Minggu, 14 Desember 2014

^ Download A Woman's View: How Hollywood Spoke to Women, 1930-1960, by Jeanine Basinger

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A Woman's View: How Hollywood Spoke to Women, 1930-1960, by Jeanine Basinger

films of the 1930s, 1940s, and 1950s--including Now Voyager, Gilda, and Rebecca--receive a lively, incisive look that examines the stars, the story lines, and the contradictory messages of these popular movies.

  • Sales Rank: #1165073 in Books
  • Published on: 1993-08-31
  • Released on: 1993-08-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 6.50" w x 1.75" l,
  • Binding: Hardcover
  • 528 pages

Amazon.com Review
When film experts talk about the "woman's picture," a Hollywood genre that flourished in the '30s, '40s, and '50s, they often squabble over whether these films were liberating or constraining. Jeanine Basinger argues that they were both at the same time. She maintains that they freed their female protagonists to break social bonds while also punishing any women who seemed too free and feisty. This lively and exceedingly thorough book covers every major aspect of this fascinating film genre, including the roles female stars were expected to play, the fabulous clothes they wore, the social behaviors they were condemned to adopt, the ways they responded to and were treated by men, and the ideals of femininity Hollywood producers tried to impress upon their audiences. --Raphael Shargel

From Publishers Weekly
Full of sharp and entertaining insights, this exhaustive study analyzes dozens of "women's films"-- The Man I Love , My Reputation , Women's Prison , etc.--which presented the contradiction of covert liberation and overt support for women's traditional roles. Basinger, chair of the Film Studies Program at Wesleyan Univeristy, mostly avoids citing interviews and fan magazines, relying instead on her own perceptions. She offers clever epigrams--the constrained choices of the woman's world are a "Board Game of Life"--as she explores issues including men, marriage, motherhood and fashion. The film Jezebel , the author suggests, deserved a subtitle: "How Society Forces Bette Davis to Conform by Making Her Change Her Dress." Basinger's gimlet eye generates several schema, from the basic rules of film behavior to the four kinds of mothers. And while observations like one that finds similarities between women in prisons and in department stores are amusing, they also hit home. Photos not seen by PW.
Copyright 1993 Reed Business Information, Inc.

From Library Journal
Basinger (film studies, Wesleyan Univ.) has written a knowledgeable and entertaining study of the woman's film genre. With examples from hundreds of films, she demonstrates that these movies offered women the contradictory message that other roles were accessible to them, while simultaneously reaffirming their roles as housewives and mothers. Basinger covers every facet of the genre, including stars, the role of fashion, fan magazines, men, marriage, motherhood, and women in a man's world. She describes the "woman's world" in these films as "a series of limited spaces with the woman struggling to get free of them" and explores four typical settings: the prison, department store, small town, and house. Her lively analyses and amusing comments make this volume interesting to the fan of old movies as well as the film student. For most serious film collections.
- Marcia L. Perry, Berkshire Athenaeum, Pittsfield, Mass.
Copyright 1993 Reed Business Information, Inc.

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18 of 19 people found the following review helpful.
When Women Ruled the Screen
By Sandy Douglass (sandy@insanestars.com)
Jeanine Basinger is to be congratulated for shedding light on a too-little studied aspect of Hollywood history. She puts the movies and the stars she discusses in the context of how movie-going women perceived them at the time. In doing so, she concentrates not on the "greatest" stars, but rather on secondary figures like Kay Francis, Ann Dvorak, and Loretta Young, women who had (sometimes surprisingly) immense popular appeal while they were making movies but whose careers either faded, made the transition to character rather than leading-lady status, or moved to television. She reminds us that the "woman's picture" was far more than the drama of suffering and renunciation (like "Now, Voyager", "Back Street", or "Autumn Leaves") we most commonly think of today. She broadens her definition to include virtually any film that either focused on a woman as its central character or concerned itself with traditionally "women's" concerns.
What she makes clear is that, despite the pronounced limitations of the world view of the woman's picture, it represented a varied and vigorous film culture in which (as she writes) "on the screen ... the woman will decide. She is important. She matters. She is the Center of the Universe."
"A Woman's View" is that rare thing -- a scholarly examination of mostly obscure figures and works that is at the same time an excellent and entertaining read.

6 of 7 people found the following review helpful.
Basinger's "A Woman's View" is a Great History Read
By Madeline Giangrosso
A Woman's View, by Jeanne Basinger, was rightfully the most interesting history based book I have ever read. Although it can be lengthy at times, it touches on subjects in which I had barely any knowledge of, and shows how it was reflecting the time period of the 30's, 40's, 50's, and 60's. Seeing as though this was about women right after the women's rights movement in the 20's, this book shows how Hollywood used female movie stars to incorporate the countries opinions on them. With that, I thought the introduction chapter on the genre of these types of movies was absolutely spectacular. It really made me have so much respect for women during these time periods. They had such class and such morals, which, sad to say, is starting to slowly fade away, or can at least be argued that it is.

A few of the sections of this book that I thought was the most interesting, were the ones about twin women in movies and the fashion and glamour of women. Before reading this book, I never really thought into the idea that being a woman in Hollywood, and acting a certain role represented something as a whole. These actresses were not just playing the part of their assigned character; they were representing women as a whole. With their fashion, their speech, and their actions, I found it truly inspiring to know that they were stepping out of their comfort zone and taking risks with the roles that they chose to act out.

One chapter, entitled Duality, included how Hollywood used twins in their movies to represent one specific point in these movies. This chapter, being one of the more detailed ones, showed how twins portrayed particularly two things: the good and the bad. The good twin, usually dressed in fashionably acceptable clothes and appropriate styles, was usually criticized by her twin, which represented evil, or the bad. I thought it was very much a shock to me how many of the so called "bad" twins in these Hollywood movies were constantly pretending to be their twin to confuse their family, friends, or even their husbands! Many of them did this only to find some sort of revenge on their twin for whatever reason they could think of. In my mind, I would have never thought of this as being presented in movies during these time periods, but I also have to remember that this was also a time when women were really standing up for what they believed in and stepping out of the ordinary molds they had always been put into.

What was so fascinating about this book was how Basinger found a way to represent women in film in such a respectable way, and not so much trashy as some may have viewed it at the time. Women like Loretta Young, Kay Francis, and Greta Garbo are true heroines when it comes to paving the way for all future actresses, and also for open our countries eyes to the lives of women, and really shows that they were becoming less and less like housewives and more like the hardworking entrepreneurs that they really were and always will be.

12 of 13 people found the following review helpful.
Any Book That Will Quote A Cleo Moore Film Deserves 5 Stars
By Tee
This is one of the most enjoyable "film studies" I have ever come across, essentially about "soap opera" 'women's pictures' of the 1930's and 1940's but expanding into the 1920's and 1950's a bit and touching on other types of films and the great women stars from this time period. From Kay Francis (who is the cover girl and Basinger's main muse for this tome) to Rita Hayworth, this is a wonderful book for any one obssessed with films from the era, it's like finding a new best friend to talk about these classic films. Basinger writes informatively yet in plain academic-free language making the book a pleasuer to read - and she knows when to crack wise and when to be serious, no mean feat. It's a skill a lot of "movie historians" don't have.

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Jumat, 12 Desember 2014

~~ PDF Download Masterpieces of American Painting in the Metropolitan Museum of Art, by Margaretta Salinger

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Masterpieces of American Painting in the Metropolitan Museum of Art, by Margaretta Salinger


(This title was originally published in 1987/88.)

  • Sales Rank: #1184638 in Books
  • Published on: 1986-10-12
  • Released on: 1986-10-12
  • Original language: English
  • Binding: Hardcover
  • 200 pages

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Senin, 08 Desember 2014

> Get Free Ebook The Tibetan Book of the Dead : The Great Liberation Through Hearing in the Bardo, by Guru Rinpoche

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The Tibetan Book of the Dead : The Great Liberation Through Hearing in the Bardo, by Guru Rinpoche

In this classic scripture of Tibetan Buddhism—traditionally read aloud to the dying to help them attain liberation—death and rebirth are seen as a process that provides an opportunity to recognize the true nature of mind. This translation by Chögyam Trungpa and Francesca Fremantle emphasizes the practical advice that the book offers to the living, and Fremantle's insightful introduction explains the text and presents a psychological perspective on its teachings. Read by the actor Richard Gere, this audio program offers a new way to encounter the profound meaning of this sacred text.

3 CDs; 2 hours 45 minutes. Unabridged.

  • Sales Rank: #540471 in Books
  • Brand: Shambhala
  • Published on: 1975-06-12
  • Released on: 1975-06-12
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 142 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
As part of a Buddhist ritual, this scripture is to be read to a person who is dying, yet it also serves within Buddhist culture to remind people at all stages of life about the reincarnation cycle. While the introduction does provide a brief overview of names and concepts, this translation is not sufficient for the neophyte to understand well enough in an audio production, especially considering how many times Buddhist terms are employed in the production. An additional text guide might have been useful as a quick reference. Richard Gere, a Buddhist himself, smoothly executes the audiobook with inflection and tone that indicate his strong grasp of the material. However, his slight nasal projection might wear a bit on some listeners. A Shambhala paperback.(Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
"A landmark in rendering this extraordinary revelation accessible to modern minds."—Sogyal Rinpoche, author of  The Tibetan Book of Living and Dying

From AudioFile
THE TIBETAN BOOK OF THE DEAD, a traditional Buddhist scripture, is read to the dead or dying to facilitate liberation during the process of death. Both print and audio versions of the translation are included in this production and should be well received by scholars and experienced practitioners. In the introduction Fremantle explains that anyone listening with an open heart and mind will benefit from the text. However, those new to Buddhism may feel slightly overwhelmed with the terminology and discussion of multiple deities. Although Gere's voice is well known, it never distracts from the material. He does a masterful job narrating with clarity and a calm tone. The Tibetan words roll effortlessly off his tongue. It's hard to imagine a better performance. J.T. © AudioFile 2008, Portland, Maine-- Copyright © AudioFile, Portland, Maine

Most helpful customer reviews

23 of 24 people found the following review helpful.
CD aids retention & comprehension
By Ellen Klowden
I'm new to Buddhism, about to attend my first Dzogchen Retreat, and was advised to read this text. I selected this version not because of how much I admire the talent of Richard Gere the actor, but because of hearing about Richard Gere the philanthropist who donates proceeds to build Buddhist shrines--thus epitomizing the Bodhisattva vow, Even if I become rich and famous, I will wisely shun conceit; worldly fortune is without essence.
I found that the audio CD is compellingly yet relaxingly performed. His voice is subdued, yet retains the elocution evidenced in his worldly artistry. His expertise with cadence and tone and using them to render continually interesting the rather repetitive text allows the repetitive parts to do their work: to sink in and to generate images and thoughts, rather than float by unretained. In such a way he effectively utilizes the Buddhist science of prosody.

Material that could have felt droning or intimidating in written form thus was rendered accessible and even fascinating in audio form.

19 of 20 people found the following review helpful.
Fremantle-Trungpa's full translation (not included) finally recited
By John L Murphy
This supersedes an earlier version that paired a blue-covered "pocket" condensation of the TBoD with a shorter audiotape. While the added material may overwhelm a first-time student of this daunting text, here's some suggestions for how to get the most out of this tape. Read the book first, study its commentary, and then you'll benefit more from hearing it in this eloquent presentation. No book, however, is provided in this unabridged 3-CD set.

Listening to this set of recordings can be very beneficial. Provided that one understands the basics of the content first. Unlike many other audiobooks, I'd advise the user to read the book first, perhaps repeatedly, and then let the assured, steady voice of Richard Gere, admirably suited to this formidable set of prescriptions, encouragement, and cautions from the world beyond, sink in to enhance one's comprehension of this quite disorienting-- literally-- set of precepts for making one's way through the projections of beauty and terror as the spirit encounters the passageways through the days after death.

The three CDs begin, disc one, with a brief introduction and the first part that follows the physical death of the body and its entry into the next array of apparitions, projections, and sensations. Disc two takes one through the bardo of "dharmata" into the visions of calm and turmoil. Disc three concludes as the spirit read to fails, presumably, to find freedom and becomes tempted to return to another body; guidance for finding the best match is offered in this dharma of becoming, for another go-around of existence.

However, I would not start simply by cuing up the CDs of this calm, modulated, and well-paced recitation of "The Book of Liberation in the Great Bardo by Hearing," although that's how this medieval Tibetan "treasure-text" is meant to be heard-- spoken by a guru at the deathbed, aloud for the soul that's recently left its body. Why? We in the West nearly all will lack the familiarity that its original audience would have had with the advanced practices in this life meant to prepare the spirit-body for its entry into the complex sounds and visions of the afterlife.

This text remains esoteric, challenging, and erudite for Westerners. It's necessary to study it first, as you may easily be baffled or your attention may wander unless you have made an effort first to comprehend the gist of the translation included. Therefore, I'd read it first, with the introductory material that translators Francesca Fremantle and Chogyam Trungpa provide. I remind you that the yellow-covered edition here offered differs from that earlier issues-- in a blue cover-- which was the condensed "pocket" version rather than the fuller 1975 publication by Shambhala. I'd recommend the whole deal; this is essential material that newcomers need for grasping what can be a very slippery compendium of exhortations, warnings, and appeals.

You may even want to go further with finding out more about what's rather misleadingly called the "Tibetan Book of the Dead," named by W.Y. Evans-Wentz, its first popularizer, to associate it in the 1920s with the Egyptian pop culture craze. Curious readers may want to take on other renderings for comparison and deeper appreciation. I've reviewed on Amazon the following texts: a simpler telling, Stephen Hodge & Martin Boord's "Illustrated TBoD;" Robert Thurman's expanded edition and translation of the "TBoD" and supplemental texts-- much greater detail than the version provided and recorded here; the entire "TBoD" recently issued from Penguin by Gyurme Dorje, Graham Coleman and others; and Fremantle's incorporation of a revision of some of the earlier translation in this book-CD set, as her commentary on the TBoD after an additional twenty-five years of study, "Luminous Emptiness."

After studying these texts, I found this CD recording. Hearing the TBoD for the first time, then, I appreciated nuances that had escaped me before. I found my concentration drifting, and the ability to rewind a few seconds or sentences to focus again proved a great stimulus. I wondered how Gere or any actor would take on such lists as the 58 wrathful deities, but his skill shows in small details.

He almost hesitates a millisecond before pronouncing the Tibetan and Sanskrit, often polysyllabic, names, and this prepares you to pay closer attention. This shift prepares you for the instruction; similarly he softens his tone when giving the invocations, appealing for their liberating message to be made manifest. He subtly accents even "buddha" and gives the final stress to "dharmata" in a way that gently reminds you of the difference of this elevated but somehow direct and unforgettable teaching, and of its poetic presence.

13 of 15 people found the following review helpful.
Tibetan Book of the Dead CD's by Richard Gere
By Joseph A. Pagnanella
I think it quite low of character that some people are trying to take advantage of other's ignorance by trying to sell them this 3 CD collection at such an expensive price. I have seen it advertised from only as little as about $250 all the way up to $1,400! This is definitely an act of thievery by such sellers! Anyone interested in this collection can easily download it as an audio book from the source called "Learning Out Loud" as an MP3 file for under $15, and with any simple CD burning program burn it to 3 CD's oneself for about another $1.50! That's under $17 cost to anyone! And if you would like the book also it can easily be purchased for under $20. That makes the total cost of everything under $40. It is not $250 or $1,400 like some of these lost souls are asking. Stay away from such materially bound thieves. These lost souls will be the last ones whom you would want contact with before you die anyhow!

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Minggu, 07 Desember 2014

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The Anatomy of Revolution, by Crane Brinton

A comparative history of the English, American, French and Russian revolutions. Bibliographical appendix, index.

  • Sales Rank: #120548 in Books
  • Brand: Vintage
  • Published on: 1965-08-12
  • Released on: 1965-08-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.87" h x .68" w x 4.15" l, .40 pounds
  • Binding: Mass Market Paperback
  • 320 pages
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  • Great product!

From the Inside Flap
A comparative history of the English, American, French and Russian revolutions. Bibliographical appendix, index.

About the Author
Crane Brinton, Ph.D. graduated from Harvard and attended Oxford University as a Rhodes Scholar. Among his many books are Ideas and Men, The Anatomy of a Revolution, The Shaping of the Modern Mind, and A History of Civilization.

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37 of 39 people found the following review helpful.
Helping Social Studies teachers since the early 60s
By Nicholas Antonucci
A former teacher, who had used this book in the mid-sixties in her social studies class, introduced me to Crane Brinton's work. The Anatomy of Revolution provides the perfect companion for high school educators who want to step away from the stodgy lecture method of teaching the English, French, American, and Russian revolutions. The book is invaluable for assisting in creating lesson plans that discuss the characteristics and commonalities of revolutions. Once learned, a model can be created that students can use to analyze and evaluate any of the world's major and minor revolutions. Crane Brinton's book is a "must have" for any high school social studies teacher interested in creating similar lessons on the topic of revolution that foster higher levels of learning.

0 of 0 people found the following review helpful.
A great and fast read
By RDW
A great and fast read. If you're a voracious reader, there is no reason you cannot clear this in a day or two. I highly recommend this book.

23 of 23 people found the following review helpful.
THE GRANDDADDY OF THE SOCIOLOGY OF REVOLUTIONS
By Alfred Johnson
I have always been an avid student of the great modern revolutions both as a matter of practical politics and in order to glean some insights into how they have affected human history. In short, how the ideas and practice of those revolutions have acted as nodal points on the further progress of humankind. Crane Brinton's little book was probably the first book I read that tried to put that idea into some kind of order. While some of the material in the book is dated and some has been superseded by events and further research every serious student of comparative revolutions depends in some way or another on his pioneering methodology.

Brinton took the four great revolutions of his time (the Chinese Revolution had not occurred when he originally wrote the book)-the English of the 17th century, the French and American of the 18th century and the Russian of the 20th century and drew some common conclusions from them. Here the American Revolution acted as a kind of control for viewing the others. While no one would deny that each great revolution had its own perculiarities some lessons, so to speak, can be drawn from the various experiences.

Brinton traced the role of ideas, all kinds of ideas, some fanciful some serious that accompanied the dawn of every pre-revolutionary period as those who want to make a revolution or at least change things got a hearing from layers of society that they would not have gotten in more stable times. He also noted that the old regimes had run out of steam both in ideas and personnel, as exemplified by those who ruled at the time of revolutionary upheaval.

While the spark that ignited each revolution had different causes the revolutionary process itself started out as a broad coalition of forces opposed, for various reasons, to the old regime. Then a process of differentiation occured where various more moderate or modest revolutionary types fell by the wayside or were pushed aside under pressure from the more plebian masses and those committed to see the revolution through to the end, the Cromwells, the Robsepierres and the Lenins. During the course of these changes the counter-revolution, usually aided by foreign powers, reared its head.

I want to give particular attention to the question of Thermidor- that is the point where the revolution itself loses steam. The term stems from that point in the French Revolution in 1794 where the extreme left under Robespierre was defeated by more moderate forces within his own party (the Jacobins) and while not returning back to the old regime most definitely marked the end of progressive social experimentation. This has always been a thorny question on the political left. The Bolsheviks, particularly Trotsky, in the period of decline of the Russian Revolution poured out reams of polemics on its meaning (and even its applicability to their revolution). There are various causes for Thermidor; the leadership cadre gets tired, complacent or dies defending the revolution against counter-revolution; the people who previously supported the more extreme measures act likewise; and, those who want to stop the revolution in its tracks find a voice for their frustrations.

That much is clear from Brinton. What may need some revising is the question of whether in light of the destruction of the Soviet Union in 1991-92 and the return to capitalism there and the reverses in the Chinese Revolution which place it on the road back to capitalism that the previous premise about not going back to the old regime still holds true. The only way out of that dilemma is to argue that in neither case has the situation returned to the semi-feudal state before those revolutions. In any case, while you will need to read other books on comparative revolutions this is the place to start.

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WPA Guide to Florida : The Federal Writers' Project Guide to 1930s Florida, Written and Compiled

  • Sales Rank: #2214625 in Books
  • Published on: 1984-03-12
  • Released on: 1984-03-12
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 600 pages

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Mastering the Art of French Cooking, Vol. 2: A Classic Continued: A New Repertory of Dishes and Techniques Carries Us into New Areas, by J

The sequel to the classic Mastering the Art of French Cooking
Here, from Julia Child and Simone Beck, is the sequel to the cooking classic that has inspired a whole American generation to new standards of culinary taste and artistry. On the principle that “mastering any art is a continuing process,” they continued, during the years since the publication of the now-celebrated Volume One, to search out and sample new recipes among the classic dishes and regional specialties of France—cooking, conferring, tasting, revising, perfecting. Out of their discoveries they have made, for Volume Two, a brilliant selection of precisely those recipes that will not only add to the repertory but will, above all, bring the reader to a yet higher level of mastering the art of French cooking.
This second volume enables Americans, working with American ingredients, in American kitchens, to achieve those incomparable flavors and aromas that bring up a rush of memories—of lunch at a country inn in Provence, of an evening at a great Paris restaurant, of the essential cooking of France.
Among its many treasures:
• the first authentic, successful recipe ever devised for making real French bread—the long, crunchy, yeasty, golden loaf that is like no other bread in texture and flavor—with American all-purpose flour and in an American home oven;
• soups from the garden, chowders and bisques from the sea—including great fish stews from Provence, Normandy, and Burgundy;
• meats from country kitchens to haute cuisine, in master recipes that demonstrate the special art of French meat cookery;
• chickens poached (thirteen ways) and sauced;
• vegetables alluringly combined and restored to a place of honor on the menu;
• a lavish array of desserts, from the deceptively simple to the absolutely splendid.

But perhaps the most remarkable achievement of this volume is that it will make Americans actually more expert than their French contemporaries in two supreme areas of cookery: baking and charcuterie.
In France one can turn to the local bakery for fresh and expertly baked bread, or to neighborhood charcuterie for pâtés and terrines and sausages. Here, most of us have no choice but to create them for ourselves.
And in this book, thanks to the ingenuity and untiring experimentation of Mesdames Child and Beck, we are given instructions so clear, so carefully tested, that now any American cook can make specialties that have hitherto been obtainable only from France’s professional chefs and bakers.
With the publication of Volume Two, one can select from a whole new range of dishes, from the French bread to a salted goose, from peasant ragoûts to royal Napoleons. Each of the new master recipes is worked out, step by infallible step, with the detail, exactness, and clarity that are the soul of Mastering the Art of French Cooking. And the many drawings—five times as many as in Volume One—are demonstrations in themselves, making the already clear instructions doubly clear.
More than a million American families now own Volume One. For them and, in fact, for all who would master the art of French cooking, Julia Child and Simone Beck open up new worlds of expertise and good eating. Bon appétit!

  • Sales Rank: #27741 in Books
  • Brand: Random House
  • Model: 978-0-394-72177-4
  • Published on: 1983-09-12
  • Released on: 1983-09-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.02" h x 1.35" w x 7.01" l, 2.38 pounds
  • Binding: Paperback
  • 648 pages

Review
As close to a divine text as you can get -- Matthew Fort Guardian It will gladden the heart of all good cooks ... An alchemist's stone which enables any cook to turn base ingredients to gold Sunday Times

From the Inside Flap
Here is the sequel to the great cooking classic. Each of the new recipes is worked out step-by-step, with the clarity and precision that are the essence of the first volume. 5 times as many drawings as in Vol. I make the clear instructions even more so.

From the Back Cover
In all of our recipes, and especially in those for desserts and cakes, we have taken full advantage of modern mechanical aids wherever we have found them effective. While Volume I reflects France in the 1950s and the old traditions of French cooking, Volume II, like France herself, has stepped into contemporary life.

Most helpful customer reviews

476 of 484 people found the following review helpful.
A necessary, superb finish to the complete work
By B. Marold
Rarely are we able to say with certainty that a book is at the top of its subject in regard and quality. This book, the continuation of `Mastering the Art of French Cooking' by Julia Child and Simone Beck is certainly in that most unique position among cookbooks written in English and published in the United States.
This volume is truly a simple extension of the material in the original work, which was recently published in a 40th anniversary edition by its publisher, Alfred E. Knopf and its principle author, Julia Child. As told in Ms. Child's autobiography, the original manuscript brought to Judith Jones at Knopf ran to over a thousand printed pages. About two fifths of that material was put to the side and most of it appears in this second volume. All this means is that you are unlikely to really have a full coverage of the subject of French Cooking as intended by the authors unless you have both volumes.
The first chapter has a clear sign that this volume rounds out the work in that it gives soups a much more thorough coverage than the first volume. Most importantly, it includes recipes for that quintessential French dish, bouillabaisse. To complement this subject is coverage of seafood such as a tour of the anatomy of a lobster that would put seafood specialist cookbooks to shame.
The biggest single addition to the subject in this book is its coverage of baking and pastry. Here is one place where the book may be seen to diverge from its focus of the French housewife's cooking practice. As the book states clearly in the first chapter, practically no baking is done at home, since there is a Boulangerie on every street corner. I generally find the level of detail on baking in cookbooks specializing on savory dishes to be much too light to give the reader an adequate appreciation of the subject. This book covers baking with a level of detail which would make most baking book authors blush. A sign of this deep, quality coverage is the diagrams used to illustrate baking techniques. The line drawings typically succeed where photographs do not in that they can be easily incorporated into the text and the drawing can eliminate extraneous detail and show the reader only what is important in understanding the technique. The section on making classic French bread ends with a `self-criticism' section we may nowadays call a debugging section. It lists several different things that may go wrong with your product, and how to fix them. I would recommend this book to anyone interested in only baking, let alone the rest of us.
The quality of presentation continues with the coverage of pastry. Some books on pastry give one pie dough. Some good books on pastry may give three or four. This book gives eight, with a clear indication of the differences in when to use the various doughs. Some books on pastry describe how to make puff pastry. This book gives a really complete explanation, with abundant diagrams. I suspect that very few people want to make their own puff pastry, but anyone who uses store-bought pastry will benefit from knowing how it is made. This section is worth five different expositions on the subject on the Food Network rolled into one.
Another major subject untouched in the original volume is the long chapter on Charcuterie. That is, the techniques needed to make sausages, salted pork and goose, pates, and terrines. Like the description of puff pastry, this chapter contains a lot you may never need, but then again, I am a great believer in serendipity. You never know where you may hit upon an idea to add interest to you cooking practice. The simplest product you can garner from these techniques is the method for making breakfast sausage, which needs no casing. The subject really wakes up when you realize that the subject arose as a method for preserving meats, just like canning and pickling were developed to preserve fruits and vegetables. If economy and the old hippie / whole earth catalogue ethic are your thing, this is something you will want to check out. And, I have seen this subject covered in recent books such as Paul Bertolli's `Cooking by Hand', and this book's coverage of the material is more useful.
Another gem in this book is the coverage of desserts, including frozen desserts, custards, shortcake, meringue, charlottes, and on and on and on. The guidance on novel uses of puff pastry has probably been a source for more TV shows on the subject than you can count on your fingers. The recipe for leftover pastry dough is just another indication of how practical the material in this book can be.
The appendices contain `stuff' that virtually no other cookbooks touch. One contains a cross listing of recipes for meat and vegetable stuffings. I did not have enough room in my review of volume one to cite the quality of the material on kitchen equipment. As both books have been updated several times since the early sixties, both contain modern tools such as the food processor and the latest heavy-duty mixer attachments. Aside from being as complete a catalogue of hand tools I have ever seen, I find the presentation done with the kind of good humor which was the hallmark of Julia Child's PBS shows.
The last major feature of this volume is a two-color index that covers both volumes. Please be warned. These books have neither simple cooking nor low calorie dishes. The object of this style of cooking was to make the very best of inexpensive ingredients.
Each page offers more reasons to be impressed by this work. Any true foodie should be ashamed if they do not own and read these volumes.

603 of 630 people found the following review helpful.
Most Important Cookbook of the Last 50 Years. Period.
By B. Marold
Rarely are we able to say with certainty that a book is at the top of its subject in regard and quality. This book, `Mastering the Art of French Cooking' by Julia Child, Louisette Bertholle, and Simone Beck is certainly in that most unique position among cookbooks written in English and published in the United States.
With Julia Child's celebrity arising from her long series of TV cooking shows on PBS, it may be easy to forget how Ms. Child rose to a position with the authority that gave her the cachet to do these shows in the first place. This book is the foundation of that cachet and the basis of Ms. Child's influence with an entire generation of amateur and professional chefs.
It may also be easy to forget that this book has three authors and not just one. The three began as instructors in a school of French cooking, `Les Ecole des Trois Gourmandes' operating in Paris in the 1950's. And, it was from their experience with this school that led them to write this book. To be fair, Julia Child originated a majority of the culinary content and contributed almost all of the grunt work with her editors and publisher to get the book published.
The influence of this book cannot be underestimated. It has been written that the style of recipe writing even influenced James Beard, the leading American culinary authority at the time, to change his style of writing in a major cookbook on which he was working when `...French Cooking' was published. Many major American celebrity experts in culinary matters have cited Child and this book as a major influence. Not the least of these is Martha Stewart and Ina Garten. It is interesting that these first to come to mind are not professional chefs, but caterers and teachers of the household cook. Child was not necessarily teaching `haute cuisine', she was teaching what has been named `la cuisine Bourgeoise' or the cooking of the housewife and, to some extent, the cooking of the bistro and brasserie, not the one or two or three star restaurant.
The table of contents follows a very familiar and very comfortable outline, with major chapters covering Soups, Sauces, Eggs, Entrees and Luncheon Dishes, Fish, Poultry, Meat, Vegetables, Cold Buffet, and Deserts and Cakes. The table of contents does not itemize every recipe, but it does break topics down so that one can come very close to a type of preparation you wish from the table of contents. One of the very attractive schemas used to organize recipes in this book is to take a general topic such as Roast Chicken and give not one, but many different variations on this basic method. Under Roast Chicken, for example, you see Spit-roasted Chicken, Roast Chicken Basted with Cream, Roast Chicken Steeped with Port Wine, Roast Squab Chickens with Chicken Liver Canapes, Casserole-roasted Chicken with Tarragon and Casserole-roasted Chicken with Bacon. Thus, the book is not only a tutorial of techniques, it is also a work of taxonomy, giving one a picture of the whole range of variations possible to a basic technique.
The book goes far beyond being a simple collection of recipes in many other ways without straying from the culinary material. Unlike books combining regional recipes with anecdotal memoirs, this book is all business. Heading the recipes is a wealth of general knowledge on cooking variables such as weights versus cooking time and conditions. Headnotes also include general techniques on, for example, how to truss a chicken (with drawings) and many deep observations on professional technique. The notes on roasting chicken instructing one to attend to all the senses in watching and listening to the cooking meat in order to obtain the very best results. This may have easily come from the pen of Wolfgang Puck or Mario Batali.
The individual recipe writing is detailed in the extreme, and recipes typically run to two to three times as long as you may see in `The Joy of Cooking' or `James Beard's American Cookery'. The recipes are also very `modular'. A single recipe may actually require the cooking of two or three component preparations. This is not an invention of Julia Child. I believe she has captured here an essential characteristic of French culinary tradition. The most common of these advance preparations is a stock. More complicated examples are to make a potato salad, a dish in itself, as a component to a Salade Nicoise. What Child may have originated, at least to the world of American cookbook writing, is the notion of a Master Recipe, where many different dishes are presented as variations on a basic preparation. This notion has been used and misused for decades.
This book has become so important in its field that it seems almost irreverent to question the quality of the recipes. I can only say that I have prepared several dishes from these pages, and have always produced a tasty dish and learned something new with each experience. While there are other excellent introductions to French Cooking such as Madeline Kamman's `The New Making of a Chef', one simply cannot go wrong by using this book as ones entree into cooking in general and French cooking in particular.
The more I read other cooking authorities' writing, the more I respect the work of Julia Child and company. Observations on technique that went right over my head two years ago are now revealed as signs of a deep insight into cooking technique.
As large as the book is, the material presented to Knopf in 1961 was actually much larger and the second volume of the book is largely material created for the original writing. To get a reasonably complete picture of French Cookery, do get both volumes at the same time.
A true classic with both simple and advanced techniques. A superb introduction for someone who is just beginning an interest in food.

62 of 62 people found the following review helpful.
"If you're afraid of butter, as many people are nowadays, just put in cream!"
By Jesse Kornbluth
The movie "Julie & Julia" is built around the astonishing idea that a fan of "Mastering The Art of French Cooking, Volume One" would cook her way through the book's almost-600 recipes in a single year. I've been using this book for three decades and I've only made a fraction of the recipes. But I've made that fraction so many times that the pages fall open to my favorite recipes.

The other way to identify my favorites? Greasy pages. Makes sense --- Child knew, when Michael Pollan and Nina Planck were still in their cribs, that it wasn't real food that kills you, it's grotesque American portions. As Child gaily told her television audience, "If you're afraid of butter, as many people are nowadays, just put in cream!"

Such bluntness was her nature --- and her charm. She came from money and privilege; the challenge of her life was to find something worth committing herself to. First came Paul Child. Then, at 37, came the Cordon Bleu cooking school in Paris. And then, through a bit of luck, came an opportunity to work with Simone Beck on a French cookbook for Americans. As she tells the story in My Life in France, that book took almost a decade.

Judith Jones was the first American editor to read the manuscript. She flipped: "I pored over the recipe for a beef stew and learned the right cuts of meat for braising, the correct fat to use (one that would not burn), the importance of drying the meat and browning it in batches, the secret of the herb bouquet, the value of sautéing the garnish of onions and mushrooms separately. I ran home to make the recipe --- and my first bite told me that I had finally produced an authentic French boeuf bourguignon --- as good as one I could get in Paris. This, I was convinced, was a revolutionary cookbook, and if I was so smitten, certainly others would be."

Quality mattered. So did timing. "Mastering The Art of French Cooking, Volume One" was published in 1961. In the White House was a President with a wife who loved France. Air travel was replacing ocean liners --- Americans in larger numbers were traveling to Europe. Frozen food and TV dinners were clogging the supermarkets; Child lobbied for accessible sophistication, and changed the way some of us ate.

And then there was multi-media. WGBH, Boston's public TV station, invited Child to promote her book. The station had no studio kitchen, so she brought eggs, a whisk and a hot plate. On camera, she made an omelette, narrating the process with wit and confidence. A TV series soon followed --- she was Martha Stewart before there was Martha Stewart.

Actually, she was much more. Back then, cooking was not a respected profession. She showed that it was a discipline --- and an art. And she legitimized the home-gourmet. Was cooking a chore? Not after you'd seen Julia Child, amusing herself as she prepared dinner.

All these years later, I'm still charmed by Child's 13-page screed on omelettes. On the other hand, I never had much use for her pâtés or terrines, soufflés or sauces. Dessert still seems like overkill. And the seven recipes for kidney? Non-events. It's the classics that first appealed to me, and still do.

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? PDF Ebook A Reporter's Life, by Walter Cronkite

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A Reporter's Life, by Walter Cronkite

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A Reporter's Life, by Walter Cronkite

He has been called the most trusted man in America. His 60-year-long journalistic career has spanned the Great Depression, several wars, and the extraordinary changes that have engulfed our nation over the last two-thirds of the 20th century. When Walter Cronkite advised his television audience in 1968 that the war in Vietnam could not be won, President Lyndon B. Johnson said: "If I've lost Cronkite, I've lost middle America."

Now, at the age of eighty, Cronkite has written his life story--the personal and professional odyssey of the original "anchorman" for whom that very word was coined. As a witness to the crucial events of this century--first for the Houston Press, then for the United Press wire service, and finally for CBS in the fledgling medium of television--Cronkite set a standard for integrity, objectivity, enthusiasm, compassion, and insight that is difficult to surpass. He is an overflowing vessel of history, and a direct link with the people and places that have defined our nation and established its unique role in the world.

But Walter Cronkite is also the man who loved to drive race cars "for the same reason that others do exhibitionist, dangerous stunts. It sets us apart from the average man; puts us, in our own minds, on a level just a little above the chap who doesn't race." He is also the man whose "softheartedness knows no rational bounds" and who always had "great problems at the theater, tearing up at the slightest offense against animals and people, notably the very old or the very young." He is the man who could barely refrain from spitting on the defendants at the Nuremberg Trials, and who could barely announce President Kennedy's assassination over the air for the sobs in his throat.

Walter Cronkite helped launch the juggernaut of television, and tried to imbue it with his own respect for quality and ethics; but now he occupies a ringside seat during the decline of his profession and the ascent of the lowest common denominator. As he aptly observes, "They'd rewrite Exodus to include a car chase."

Still, the American people know the difference. They know that for decades they have had the privilege of getting their news from a gentleman of the highest caliber. And they will immensely enjoy A Reporter's Life.

  • Sales Rank: #782525 in Books
  • Published on: 1996-11-27
  • Released on: 1996-11-27
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.58" h x 1.29" w x 6.51" l, 1.69 pounds
  • Binding: Hardcover
  • 384 pages

Amazon.com Review
Cronkite's prose has the same stately cadences as that famous voice, reinforcing the grandfatherly persona that made him America's most trusted anchorman until his retirement in 1981. He also has a dry sense of humor, so his memoirs are dignified rather than pompous. Chapters on the early days of radio and television broadcasting are colorful; the more episodic later portions contain some good anecdotes, plus a frank account of Cronkite's dismay at the direction CBS News took under Van Gordon Sauter. Just the book you'd expect from Uncle Walter.

From Publishers Weekly
Written with wry, self-deprecating humor, Cronkite's memoir gives us the veteran TV newscaster at his most relaxed and ingratiating as he recounts dozens of his scoops: for example, tracking down and interviewing Takeo Yoshikawa, the Japanese spy who was strategic to the attack on Pearl Harbor, and Daniel Ellsberg when he was in hiding after stealing the Pentagon's secret Vietnam War plans (the Pentagon Papers). Tough-minded, Missouri-born Cronkite, who apprenticed on Houston papers, has been eyewitness to, or participant in, many of the century's momentous events. As United Press war correspondent, he covered D-Day, the Allied air war and the Nuremberg trial. He joined CBS as a Korean War correspondent, and as CBS Evening News anchor for almost two decades (he retired in 1981, pushed out, he says, by a new management more interested in infotainment than substance), he reported on the civil rights movement, NASA's first moon walk, the John Kennedy assassination, freedom struggles in South Africa. Peppered with personal encounters with presidents from FDR to Nixon, plus close-ups of Nazi Hermann Goring, Douglas MacArthur, Castro, Begin and many others, Cronkite's crisp narrative charts the metamorphosis of network television into the defining medium of American consciousness. He also lets loose brickbats on the contemporary scene, bemoaning the "ridiculously small" volume of television news and the superficial quality of political coverage ("The debates are a part of the unconscionable fraud that our political campaigns have become, and it is a wonder that the networks continue to cooperate in their presentation"). Photos not seen by PW. BOMC main selection. Available on cassette and CD from Random House Audio. (Dec.) FYI: On November 4, the date this review is appearing, Cronkite celebrates his 80th birthday.
Copyright 1996 Reed Business Information, Inc.

From School Library Journal
YA. A memoir by America's foremost TV journalist. He was not a "star" anchor; rather, his workday world included reporting from the trenches of World War II and Vietnam, covering the civil rights movement, the Apollo Space Program, political conventions, and chats with presidents. Since Cronkite experienced events firsthand for the rest of the country, Americans identified with him and trusted his assessment of them. His personal accounts of the newsworthy happenings of recent decades may intrigue students of history, but the book will hold the most appeal for those interested in journalism and the media.?Susan Abrams, R. E. Lee High School, Springfield, VA
Copyright 1997 Reed Business Information, Inc.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Good information.
By moe
Well done. Good information.

7 of 7 people found the following review helpful.
"Revolutionary forces are already at work [outside the US] today, and they have man's dreams on their side."
By Mary Whipple
In a fascinating and thought-provoking autobiography (1996), Walter Cronkite reflects on his career in journalism, from the earliest days in which he listened to radio on a crystal set, through his own participation in world events as a television journalist. Without the ego one usually associates with newscaster-celebrities, Cronkite gives the history of journalism--radio, newspapers, news syndicates, and television--by giving anecdotes from his own long career, always showing what he learned from his mistakes (which he is remarkably candid and often humorous in describing), and giving ample credit to the people who helped him. His thoughtful observations about the impact of television and its negative effects on voting participation, along with his predictions for the future of this country, offer a broader perspective and warning about our national vision.

Cronkite's sense of excitement about journalism is obvious from the earliest days of his career, when he used brief, coded teletype messages to invent play-by-play accounts of football games for his radio audience. By career's end, he was participating in world events, his interview with Anwar Sadat and its follow-up bringing Sadat to Israel in a precedent-setting meeting with Menachim Begin and an eventual peace treaty. As he takes the reader step-by-step through this career, he describes his goals as a young man, his earliest jobs at local newspapers and radio stations, his work with United Press, his press responsibilities overseas during World War II, his work in Russia, and his early foray into television, when other serious journalists were avoiding this medium.

The landmark TV coverage of the 1952 political conventions opened the eyes of the country to how the political system worked in reality. The Nixon and Kennedy interviews in 1960 (and Theodore White's book, The Making of the President), show the power of television to affect outcomes. He gives candid, personal insights into various Presidents, from Franklin Delano Roosevelt through George Bush Senior, including fascinating insights into Eisenhower (far more aware of issues than often thought), JFK (with whom he had mixed experiences), and Jimmy Carter (in his view, the most intelligent President).

It is Cronkite's candor and his ability to see himself as a facilitator of communication, rather than as an ego-driven reporter looking for the landmark "scoop," that makes this autobiography so compelling. When, in his conclusion, he modestly offers his own observations about the end of the twentieth century, based on his experience, the reader pays attention. Mincing no words, Cronkite describes the social, political, and economic evolutions taking place around the world and their potential as revolutions, warning, "They have man's dreams on their side. We don't want to be on the other side." Elegantly written, this is a landmark book in the history of journalism. n Mary Whipple

0 of 0 people found the following review helpful.
Delightful But A Bit Superficial
By Jackson Zhou
This book is a fast and fascinating read on Cronkite's 40 some year career in the field of journalism. I initially picked it up because I was interested in finding out the career path of famous journalists. I expected the book to offer an insightful recounting of the man's career, and being that it's an autobiography, I was also hoping for a deeply personal introspective from the author. I got the former, but I think the book runs a little thin on the latter.

Cronkite fills the book with facts and interesting anecdotes from his career as a journalist and reporter, and incidentally, it's also a historically look at our country's history from WWII and on. History buffs would enjoy that aspect of the book, which is broken up into several sections as organized by Cronkite, such as a section on the wars, a section devoted solely to the Presidents, and a section on the civil rights movements. What I took away is a pretty rosy picture of a man's career, which spans from newspaper to radio, and then finally TV, seemingly with always the right opportunities being offered and seized at just the right time. At times I felt it was either Cronkite was very lucky most of time in his career, or he's not telling you the full story.

What I liked about the book is Cronkite's style of writing, which is very approachable. He tells tales from his life as a reporter with the congeniality of a grandfather, and offers humours sidenotes that'll make you laugh along the way. He also maintains an air of genuine humbleness throughout. However, I also find his storytelling to be ultimately falling short on deep emotional substance. Maybe it's the man's near obsession with what he deems the "holy grail" of any good journalist - impartiality, or an unwillingness to be candid, but he seems to have little to say that's highly critical of any events or individuals that he's observed over the years. Even at points where he seems to be voicing opinions, he seems to be more objectively insightful and analytical rather than critical. It is only towards the end of the book, where we catch a glimpse of his more open criticism on broadcasting management and the state of the news media today.

The book is ultimately an enjoyable read on a man's life in journalism, a good review on history and evolution of the news media, but stops short on delivering strong emotional content.

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