Selasa, 26 April 2011

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The Need to Help: The Domestic Arts of International Humanitarianism, by Liisa H. Malkki

In The Need to Help Liisa H. Malkki shifts the focus of the study of humanitarian intervention from aid recipients to aid workers themselves. The anthropological commitment to understand the motivations and desires of these professionals and how they imagine themselves in the world "out there," led Malkki to spend more than a decade interviewing members of the international Finnish Red Cross, as well as observing Finns who volunteered from their homes through gifts of handwork. The need to help, she shows, can come from a profound neediness—the need for aid workers and volunteers to be part of the lively world and something greater than themselves, and, in the case of the elderly who knit "trauma teddies" and "aid bunnies" for "needy children," the need to fight loneliness and loss of personhood. In seriously examining aspects of humanitarian aid often dismissed as sentimental, or trivial, Malkki complicates notions of what constitutes real political work. She traces how the international is always entangled in the domestic, whether in the shape of the need to leave home or handmade gifts that are an aid to sociality and to the imagination of the world.

  • Sales Rank: #1139450 in eBooks
  • Published on: 2015-08-17
  • Released on: 2015-08-17
  • Format: Kindle eBook

Review
"Many have noted that heroic humanitarianism, if often inadvertently, tends to presume a passive, suffering other. In this work, Liisa H. Malkki shatters that one-way mirror. With uncommon imagination and insight, she turns her gaze back on the neediness of the benefactor: on the ways in which distant care-giving might offer an escape–a sense of passion and purpose–to those alienated in prison-houses of relative affluence." (Jean Comaroff, coeditor of Millennial Capitalism and the Culture of Neoliberalism)

"With The Need to Help Liisa H. Malkki changes the agenda of the study of humanitarianism. This is much more than a study of Finnish humanitarians, as Malkki provides an extended meditation on a range of neglected topics in the study of humanitarianism, picking up and addressing fresh conceptual and moral questions. A vital contribution."
(Harri Englund, author of Human Rights and African Airwaves: Mediating Equality on the Chichewa Radio)

"The Need to Help situates aid work firmly in the social realities of the sending countries, rather than in the context of the abstract cosmopolitan values that academic accounts usually emphasise. For many of the Finnish workers Malkki studies, aid work is also linked to different notions about what is good and what is bad about Finland and about being Finnish. Complementing her focus on professionals who work in crisis settings across the world, Malkki looks at the needs that are associated with some of the more mundane ways in which people connect to the humanitarian enterprise, such as the knitting of bunnies and teddies for imagined children-in-need far away." (Monika Krause Times Higher Education)

"This book would be a valuable text in undergraduate and graduate courses on development and humanitarianism. Malkki’s skilled ability to link together so many different intellectual inspirations makes this book very useful to examine as a model for theoretical conceptualization and for her methodology." (Jeremy Rich African Studies Quarterly 2016-03-01)

About the Author
Liisa H. Malkki is Professor of Anthropology at Stanford University. She is the author of Purity and Exile: Violence, Memory, and National Cosmology among Hutu Refugees in Tanzania, and the coauthor of Improvising Theory: Process and Temporality in Ethnographic Fieldwork.

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1 of 1 people found the following review helpful.
Finns Bearing Gifts
By Etienne RP
Liisa Malkki wrote her PhD and gained tenure at Stanford’s anthropology department based on her fieldwork among refugees from Burundi. She worked in a refugee camp in Tanzania in the mid-eighties, and presented the narratives she collected from Hutus fleeing political violence in a book, Purity and Exile. This book gained some public attention when it was criticized by Peter Gourevitch who argued, in the New York Review of Books, that her “mytho-history” was more myth than history, and later on when some of its testimonies of genocidal violence were echoed by the reports and stories coming out from the Rwandan genocide (this time with Hutus as perpetrators and Tutsis as victims). But Liisa Malkki didn’t want to be categorized into a box, much less be identified as a “refugee” scholar or a “genocide studies” specialist. This is why she turned to a terrain closer to her place of origin and less fraught with political disputes: Finnish Red Cross aid workers sent abroad on emergency relief missions, as well as other persons gravitating around the Red Cross movement in Finland. Although she spent her childhood in East Africa, and most of her professional career in the United States, she apparently remained close to her home country of Finland. This is where she conducted the fieldwork for this book, putting into use her intimacy with the people and their language as well as her knowledge of the domestic scene.

Who are the Finns? How can one hail from Finland? This is a question to which Finnish aid workers, and Finnish nationals in general, are often confronted. They have developed a response in action: to be a Finn is to act like a Finn, and to embody the virtues and proclivities that they associate with their homeland. Finns often speak of “having to prove themselves” on the international scene. For them, and therefore for their foreign interlocutors, Finnishness (suomalaisuus) involves calmness, discretion, honesty, social reserve (h�veli�syys), and hard work. Some people feel at ease with these national characteristics, and work hard to prove they deserve their reputation of hard workers. Other experience it as a constraint to their lives and try to escape from it—by going out to the “world out there” (olla maailmalla), or by developing other sensibilities not associated with the national character. In particular, in a society that prides itself on self-reliance, grit (sisa), and a fierce love of privacy and individualism, solitude and the repression of public emotions can be felt as a heavy burden. Finnishness is also sometimes associated with small-mindedness, provincialism, conventionality, and the rejection of foreigners. Hailing from a small and isolated country, Finns want to connect to the outside world, and be part of something “larger than themselves”. The ICRC provides them the opportunity to do just that.

If Liisa Malkki reports such traits, it is not to engage in an outmoded sociology of the national character, but to describe how Finnishness is perceived both as a resource and as a constraint by the people she interviewed. Talk of what Finnishness means, and self-stereotyping, are extremely common among Finns. Little is known from their country abroad, especially in the countries where Finnish aid workers are dispatched. Finland is a country remote from the Global South, by its latitude and its climate as well as by its national history. It never engaged in colonial expansion, and itself experienced imperial rule for most of its history, as a province of Sweden and then of Russia before gaining its independence in 1917. Just as the Finns want to appear as thrifty and hard-working, the Finnish state is characterized by its generous aid policy toward Third World nations but also, at the same time, by its stern condemnation of the profligacy of Greece and other southern members of the European Union. Finland wants to appear generous to strangers and willing to share its riches with those who really deserve it, yet according to media reports it treats foreign immigrants from developing nations as social outcasts, and admits very few refugees. It is in many ways a closed society. As the author argues, “refugees, immigrants and minorities from around the world (and especially their children) might be ‘Finns’ both culturally and in terms of citizenship—but they are still often the object of xenophobic slurs and attacks.”

The fact that Finland is a small internationalist state committed to world peace and United Nations principles is also an important factor for the ICRC, an organization that has elevated the notion of neutrality, along with impartiality and humanity, to the status of a founding principle. Neutrality has long been a key part of Finland’s foreign policy and international image, and this helps to explain the heavy representation of Finns on ICRC missions in politically difficult conflicts elsewhere around the world, especially in Africa and the Middle East. Of course, as Liisa Malkki reminds us, neutrality (neutraalius) is a kind of politics, both for Finland and for humanitarian aid. For most of its modern history, Finland’s neutrality has been a strategic defense issue of great significance, although some people now see it as a relic of the Cold War that should be jettisoned. Similarly, neutrality is a policy tool that allows the ICRC to “talk to anyone” in an armed conflict or during a humanitarian crisis. Neutrality and the attempt to steer clear of politics has often been reproached to the Red Cross (was it right to stay “neutral” during the rise of Nazism in Hitler’s Germany?), and it can also lead to ethical dilemma and impossible situations. The author shows that neutrality is not only a code of conduct, but also a state of mind for aid workers who need to preserve “affective neutrality” in the face of human suffering. Like a surgeon in the middle of an operation, the aid worker (who often operates in the medical field) needs to concentrate on her work and shun out emotions, at least temporarily. Again, this attitude conforms to the Finnish national character of emotional restraint and hard work.

Like neutrality, humanity is part of the Red Cross ethos—it is a core value that Red Cross workers are supposed to serve. Humanity is here conceived in terms of “basic human needs” and of abstract “human rights” that have to be supplied and guaranteed by the “international community.” In the worst case, such views can lead the “needy African” to be imagined as a sort of specimen of “basic humanity” more biological than political—“bare life,” as Agamben and others have argued, more zo� than bios. Engagements with humanity understood in such generic terms can turn into political disempowerment. Paradoxically, it also can lead to dehumanization, as when the public’s compassion focuses on children and on animals, which is a way to deny human subjects their agency. Images of children in need are everywhere in humanitarian appeals to generosity in print and digital media. No wonder that this kind of sentimental humanitarianism has been the target of attacks by social critics, from Friedrich Nietzsche and Karl Marx to Hannah Arendt and Roland Barthes. Even politicians have joined in their critiques: Jean Kirkpatrick, a former US ambassador to the United Nations, once dismissed the category of “economic, social and cultural rights” enshrined in the Universal Declaration of Human Rights as “a letter to Santa Claus.” To the lofty scene of humanitarian ideals, they oppose the hard reality of conflicting interests, geopolitics, and war.

As she confesses, Liisa Malkki started her research ready to see a dangerous kind of antipolitics in invocations of an unsituated “humanity” such as those found in the guiding principles of the ICRC. But the competing view, the misogynistic denunciation of the human herd by Nietzsche or the cynical realpolitik of politicians, does not get her favor either. She notes with some regret that the appeals to world peace, disarmament, and global social justice, which were once the preserve of powerful spirits such as Albert Einstein or Eleanor Roosevelt, have been trivialized and infantilized to the point of losing all political potency. Her chapter on Children, Humanity, and the Infantilization of Peace demonstrate how children have been invested with various ideals within a “transnational ritual sphere” that constitutes the figure of the child as the bearer of humanity. Again, it is easy to deride the lachrymose exploitation of children’s image by humanitarian marketing campaigns and peace education programs. But humanitarian appeal is not just the negation of politics: it is also, in itself, a form of politics. Liisa Malkki shows how an unblinking, absolute commitment to humanity (as to neutrality) involves its own kind of zealotry. Zealous humanism, she suggests, is no less extreme than religious fundamentalism. It is indeed rooted in religious values and Christian doctrines, although most of the Finns she interviewed denied any form of religious affiliation and were wholly secular.

There is a commonplace popular view that the humanitarian worker is moved by powerful ideals and feelings of compassion. But the people sent on humanitarian mission by the Red Cross refuted this image. For them, the “Mother Theresa-type” of people bent on self-sacrifice were clearly not wanted: they could put a mission at risk, and were at best a disturbance from a more efficient work ethos. The persons interviewed by Liisa Malkki took issue with their definition as humanitarian actors. They preferred to design themselves as “aid workers”, or to emphasize their professional affiliation—as doctors, nurses or engineers. Professional solidarity with their fellow team members and with their national counterparts in the field took precedence over abstract humanitarianism. They acknowledged several reasons for going on mission abroad, some mundane—to escape from the cold of Finland’s long winter and to find “warmer” places, meteorologicallly and socially—, others more practical—as a way of personal and professional development, to acquire new skills and exercise them in more demanding conditions. Going overseas made it possible for them to be part of something other and bigger than themselves. To be “out in the world” (olla maailmalla) was a powerful object of imagination for them. Many talked in terms of an international obligation and a “need to help” (tarve auttaa). But they were professionals before they were humanitarians.

Importantly, for Malkki, acknowledging the needs of aid workers does not diminish them or the work that they do. Nowhere does she suggest that they serve their own needs at the expense of the needs of others. On the contrary, recognizing needs on both sides of the aid relationship calls for a more reciprocal view of North-South relations. It complicates the dichotomy between the aid giver—perceived as generous, selfless, compassionate—, and the aid recipient who is identified solely by her needs. Malkki provides a case study of a kind of help for which there is no real recipient: the Finnish Red Cross Aid Bunny campaign, that had old ladies hand-knit toy-like figures that are then supposedly sent to children in need as part of emergency relief missions. The Aid Bunnies and their siblings—the Trauma Teddies, the Mother Theresa blankets, and so on—are easy to dismiss as silly sentimentalism and useless gift-giving: even Red Cross employees feel embarrassed by the accumulation of cardboards full of animal toys that they are mandated to send to the field. But again, Liisa Malkki eschews from taking an easy target at these forms of wasteful generosity. Instead, she concentrates on the social activities and inner lives of the Finnish ladies who contribute to these campaigns, showing again a powerful need to donate their time and attention to causes that pull them upward.

One shouldn’t beware of Finns bearing gifts. Their intentions are sincere, their feelings are true, and their hard work speaks louder than their words. The conduct of Red Cross aid workers may appear as self-serving and parochial, the sentimentalism of old ladies knitting teddy bears for imaginary victims may generate scorn and indifference. But consider the alternative. Cynicism and hard-nosed interest breed conflict and isolation. Without proper stimulus, the faculty to empathize with one’s fellow human wanes and dwindles. Imagining children in need and longing to help them may be considered as a calisthenics for the enhancement of empathy. Compassion needs training. Viewed from this perspective, the cultivation of humanitarian sentiments, encouraged by the state and various social institutions, is closely linked to the generous aid policies of Nordic countries. Manufacturing consent to ODA policies involves not only rational arguments about aid effectiveness and geopolitical payoffs, but also a sentimental education of the imagination, a cultivation of the “need to help.” This is especially true in a country like Finland, where smallness and isolation breed a desire to be connected to something other and greater than oneself. There is something in the home society of Finland that creates a specific “need to help.” Humanitarian aid always begins at home.

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Minggu, 24 April 2011

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Leopold Classic Library is delighted to publish this classic book as part of our extensive collection. As part of our on-going commitment to delivering value to the reader, we have also provided you with a link to a website, where you may download a digital version of this work for free. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. Whilst the books in this collection have not been hand curated, an aim of our publishing program is to facilitate rapid access to this vast reservoir of literature. As a result of this book being first published many decades ago, it may have occasional imperfections. These imperfections may include poor picture quality, blurred or missing text. While some of these imperfections may have appeared in the original work, others may have resulted from the scanning process that has been applied. However, our view is that this is a significant literary work, which deserves to be brought back into print after many decades. While some publishers have applied optical character recognition (OCR), this approach has its own drawbacks, which include formatting errors, misspelt words, or the presence of inappropriate characters. Our philosophy has been guided by a desire to provide the reader with an experience that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic book, and that the occasional imperfection that it might contain will not detract from the experience.

  • Published on: 2015-07-24
  • Released on: 2015-07-24
  • Original language: English
  • Dimensions: 9.00" h x .18" w x 6.00" l,
  • Binding: Paperback
  • 76 pages

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8 of 8 people found the following review helpful.
Armies really never change
By T. Victor
I must first admit that I read this book because it was free and was something about WW I experiences. What struck me was the very subtle humor of the author, who relates his experiences in training in England and his (and his unit's) final departure for the fighting. His reflections on military exercises and relations between elisted and officer indicate that for the most part this aspect of military life has not changed nor has the "hurry up and wait" syndrome. Quite amusing was his rendition of the "feigned" departures of the troops from the English village where they were billeted amongst the civilian population. Everyone is guessing when they will leave and where they will be going. After several farewells that ended in false starts (they turned out to be practice drills), one day the unit finally does board the train. The train proceeds to actually leave the station, then stops, backs up, and returns to the station - it was just another practice deployment! Perhaps the only disappointing part of the book is at the end, when the train is finally boarded for the real departure and they are off. But are they headed to France? To Egypt? To where? Ah, the author doesn't tell. Maybe it's in his other follow-on book, The Red Horizon, which I have just downloaded from Amazon for free.

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Jumat, 22 April 2011

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Alice's Adventures in Wonderland: An Edition Printed in the Nyctographic Square Alphabet Devised

Charles Lutwidge Dodgson, a.k.a Lewis Carroll, invented a special writing instrument he called "the Nyctograph" on 24 September 1891, in frustration at the process of "getting out of bed at 2 a.m. in a winter night, lighting a candle, and recording some happy thought which would probably be otherwise forgotten". This edition of "Alice's Adventures in Wonderland" is written entirely in the author's unique night-time alphabet.

  • Sales Rank: #2694745 in Books
  • Brand: Brand: Evertype
  • Published on: 2011-12-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .40" w x 5.51" l, .50 pounds
  • Binding: Paperback
  • 174 pages
Features
  • Used Book in Good Condition

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2 of 2 people found the following review helpful.
Historical book
By Brazilian fan
Nyctography is a technic of writining created by Lewis Carroll in 1891. The own book "Alice.." totally written in nyctography is a amazing item that is totally unlostable for Alice's fans!

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Kamis, 21 April 2011

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  • Sales Rank: #6070109 in Books
  • Binding: Paperback

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[L423.Ebook] Download Ebook No Ordinary Time, Franklin and Eleanor Roosevelt: The Home Front in World War Two, by Doris Kearns Goodwin

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No Ordinary Time, Franklin and Eleanor Roosevelt: The Home Front in World War Two, by Doris Kearns Goodwin

  • Sales Rank: #3506718 in Books
  • Published on: 1994
  • Number of items: 2
  • Binding: Hardcover

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[E823.Ebook] Ebook Deadman Book Two, by Dennis O'Neal

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Before his groundbreaking runs on BATMAN and GREEN LANTERN/GREEN ARROW, legendary comics artist Neal Adams first made his mark in super-hero comics with Deadman, star of the DC Comics series STRANGE ADVENTURES. Inspired by the hit TV series The Fugitive, the Deadman stories star costumed high-wire performer Boston Brand, who is assassinated by an unknown marksman in his first story. A mysterious deity called Rama Kushna gives Boston Brand the chance to revisit the land of the living as Deadman, with the mission of finding his murderer.

DEADMAN features spectacular, bravura artwork by Neal Adams, then leading the field with amazing, hyper-realistic artwork and trompe-loeils unlike anything seen in comics before or since.

Collects BRAVE AND THE BOLD #79, 86, STRANGE ADVENTURES #214-216, backup stories from AQUAMAN #50-52 and CHALLENGERS OF THE UNKNOWN #74

  • Sales Rank: #420162 in Books
  • Brand: DC Comics
  • Published on: 2012-02-21
  • Released on: 2012-02-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.16" h x .28" w x 6.64" l, .64 pounds
  • Binding: Paperback
  • 168 pages

About the Author
Born on June 15, 1941 in New York City, Neal Adams joined DC Comics in 1965, where he quickly became a top cover artist. His first interior work was done for DC's war titles, but it was his celebrated run on DEAD-MAN that established his reputation as a creative force. That reputation was cemented in the early 1970s with a series of collaborations between Adams, writer Dennis O'Neil and inker Dick Giordano starring Batman, Green Lantern and Green Arrow. These stories broke new ground for mainstream comics and attracted major (and overwhelmingly positive) national media attention to the art form.

Born on June 15, 1941 in New York City, Neal Adams joined DC Comics in 1965, where he quickly became a top cover artist. His first interior work was done for DC's war titles, but it was his celebrated run on DEAD-MAN that established his reputation as a creative force. That reputation was cemented in the early 1970s with a series of collaborations between Adams, writer Dennis O'Neil and inker Dick Giordano starring Batman, Green Lantern and Green Arrow. These stories broke new ground for mainstream comics and attracted major (and overwhelmingly positive) national media attention to the art form.

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2 of 2 people found the following review helpful.
Neal Adams story and art
By Amazon Customer
Including the stories that appeared in Aquaman. This book tells the whole story with the Sensei (leading up to the stories that would occur in Batman and Detective with the League of Assasins) It also has Adams Brave and the Bold story where Batman's costume is colored by zip-a-tone. A very weird, but cool effect.

1 of 1 people found the following review helpful.
deadman walks again.
By Chris Coyne
These Deadman stories are fun. I read both Deadman book one & two in two days. I plan to read more volumes soon. This book had everything, Batman, Aquaman, and the Challengers of the Unknown. It was too bad the original Deadman series was canceled before it could get even better, but a least Deadman is still around in comics. If you want to see more Deadman adventures, read book two of Books of magic, And of course Justice League dark. I can hardly wait for more Deadman adventures.

0 of 0 people found the following review helpful.
Neal Adams
By Amazon Customer
Neal Adams remains my favorite comic artist of all time. Before he and Denny O'Neil redefined the Dark Knight (and likely saved him from the joke he had become in pop culture due to the old TV show) Adams took a B tier character, Deadman, and wrote stories that still hold up today. If you are a fan of Neal Adams you should own this.

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Rabu, 20 April 2011

[P826.Ebook] Free PDF Rockspider: The Danger of Paedophiles - Untold Stories, by Vikki Petraitis

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The danger of paedophiles - untold stories One day, her mum isn't there ... eight-year-old Maree doesn't know what to do and she is too shy to ask anyone. One by one, the other girls disappear into waiting cars or walk away with their mothers until Maree is the last girl left ... And then the man comes from out of nowhere... 'Hello,' says the man. 'Hello,' says Maree shyly. 'Where's your mum?' he asks in a pleasant voice. 'She's not here - she's late picking me up,' Maree tells him. 'It's all right,' says the man. 'You come and sit on my lap and we'll wait together.' In a fluid movement, the man pulls Maree onto his lap before she has time to resist. Maree freezes. She knows this isn't right. But he is a grownup and Maree doesn't know how not to obey. When she is on his knee, the man puts one of his big arms around her and the other up her skirt... The stories contained in Rockspider are true - only the names have been changed to protect the innocent. Vikki Petraitis and Chris O'Connor have painstakingly pieced together the full stories behind some of our most vicious cases involving child sexual assault. the Victoria Police Child Exploitation Squad, Chris O'Connor uses the stories in Rockspider to show parents how paedophiles operate so that parents - and their children - can identify the signs before it is too late. Rockspider is an emotionally stirring book containing facts and figures which will stun many readers. Paedophiles are predatory creatures. Most work to a pattern. Learn to identify the signals and signs and ensure your child has less chance of being drawn into the web of the rockspider. 'I trusted Bob in every way. I never would have believed that he would harm our children. Because we treated him like one of the family, I thought he would treat them like a family member and look after them. But he didn't.' - mother whose two sons fell victim to a paedophile

  • Sales Rank: #4939743 in Books
  • Published on: 2012-12-28
  • Released on: 2012-12-28
  • Format: Large Print
  • Original language: English
  • Dimensions: 10.00" h x .94" w x 7.75" l,
  • Binding: Paperback
  • 416 pages

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0 of 1 people found the following review helpful.
Every parent needs to read this book
By M. Barnard
This is the third time I have purchased this book. Two in paperback which I shared with many other mothers, many years ago, and now an ebook version. Well worth every cent, every single time.

Every parent needs to read this to ensure that they have the best tools available to protect their children from pedophiles. This book gives accounts from both sides, police, victims and the monsters themselves.

Written by police officers from the Victoria Police Child Exploitation Squad (based in Australia), this is a disturbing read but a necessary one.
I know that this book has helped protect many children in my life, including my own.

Thank you to the authors for writing such a brave but unfortunately necessary book.

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Senin, 18 April 2011

[W732.Ebook] Download Ebook , by James W. Hall Handbook of Otoacoustic Emissions (A Singular Audiology Text) (1st First Edition) [Paperback]From Cengage Learning

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  • Published on: 1999-12-07
  • Binding: Paperback

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Feliz Navidad Series: Piano Vocal Inventory #HL 00351885 UPC: 073999518856 Width: 9.0" Length: 12.0" 4 pages

  • Sales Rank: #7005355 in Books
  • Published on: 2009-01-01
  • Binding: Sheet music

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The artist Ai Weiwei -- photographer, architect, gambler, orchestrator of installations, organizer of happenings, troublemaker and tweeter -- is one of China's most outspoken dissidents. He has continually tested the bounds of free speech and in the Spring of 2011, Beijing officials took the dare. Since June, he has remained under virtual house arrest, forbidden from blogging, tweeting and giving interviews to the foreign press. That did not stop GQ's Wyatt Mason from trying to pay him a visit.

  • Sales Rank: #929362 in eBooks
  • Published on: 2011-12-05
  • Released on: 2011-12-05
  • Format: Kindle eBook

Amazon.com Review
Meet Ai Weiwei, China's most dangerous man. If you don't know about Ai yet, don't worry. You're not alone. Ai Weiwei is both very famous and very hard to pin down, a modern Chinese artist of international renown whose art you cannot find on display in China. A blackjack guru, photographer, dissident, architect, cultural critic, and high-volume tweeter. He is also a man who, on April 3, 2011, was whisked away by Chinese authorities and disappeared for 81 days. Wyatt Mason, a contributing writer for the New York Times Magazine and a contributing editor at Harper's, goes to China to track down Ai, but finds himself struggling, though a stifling, smog-laden Beijing summer, to find someone who will even mention him. Mason's ultimate goal is a meeting with the artist, but speaking to Ai, who is under house arrest and forbidden to talk with foreign journalists, is not easy. In fact, just finding his world-famous art studio is not easy. On his journey, Mason uncovers some of the simmering societal tensions in modern day, urban China. --Benjamin Moebius

About the Author
Wyatt Mason is a contributing writer for the New York Times Magazine and a contributing editor at Harper's. He won a National Magazine Award in 2006 and teaches at Bard College.

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6 of 6 people found the following review helpful.
Finding the Strangenesses
By JackReads
Wyatt Mason begins "The Danger Artist" in late July one month after Ai Weiwei was released from the Chinese authority. Knowing the likelihood of speaking with Ai was slim to none, the narrative is formed around the impossible journey of finding Ai. Seemingly defeated at the outset, the journey attempts "to see enough of the world he [Ai] called his own to make sense of a matter of no small interest: Why it is that not a few people of discernment now consider him to be one of the most significant artists working today."

In the short ten days of Mason's visit to Beijing, he indeed sees enough of Beijing to capture the city's strangeness or "strangenesses." On the common uncommon qualities we hear about Beijing--the unbearable smog, heat, vastness and sheer enormity--Mason's telling is original and beautifully seen. And despite the gravity of subject, levity is not lacking in the odd situations Mason finds himself in, from an `unprincipled paparazzo' diner stakeout to an awkward spa moment involving the question "you want massage...here."

These vignettes when interwoven communicate the crux of China's strangeness, that elusive strangeness of life in a totalitarian state. It's not so much that Mason writes it directly, but in each vignette the reader gets more a sense of the muted yet pervasive illogic, double-talk, and absurdity in daily happenings. It's like when Mason arrives at the final stop, and says "We were here. And yet we were not."

In feeling some small part of Ai's world, does the difficultly of seeing through all the strangenesses become apparent and does Ai's insistence on reality and fact in his art truly become extraordinary. A wonderfully written and thoughtful essay--I highly recommend it.

5 of 5 people found the following review helpful.
Whatever we think is meaningful is somehow dangerous
By savonarola
Wyatt Mason arrived in Beijing a month after the Chinese artist, dissident, gambler, provocateur and conscientious objector via Twitter Ai Weiwei was released from an 81-day detention by police and forbidden from speaking to the international press. This gripping, furious, and beautifully reported dispatch from the maw of the simmering megalopolis (Mao's credo "no construction without destruction" has found its ultimate expression in the city's current building boom) tells the story of Mason's careful dance to meet his subject--Ai Weiwei's studio is watched by cameras and his every move, both online and off, is monitored--and his encounters with a society where everything is furtive, it seems, except consumption. I won't play spoiler here and reveal what happens; but Mason manages to capture, with just a few deftly chosen scenes, the strangeness of life in the hybrid state that the PRC has become, the cost of its repressive human rights policies, and the true value of artistic expression, which is only dimly related to any work's value in the marketplace. This is not your ordinary magazine writing, and it should be required reading for ayone who loves their Chinese-made handhelds and readers. I'm going to tell everyone I know about this Single!

5 of 5 people found the following review helpful.
The Power of Thinking under Dictatorship
By The Jurisprude
I just read Mr. Mason's book on Ai Weiwei the day that Vaclav Havel died, and the parallels are extraordinary. Ai Weiwei is not only one of my favorite artists, which I knew. What I did not know is how courageous he is and how he has become one of the leading political actors in China, someone whose insistence on truth is making him the most dangerous man in China, at least from the perspective of the Chinese Communist Party. He is also one of the most interesting. This is a spectacular book-length essay that is beautifully written and brings you into Ai Weiwei's world slowly and deeply. By the end I was left wanting more. It reminds me of Hannah Arendt's insight, that in dictatorship simply thinking becomes political. The Danger Artist (GQ Books) Highly recommended.

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