an overview of the key theoretical concepts necessary for an understanding of the material. College students and their instructors can rely on Women Artists in History to provide a solid foundation of understanding of this academic discourse.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Good textual information, but needs color pictures.
By starwars814
I had to read this book for my Women in Literature and Visual Arts class. It was certainly informative, and very organized. The pictures were black and white, which is always disappointing for an art book, but it was primarily text-based, so that was not too much of a problem. The "Present" that its title refers to is 2001. It was helpful for both this class and an Art History course that I later took. I suppose if you really enjoy art, especially art by (and about) females, this book is worth reading.

6 of 7 people found the following review helpful.
everybody should know about women artists - this is a good start!
By K. B. Haanappel
Women Artists in History - as everybody probably knows History means His Story! The question Linda Nochlin asked in the seventies "Why have there been no great women artists" is because Art History has been written from male perspective. But indeed there were and are women artists.........
Most books about Art History (Janson - Honour & Fleming - Gombrich) don't mention women at all or give them a small place. THis book is all about women artists and gives a good chronological view about their efforts. I think it's an interesting book for everybody - those who are trained as Art Historians in the tradtional way (without much attention for the women) and those who like te know more about Art History in general.
This book tells about the women artists from antiquity to the present and that is a very interesting point of view, most other books start in the Renaissance. But in Antiquity, more specific Prehistory it was a Motherworld, in the Renaissance it is (as today) a Fatherworld. So it's good to see the social change from Motherworld to Fatherworld and the effects in the Arts.....
Last point I'd like to mention about this book is the booklist after each chapter, very useful!
I myself am an Art History theacher in the Netherlands and use this book in my classes (Basic Art History) besides Gombrich's "The Story of Art".

3 of 3 people found the following review helpful.
A Lifelong Resource
By Joann Wright
This book was published just after I took the course with the same title with the author in the 1980's. I am now a professor myself at the University of the Arts, Philadelphia, Pa. I have used this book as a resource to teach as well as to write and create presentations for workshops. It is an excellent resources, well written, comprehensive, and as pertinent today as the day it was published. It is a 'must' for any teacher involved with art, art history, women students, or women's studies. I highly recommend this book to anyone with an interest in women's history.

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Boost spreadsheet productivity and get projects done faster with Excel tips, tricks, and shortcuts. Chapter One highlights the amazing new features in Excel 2013 but remaining chapters also make quick work of editing, formatting, navigating and formulas. Most tips apply to all versions of Excel and are geared to save time and frustration!

• Sales Rank: #440035 in eBooks
• Published on: 2015-10-12
• Released on: 2015-10-12
• Format: Kindle eBook

Most helpful customer reviews

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Excel is the number one tool for anybody today working with numbers. Gayle's tips and tricks will increase your productivity and help you stay focused on the numbers and what they mean rather than figuring out how to manipulate the spread sheet.

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Great Tips!
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In a world without political freedom, personal freedom and precious little faith in anything comes a mysterious man in a white porcelain mask who fights political oppressors through terrorism and seemingly absurd acts. It's a gripping tale of the blurred lines between ideological good and evil.

The inspiration for the hit 2005 movie starring Natalie Portman and Hugo Weaving, this amazing graphic novel is packaged with a collectable reproduction of the iconic "V" mask.

• Sales Rank: #221941 in Books
• Model: 420F9
• Published on: 2012-10-09
• Released on: 2012-10-09
• Original language: English
• Number of items: 1
• Dimensions: 11.81" h x 5.32" w x 8.36" l, 1.44 pounds
• Binding: Paperback
• 296 pages

Review

"Dark, gripping storytelling." – Entertainment Weekly

"Perhaps Moore's most powerful work." – Portland Mercury

"An influential fantasy author for almost a quarter century." – The New York Times on Alan Moore

"Densely-packed, thematically vibrant and philosophically challenging work that defies easy categorization."  – Scripps Howard News Service


 

About the Author
Alan Moore is perhaps the most acclaimed writer in the graphic story medium, having garnered countless awards for works such as WATCHMEN, V FOR VENDETTA, SWAMP THING and MIRACLEMAN. He is also the mastermind behind the America's Best Comics line, through which he has created (along with many talented illustrators) THE LEAGUE OF EXTRAORDINARY GENTLEMEN, PROMETHEA, TOM STRONG, TOMORROW STORIES and TOP TEN. As one of the medium's most important innovators since the early 1980s, Moore has influenced an entire generation of comics creators, and his work continues to inspire an ever-growing audience.

Most helpful customer reviews

50 of 53 people found the following review helpful.
Don't buy the Deluxe Colletor Set
By Rômulo Magalhães
I'm really disappointed.

No need to spend any words on the book. It's a classic.

But I'm still trying to figure where's the deluxe finish or the collector's level in this pityful set that I've just received. To make it simple, it is not the one in the product pictures. The mask seems to be one of those that kids get for free in birthday parties. It is made of a cheap plastic, full of stickers in the inside. Besides that, you can easily notice how it was poorly handcut, probably with common scissors and by someone that don't have steady hands. It also comes with a hanging tab that, guess what, it wasn't shown in product pictures.

The box is also not the one in the pictures. A cheap cellophane completely loose and unglued at the time it arrived. The box was full of smashed edges. Well, not just the edges, it was all smashed. Even the book could have a better quality paper.

There's anything deluxe in this set, and anything for a collector. It was cheap, indeed, but customers deserve to know what they are buying, no matter what price they are paying. If I knew, I would have bought any other hardcover version of the product.

Right now, I feel deceived and disappointed. Dont buy this, go for any other version.

P.S.: Sorry for any grammar mistakes, my english is a little rusted.

36 of 39 people found the following review helpful.
Great book. Horrid Mask. Flimsy packaging.
By Amazon Customer
I pre-ordered this set months ago, as I was excited that such a collection would be available before I had to set up a V for Vendetta Display in November.

The good, the book is great, but you can buy a comparable edition for a few dollars less on Amazon by itself. I repeat the book is great 5 stars, too good for this set.

The mask is a flimsy thin plastic number complete with hanging tab. Garbage. I will return and buy the deluxe rubies mask, it has to be better than this one. The worst part, the packaging. It is so flimsy my first set was dented, and my replacement set was worse, the cellophane tearing out of the front. The box looks completely different than what is shown here. I will upload images to show what I mean. What a waste of potential.

If you don't care about the quality of the mask or the condition of the box you may like this.

9 of 9 people found the following review helpful.
Not the item listed
By Tabatha House
You do get a book and mask set, however it's not the same one as pictured. The book its self is wonderful, the packaging was fine, but the mask was an absolute piece of crap. Its one of those cheap party masks you can pick up at the $1 store. Considering the set costs less than the book itself, I'm not really worried about the crappy mask that legit got tossed in the trash with the box it came in. 5 stars to Alan Moore for an awesome book and 1 star to Amazon for crappy advertisement of this product.

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V for Vendetta Deluxe Collector Set, Book and Mask Set, by Alan Moore PDF
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In this long-awaited bioraphy, Wilde the legendary Victorian - brilliant writer and conversationalist, reckless flouter of social and sexual conventions - is brought to life. More astute and forbearing, yet more fallible than legend has allowed, Wilde is given here the dimensions of a modern hero. Based on fresh material from many hitherto-untapped sources, Ellmann depicts Wilde's comet-like ascent on the Victorian scene and his equally dramatic sudden eclipse. His Irish background, the actresses to whom he paid court, his unfortunate wife and lovers, his clothes, coiffures, and the decor of his rooms - all are presented here in vivid detail. The saga of his 1882 American tour is recounted with a wealth of new details; also his later impact on the bastions of the French literary establishment. The London of the Nineties, of Whistler and the Pre-Raphaelites, Lillie Langtry and the Prince of Wales, is evoked alongside Paris of the "belle epoque" and the Greece, Italy and North Africa of Wilde'stravels. Ellmann's definitive critical account of Wilde's entire oeuvre shows him as the proponent of a radical new aesthetic who was perilously at odds with Victorian society. After his period of success and daring, the fatal love affair with Lord Alfred Douglas is followed by exposure, imprisonment, a few wretched years abroad and death in exile. The tragic end of Wilde's life leaves the reader with a sense of compassion and grief for the protagonist. This edition make the popular and best selling biography available in paperback for the first time.

• Sales Rank: #611307 in Books
• Published on: 1988-01-12
• Released on: 1988-01-12
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x 6.75" w x 1.50" l,
• Binding: Hardcover
• 680 pages

Amazon.com Review
Richard Ellmann capped an illustrious career in biography (his James Joyce is considered one of the masterpieces of the 20th century) with this life of Oscar Wilde, which won both the National Book Critics Circle Award and Pulitzer Prize on its original publication in 1988. Ellmann's account of Wilde's extravagantly operatic life as poet, playwright, aesthete, and martyr to sexual morality is notable not only for the full portrait it gives of Wilde, but also for Ellmann's assessment of his subject's literary greatness; both aims are served by a plethora of quotations from Wilde's own work and correspondence. Wilde straddled the line between the Victorian age and the modern world as he did everything in life ... with impeccable style.

From Library Journal
The late Ellmann worked 20 years on this magisterial biography. He tells the fascinating story of Oscar Wildewit and aesthete, poet and playwright, scapegrace and scapegoatmore fully and irresistibly than it has ever been told before. Ellmann captures Wilde's charm and high spirits and also the darker side of his personality, which led to increasingly public homosexual affairs at a time when homosexuality was legally a crime. Ellmann skillfully marshals his material (some of it new), and he writes brilliantly but unobtrusively. A masterpiece to match Ellmann's James Joyce (1959), this work is certain to trigger renewed interest in Wilde. Keith Cushman, Univ. of North Carolina, Greensboro
Copyright 1987 Reed Business Information, Inc.

Review
The biography will further distinguish Ellman's illustrious career . . . it should give impetus to a view . . . that Wilde was, after all, a writer of enormous significance and originality. -- New York Times Book Review, George Levine

Most helpful customer reviews

68 of 69 people found the following review helpful.
The Full Sum of the Man, His Work and His Times
By Edward Dunn
With this volume, Richard Ellmann elevates Oscar Wilde into the select circle of Ireland's other literary giants of whom he wrote so eloquently: William Butler Yeats and James Joyce. (It was left to Michael Holroyd to give George Bernard Shaw his due.) While this volume is a sophisticated, wide-ranging, scholarly biography, it also brims with Wilde's wit and bold life, which, as Oscar himself pointed out, was where his genius lay. The slow, steady accumulation of detail, allusion and anecdote pays off as Wilde reaches his pinnacle--the original production of "The Importance of Being Earnest"--only to plunge into the abyss of imprisonment. As Wilde tempts fate with rough trade dalliances and his ill-conceived challenge to the Marquess of Queensbury, you find yourself almost shouting out for him to stop and save himself. But he doesn't, because Ellmann makes us understand that Wilde's nature led him to that point. The end is sad, but his wit never deserts him, right up until his death throes when he notes that either the wallpaper in the room must go or he must--which he does shortly thereafter. Today, qualities that Wilde pioneered are a part of modern life: camp humor, scathing put-downs, an emphasis on style, an obsession with appearances. In Wilde's day, he was an almost solitary figure in that regard, leading the way into the modern world. The witticisms of "The Importance of Being Earnest" are as humorous and apt today as the day they were first spoken in London in 1895. Richard Ellmann helps us understand why.

43 of 44 people found the following review helpful.
Likely to stand as the definitive biography of Wilde
By Robert Moore
If Richard Ellmann had not already written the definitive literary biography (his astonishing JAMES JOYCE), this utterly first-rate biography would be a legitimate candidate for the title. One might initially think that Wilde would be an easy subject for a biography: his life was interesting, eventful, literarily significant, triumphant, and tragic. But the problem is that for many Wilde has become a symbol either of the late 19th century Victorian decadence or the oppressed homosexual. To treat anyone, and especially Wilde, primarily as a symbol or a representative of anything outside himself, is to distort and misrepresent. The genius of Ellmann's biography of Wilde is that Wilde never becomes either more or less than the writer and person Oscar Wilde.
The portrait that emerges of Wilde is absolutely fascinating. If Ellmann's JAMES JOYCE is the greater biography, Wilde emerges nonetheless as the more interesting of the two Irish authors, and perhaps the more brilliant, if not the more productive. Indeed, one of the things that emerges from Ellmann's book is a sense that Wilde might have become a greater writer than he did, and not just if he had not sued the Marquess of Queensbury and had not been sent to prison on sodomy charges. Wilde emerges as even more brilliant than the work he produced, as if he had produced much of his work with a minimum of reference.
Ellmann does a marvelous job of situation Wilde in his time and place, with the cultural and artistic concerns paramount at the time. He also does a fair and just job of depicting the major involvements in his life, beginning with Whistler and his wife Constance and continuing on with his various involvements, especially with Alfred Lord Douglas. With the latter, Ellmann certainly does not try to idealize the relationship, but recounts it warts and all. If there is a villain in the book, it is not, surprisingly, the Marquess of Queensbury, but his son Lord Douglas.
The saddest part of the book, by far, is the section recounting Wilde's life after leaving prison, which is one disappointment after another. He first intended to reunite and reconcile with his wife, but she unexpectedly died, thereby cutting himself off from both a family and his children. He then reunites uncomfortably with Lord Douglas, but the attempt is a disaster. He final year or two are recounted as being especially miserable, with an impoverished Wilde reduced to conversing entertainingly with strangers for the benefit of a drink. It is especially heartbreaking to read how almost all his former friends cut him off, refusing to help him in his time of greatest need. An encounter with a young man from Arkansas provides perhaps the most apt Wilde quote from his last days. Upon hearing about Arkansas, Wilde remarked, "I would like to flee like a wounded hart into Arkansas."
One learns a vast amount of fascinating biographical detail about Wilde's life from this book. For instance: Wilde was double-jointed, could speed read and knock off books in scarcely more than a half hour in some instances. He was acquainted with the Yeats family in Ireland, and spoke with a pronounced Irish accent until he went to Oxford. He bought Thomas Carlyle's writing desk. He was a Mason. Physically he had tiny feet and teeth that were darkened by mercury treatments. And there is much, much more.
On nearly every level, this is a truly great biography. Even if one is not a fan of Wilde's works, it is definitely worth reading.

32 of 32 people found the following review helpful.
INCREDIBLY COMPREHENSIVE AND MOVING
By A Customer
I bought this book after seeing the movie, "Wilde" which is based on it. I have to say that I caught a bit of "Oscar Fever" while reading it. The book is incredibly thorough and well-researched; Ellman definitely knows his stuff. The book is written in an admiring, respectful tone but remains objective. Excerpts from Wilde's works that the author found particularly significant are included, as well as many wonderful pictures.
After reading this book I have a lot of admiration and fondness for Wilde, and I marvel at his fascinating but ultimately tragic life. A couple of months before I read this book I was wandering around the cemetery de Pere-Lachaise in Paris and happened upon Wilde's grave. I didn't think too much of it then but now that I have learned a bit about the man I really do want to go back and pay my respects. Ellman has written a beautiful, loving portrait of Wilde and it is thoroughly enjoyable and poignant. I'd also recommend the wonderful film starring Stephen Fry and Jude Law but to get the whole story, read the book!!!

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• Sales Rank: #6691384 in Books
• Published on: 1966-01-01
• Binding: Hardcover

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«De entre los muchos que, a lo largo de la historia, han hablado
en nombre de la dignidad humana en tiempos de sufrimiento
y muerte, no hay ninguna voz que tenga más peso que la de
Ana Frank.»
John F. Kennedy

Tras la invasión de Holanda, los Frank, comerciantes judíos alemanes emigrados a Amsterdam en 1933, se ocultaron de la Gestapo en una buhardilla anexa al edifi cio donde el padre de Ana tenía sus oficinas. Eran ocho personas y permanecieron recluidas desde junio de 1942 hasta agosto de 1944,fecha en que fueron detenidos y enviados a campos de concentración. En ese lugar y en las más precarias condiciones, Ana, a la sazón una niña de trece años, escribió su estremecedor Diario: un testimonio único en su género sobre el horror y la barbarie nazi, y sobre los sentimientos y experiencias de la propia Ana y sus acompañantes. Ana murió en el campo de Bergen-Belsen en marzo de 1945. Su
Diario nunca morirá.


Traducción de Diego Puls

El Diario de Ana Frank constituye uno de los testimonios mas conmovedores de los campos de exterminio mas conmovedores de los campos de exterminio judio.Durante los dos anos pasados en clandestinidad refugiada en el traspatio de una oficina en el centro de Ámsterdam, escribio Ana Frank su diario, que luego de la Segunda Guerra Mundial fue publicado en mas de 50 idiomas, convirtiendose en un testimonio universal de la barbarie nazi.Ana era una nina judia de trece anos, hija de comerciantes alemanes, que, cuando las primeras persecuciones nazis, creyeron hallar en Holanda la salvacion definitiva. Cuando, en julio de 1942, los Frank tuvieron que elegir entre dos decisiones: someterse al allanamiento de la Gestapo o esconderse costase lo que costase, de los dos terminos de la alternativa prefirieron el segundo.

ENGLISH DESCRIPTION

Discovered in the attic in which she spent the last years of her life, Anne Frank's remarkable diary has since become a world classic—a powerful reminder of the horrors of war and an eloquent testament to the human spirit. In 1942, with Nazis occupying Holland, a thirteen-year-old Jewish girl and her family fled their home in Amsterdam and went into hiding. For the next two years, until their whereabouts were betrayed to the Gestapo, they and another family lived cloistered in the "Secret Annex" of an old office building. Cut off from the outside world, they faced hunger, boredom, the constant cruelties of living in confined quarters, and the ever-present threat of discovery and death. In her diary Anne Frank recorded vivid impressions of her experiences during this period. By turns thoughtful, moving, and amusing, her account offers a fascinating commentary on human courage and frailty and a compelling self-portrait of a sensitive and spirited young woman whose promise was tragically cut short.

• Sales Rank: #38311 in Books
• Brand: Frank, Anne/ Puls, Diego (TRN)
• Published on: 2015-11-24
• Original language: Spanish
• Number of items: 1
• Dimensions: 7.75" h x 5.25" w x 1.00" l, .65 pounds
• Binding: Paperback
• 384 pages

Most helpful customer reviews

6 of 7 people found the following review helpful.
Diario de Ana Frank by Anne Frank
By deanna hewell
Excellent book. I teach mostly Hispanic students. We read the English and Spanish version simultaneously. It really helped them understand. I always tell them it only takes one person to change the world, even a little 14 year old German girl. Now they understand.Well written, clearly translated.

0 of 0 people found the following review helpful.
Ana Frank diario
By rod
I have not received this so much desired book as of now. I know what I am looking into and I will be very sastified what seems to me a tertimony, direct witness of one the worst calamaties we as human beings have to suffer because of other human beings.

0 of 0 people found the following review helpful.
Me gustó. Un buen libro. Me genera dudas ...
By Julián Maya Londoño
Me gustó. Un buen libro. Me genera dudas la edición que hizo del diario el padre de Ana Frank. Pero la historia de esta niña es dura y directa, no me pareció que ella fuera tan inocente para su tan corta edad, se le notaba una personalidad fuerte y con bastante criterio. Un libro que hay que tener.

See all 50 customer reviews...

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