Book Description
This popular paralegal-specific text introduces the skills of reading and analyzing court opinions. It focuses on briefing cases and applying case law in legal memoranda and advocacy letters. This is a major revision with new cases and expanded writing chapters. ALSO AVAILABLE INSTRUCTOR SUPPLEMENTS CALL CUSTOMER SUPPORT TO ORDER Instructors Manual, ISBN: 0-314-46555-3
Customer Reviews:
Case Analysis and Fundamentals of Legal Writing.......2006-11-10
This book was well worth the money. It provides a wealth of information in clear and concise verbiage. This is a must for anyone interested or working in legal processes. I highly recommend this book.
Book Description
Many famous antique texts are misunderstood and many others have been completely dismissed, all because the literary style in which they were written is unfamiliar today. So argues Mary Douglas in this controversial study of ring composition, a technique which places the meaning of a text in the middle, framed by a beginning and ending in parallel. To read a ring composition in the modern linear fashion is to misinterpret it, Douglas contends, and today’s scholars must reevaluate important antique texts from around the world.
Found in the Bible and in writings from as far afield as Egypt, China, Indonesia, Greece, and Russia, ring composition is too widespread to have come from a single source. Does it perhaps derive from the way the brain works? What is its function in social contexts? The author examines ring composition, its principles and functions, in a cross-cultural way. She focuses on ring composition in Homer’s Iliad, the Bible’s book of Numbers, and, for a challenging modern example, Laurence Sterne’s Tristram Shandy, developing a persuasive argument for reconstruing famous books and rereading neglected ones.
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For many years, Lajos Egri's highly opinionated but very enjoyable The Art of Dramatic Writing has been a well-guarded secret of playwrights, scriptwriters, and writers for television. Unlike many other books on playwrighting (several of which Egri criticizes during the course of this one), the author's systematic breakdown of the essentials for creating successful realistic plays and screenplays effectively demystifies the process of creative writing. Egri, who formulated his thoughts about "a well-made play" during its heyday (the 1940s and '50s), places a premium on an exhaustive analysis of characters and discussion of their psychological motivations. The writer is exhorted to find a premise to explore and to discover which characters will most effectively demonstrate this thesis, then is shown how most effectively to place them into conflict with each other. Conflict itself is also discussed, particularly how to create scenarios in which the crisis develops at a pace that feels unforced and natural. While Egri's view of the well-made play has little space for either the spare musings of Beckett and Pinter or the conscious excesses of non-narrative and other experimental writing, it nonetheless remains an essential text for writers drawn to realistic drama, and to any writer interested in the fundamental motivations of human behavior. --John Longenbaugh
Book Description
Learn the basic techniques every successful playwright knows
Among the many "how-to" playwriting books that have appeared over the years, there have been few that attempt to analyze the mysteries of play construction. Lajos Egri's classic, The Art of Dramatic Writing, does just that, with instruction that can be applied equally well to a short story, novel, or screenplay.
Examining a play from the inside out, Egri starts with the heart of any drama: its characters. All good dramatic writing hinges on people and their relationships, which serve to move the story forward and give it life, as well as an understanding of human motives -- why people act the way that they do. Using examples from everything from William Shakespeare's Romeo and Juliet to Henrik Ibsen's A Doll's House, Egri shows how it is essential for the author to have a basic premise -- a thesis, demonstrated in terms of human behavior -- and to develop the dramatic conflict on the basis of that behavior.
Using Egri's ABCs of premise, character, and conflict, The Art of Dramatic Writing is a direct, jargon-free approach to the problem of achieving
truth in writing.
Customer Reviews:
Received.......2007-09-17
Got book for Stepson, he hasn't complained about it, so I guess it was good.
Excellent, Excellent, Excellent!!.......2007-08-09
This novel is the perfect place to start for beginners. Although it references mostly plays and screenwriting, the guidelines set forth by Egri can be applied to any type of writing. Be sure to take plenty of notes!
The master piece that competes with Howard Lawsons' work.......2007-05-18
This book is a classic.
One of the things that makes this book a classic is its simplicity. The book start exploring how you as a dramatic writer can use Premise as the guiding sign through out the whole process of writing a story.
Once you have a premise you can work on creating your characters (using the premise to do that). To do this you'll have to know your character's physiology, sociology, pshychology, etc.
Once you have your characters you can work on creating the story using the principle of contradiction, thesis, antithesis and synthesis. You'll have to use clashing forces... (again, you use the premise as explained at the beginning of the book).
Then the author covers some of the most important elements in writing dramatic material of quality.
In my case I found the chapter of "Jumping" quite enlightening. Once you read this chapter you'll understand why many, many stories just don't work. The characters jump and then... they fall to their death... and to the apaty of the audience.
What is it that I like about this book? Well, I read it... time passes... come back to it again... time passes... and I come back again to read it!
Where as most books make you feel like writing is extremely difficult, this one always makes me feel like I'm in command and that great story telling is within my grasp.
The "Rosetta Stone" of creative writing........2007-05-07
I've read several books about screenwriting to aid me in my capacity as a story consultant, and this book far surpasses them all. You'll hear the age-old question of what's more important to story: action or character? What I got from this book is that the question is - in the end - moot. You need both - well drawn characters to the sell the action, and compelling action to reveal character. The process is tricky, but Egri lays it out with such precision and wit, you'll wonder how you ever got along without his insights. Even though this book was written over half a century ago, it applies now more than ever - especially for the cinema where writers are increasingly relying more on formula and less on the construction of truly memorable, believable characters. Originality must begin with a thorough understanding of who your characters are, how and why they come together, and what ultimate premise their interactions serve to reveal. Egri explains this process with depth and panache. If you want to improve your narrative and give the world fresh new characters that tell "your story" this is THE place to start!
Eminently Clear and Immediately Memorable.......2006-12-12
I've easily read more than 100 books on creating fiction (my focus is primarily short stories and novels), and I've done so because I'm always interested in learning what others have to say about the craft that I might find ways to improve my own.
I disagree with the reviewer who pishaws Egri's recommendation to create character biographies, saying that the "audience will never see them". The fact is, every short story, novel, play, movie is like an iceberg: what the audience reads/sees is only 10% of the whole. The rest is hidden. If a writer hasn't done her homework on a story's setting, background or, more importantly, on her characters' backgrounds, it will show, and in the worst way possible. Even if a writer is of the sort who develops her characters as she creates the story, there is still much about those characters which doesn't make it into the tale. It's rather like when you tell a cousin about a friend of yours. You don't give your cousin all the details, only those details which are relevant to giving your cousin an accurate, yet true, representation of your friend, but you can only accomplish this if you know your friend very well. The same is -- HAS TO BE! -- true of your story characters: you MUST know them very well (more than what you reveal) if you are to represent them to your audience accurately and truthfully (but not exhaustively), and that's precisely Egri's point.
Regarding Egri and his agreements/disagreements with Aristotle, his disagreement with regard to a story's beginning has more to do with modern readers' interpretations of what constitutes a beginning. Every story must have a beginning, even if it doesn't appear on the page, on the screen, or on the stage. All the consituent parts of a story, even if they aren't put plainly before the audience, must be implied in what is. (Algis Budrys' WRITING TO THE POINT demonstrates this quite well.) Egri's disagreement with regard to Aristotle's views on plot/character, however, are, I believe, on the mark. In this case, however, the disagreement has more to do with historical/cultural/religious context. Aristotle's putting plot primary is due largely to the prevalent beliefs of his time, just as our putting character primary is due to the prevalent beliefs of ours. This, too, is a point which Egri recognizes.
After reading Egri's book, my writing will never be the same again, I'll never read another novel or short story the same way again, and I'll never see a movie or play in the same way again, either. I dare say that I'll appreciate a good novel/short story/movie/play even more with the tools that Egri provides in this book, and will now be able to elucidate far more clearly than before why I didn't like a particular novel/short story/movie/play. In like manner, I now believe that I'm better equipped, after reading Egri's book, to recognize what is wrong with any story that I've written and will, therefore, be better able to fix the problem.
After reading all the books I've read on story/character creation, I'd have to say that Egri's book is easily the best book I've ever read on the subject. While other authors of such books may have said much the same thing, Egri presents the same material in a way that makes it eminently clear and immediately memorable.
POSTSCRIPT: In defense of novels (since that is my preferred medium), unlike what was stated in one review on Egri's book, pacing is just as important in a novel as it is in a stage play. If you have one high-paced scene after another in a novel, your reader will be breathless before she's half-done with the book. Conversely, if your pacing is constantly slow, you're very likely to lose reader interest. There are all sorts of tricks to controlling pacing in a novel, from word, sentence, and paragraph length, and even down to specific word choice. There are other ways to control pacing, as well, but I shan't get into that here. It's a shame that very few books have covered this aspect of novel creation.
Book Description
While many texts fail to cover the specific “hows” of legal analysis and writing such as: how to determine if a case is on point, how to identify the issue, how to state the issue, and how to conduct counteranalysis and incorporate it in an interoffice memorandum of law, this book stresses application through many examples in each chapter that illustrate key concepts and principles, and explains the elements, techniques, and specific considerations involved in the process. The book is national in scope, and is an invaluable reference to practicing legal assistants and first year law students.
Customer Reviews:
Legal Research made easy.......2000-08-07
I had this book for my class which was taught by the author. It is an easy to follow, logical, step by step book that would assist anyone in the field of legal research and writing.
Average customer rating:
- excellent analysis tool for actors
- . . . and Hamlet too.
- Required reading for anyone working on the stage!!
- Valuable advice
- A great book to teach the art of reading and writing a play
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Backwards & Forwards: A Technical Manual for Reading Plays
David Ball
Manufacturer: Southern Illinois University
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Sense of Direction: Some Observations on the Art of Directing
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The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate
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The Viewpoints Book: A Practical Guide to Viewpoints and Composition
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Thinking Like a Director: A Practical Handbook
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Notes on Directing
ASIN: 0809311100 |
Book Description
This guide to playreading for students and practitioners of both theater and literature complements, rather then contradicts or repeats, traditional methods of literary analysis of scripts.
Ball developed his method during his work as Literary Director at the Guthrie Theater, building his guide on the crafts playwrights of every period and style use to make their plays stageworthy. The text is full of tools for students and practitioners to use as they investigate plot, character, theme, exposition, imagery, motivation/obstacle/conflict, theatricality, and the other crucial parts of the superstructure of a play. He includes guides for discovering what the playwright considers the play’s most important elements, thus permitting interpretation based on the foundation of the play rather than its details.
Using Hamlet as illustration, Ball assures a familiar base for illustrating script-reading techniques as well as examples of the kinds of misinterpretation readers can fall prey to by ignoring the craft of the playwright. Of immense utility to those who want to put plays on the stage (actors, directors, designers, production specialists) Backwards and Forwards is also a fine playwriting manual because the structures it describes are the primary tools of the playwright.
Customer Reviews:
excellent analysis tool for actors.......2007-03-12
This book may have been primarily written for directors and writers, but it is a great tool for actors to get to real active meanings in a script.
. . . and Hamlet too........2006-06-28
I agreee wholeheartedly with those below. But Mr Ball is not merely a theorist, he supplies a chapter in which he takes us on a brief journey backward through Hamlet for a distance, and through this method shows how single and specific Hamlet's action is. I can't approach a script now without setting up my dominoes and charting it backward. It seemes foolish not to.
Required reading for anyone working on the stage!!.......2006-01-21
I had a conversation yesterday in which the other theatre artist asked what approach this book advocated to script analysis:
"is it feminist theory? queer theory? Marxist?"
"No, it's the one where you read the script."
Seriously, I don't know what I was doing in the theatre prior to reading this book, and I am so excited to begin my next project now because I feel that I have so much improved in my grasp of how to read a play. Why I wasn't required to read this book in Intro to Theatre or one of my first design classes I don't know, but I am so happy that I did now.
Valuable advice.......2004-12-04
The scope of BACKWARDS AND FORWARDS is narrow, but its ambition is important. This is a book about how to read a play. More specifically, it's about how to read a play whose production you are planning. There are 96 pages in this book and many of them are only partially filled. Some of them are blank. So in very few pages, author David Ball gives some valuable and (I would say, essential) advice. So many bad productions are bad simply because of a basic misreading of the script. Ball tells prospective directors what's important and how to recognize what's important. His advice is very straightforward and concise. He does not pad the book by going off on tangents or use long anecdotes to illustrate a point. He makes a point and then moves on to the next one. I think this book should be compulsory reading for the director, but it is also valuable to the playwright, the actor and the designer. This book is basic. There is a great need to get back to basics. David Ball has done the theatre a great service by writing this valuable book.
A great book to teach the art of reading and writing a play.......2001-04-06
I have used this book as the basis of several theatre and playwriting classes that I have taught. Ball's language is simple, though the words he creates to explain his theories, such as "trigger" and "heap" (a trigger is the moment when people's motivations are exposed, while a heap is the result of that action) make it it easy for any non-theatre person to grasp the clever concepts.
By having a person read a play backwards, Ball shows how to grasp the playwright's intentions, and the character's movements. It's a basic theatrical literary theatre that is surprisingly effective, especially in trying to teach young writers how to create a play.
I highly recommend this book to the theatre neophyte as well as the theatre professional.
Average customer rating:
- New Ancient Near East
- Outstanding, it is on level with Prichards ANE Texts
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The Context of Scripture: Canonical Compositions from the Biblical World (Context of Scripture)
Manufacturer: Pilgrim Press
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The Context of Scripture: Archival Documents from the Biblical World (Context of Scripture) vol. 3 (Context of Scripture)
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Monumental Inscriptions from the Biblical World (Context of Scripture)
ASIN: 9004106189 |
Book Description
The "first half of history" covers the interval between the invention of writing in Sumer and the floruit of classical Greece. During these two and a half millennia (ca. 3000-500 BCE), the Near East is the primary locus of written documentation, and thus the place where the emergence of humanity's achievements can be followed in detail. Two centuries of persistent exploration of the Near East have led to the recovery of much of this documentation, and the recovery continues at an unabated pace. The discoveries made in the field, and their interpretation in the scholarly literature, are brought to the attention of a wide public in three volumes, prepared by leading scholars in all the principal language areas of the ancient Near East.
The first volume to be published, Canonical Compositions from the Biblical World, is devoted to "literary" texts - those responses to the world about them by which the creative minds of antiquity sought to come to terms with their environment, real or imaginary. The second volume, Monumental Inscriptions from the Biblical World, emphasizes "historical" texts: the monuments in which the rulers attempted to memorialize their achievements and lesser mortals expressed their loyalty or piety. The third volume, Archival Documents from the Biblical World, incorporates "economic" texts - the unassuming records of daily life which nonetheless go far toward permitting the reconstruction of social, legal and commercial institutions that concerned the majority of humanity.
All these canons, monuments and documents provide the context in which Biblical literature flowered. They have therefore been selected in part to illuminate the comparisons or contrasts with specific Biblical passages that have been identified in the scholarly literature. These passages are identified in each selection, and in the extensive bibliography provided. Other selections have been made to illustrate the range of the ancient documentation, or to highlight new discoveries. Elaborate indices are designed to call attention, not only to Biblical parallels, but to those among the ancient sources themselves.
This authoritative three-volume reference work is an invaluable research tool and essential reading for all those engaged in the study of the Hebrew Bible in its ancient Near Eastern context.
Customer Reviews:
New Ancient Near East.......2001-07-29
This 3-book series is an extensive update of the classic Pritchard ANET (ancient near-eastern texts). Though some of the texts are shortened from Pritchard's volume, the new texts, number of texts, and more up to date translations and notes more than make this book worthwhile... if you can afford it :-) Otherwise, the 2 Pritchard paperbacks are quite reasonable.
Outstanding, it is on level with Prichards ANE Texts.......2000-09-04
It is Outstanding, it is on level with Prichards' ANE Texts -- though there is some repeatition of material. This Volume is an interesting read, diffentantly not an one nighter :-) A four day weekend should do it -- Though you will hate taking sleep breaks.
Book Description
This translation guide is based on sound theoretical and pedagogical principles. Unlike other translation manuals available, it transcends crude dichotomies of "literal" vs. "free" translation, "specialized" vs. "general," "communicative" vs. "semantic," etc. and concentrates instead on developing in the student a sensitivity to text-types and a deeper understanding of the demand. which a given text-type makes on the translator. In addition, the student who closely follows this Guide will acquire the analytical tools necessary to make meaningful comments about translation and translations. A glossary of text-linguistic and translation terms Is provided together with a select bibliography.
Customer Reviews:
An impressive guide to Mozart's music.......2005-05-03
With the 250th anniversary of Mozart's birthday in 2006, the music world's attention will again turn to the great composer from Salzburg - and this most-impressive book can serve as a guide to exploring the deeper recesses of Mozart's huge output of music(some 636 compositions). This is one of the finest - and certainly most complete - guides to Mozart's music in print. It is monumental in scope, scholarly in its research yet friendly in its prose. In "The Compleat Mozart," this enormous output (for 35 short years) is broken down into 15 categories:
VOCAL MUSIC
1. Music for the Catholic Church
2. Cantatas and Oratorios
3. Masonic Music
4. Theater Music
5. Concert Arias, Duets, Trios and Quartets
6. Songs and Vocal Ensembles
7. Canons
INSTRUMENTAL MUSIC
8. Church Sonatas
9. Concertos
10. Symphonies
11. Dances
12. Serenades, Divertimentos and Marches
13. Chamber Music
14. Chamber Music with Keyboard
15. Solo Keyboard Music
And within each of the above categories are many sub-categories (such as quintets, quartet, trios and duos for chamber music). So, it is easy to see why this book is called "The Compleat Mozart." You will find notes here on not only the more well-known genres and works but also the more obscure ones not found in most other books on Mozart (such as dances, masonic music, divertimenti, concert arias).
For each of the 15 categories, the authors first set the historical stage with some fascinating story telling of interesting background events and circumstances of Mozart's life surrounding the compositions. In this, Mozart's musical development as a composer is carefully traced from the first works to the late works with thoughtful analysis and curiously-detailed ancedotes. Then, each work is taken individually in order of its Kochel number, giving first the date and circumstances of composition then elaborating on the music within the various movements (musical forms, uniquenesses, significance, "firsts" etc). There is a good balance between the historical context and "program notes" - although at times there is a bit more on details like first publication and performance that might not be as interesting to some. There are also two pages of explanation of the Kochel System of numbering. With such details, one might expect such a book as this to be overly technical and dry; however, "The Complaet Mozart" is anything but this. There are plenty of fascinating and colorful details of Mozart's life and revealing personal quotations from his many letters to keep a flow more like a good novel. Also, the many nice illustrations of people, places and instruments add variety and help break up pages of pure text.
Other recommended books on Mozart's music that give lots of musical analysis are: (1) David Hurwitz' excellent 2005 book on Mozart (Unlocking the Masters Series), (2) Melvin Berger's "Guide to Chamber Music," (3) Steinberg's "The Concerto" and "The Symphony" and (4) Robert Harris' "What to Listen for in Mozart." These books all give a more detailed "play-by-play" of the major works where "The Compleat Mozart" gives more depth of the history and comprehensiveness of works covered. Each has its strength and scope, but the true Mozart afficianato should not be without this monumental and complete guide. It is a prestigious reference work that makes a fine lifelong investment for one's classical library (its not going out of style anytime soon). Additionally, the hardcover binding, thick paper, easy-to-read typeset and attractive layout are all really high quality and most attractive to satisfy the most discriminating bibliophile. It even feels special to hold and never ceases to inspire. Most recommended, especially as a way to expand one's horizons beyond the core repertoire. 5 stars (not 4).
Best 1-volume synopsis of all of the Master's works.......2001-11-26
And that about says it all. Some pieces are graced by a paragraph, and some (Sym. 41, various opera) by a couple of pages. I won't let this book go (along with Alfred Einstein's study); I consult it all the time before listening and purchasing Mozart music. I find the reviews right on. I wholeheartedly recommend this book.
extremely informative book.......2000-03-29
I have been doing a major project at school which Mozart and his life are a base. My teacher ordered this book for our use and i was enthralled by it. I have always been a fan of mozart and there is not much that i don't already know about, but this book is one of the best i have read. The information is absolute in its entirety. A little slow on the uptake, but once you are in, you are held in its power.
Average customer rating:
|
Perspectives on Gustav Mahler
Manufacturer: Ashgate Publishing
ProductGroup: Book
Binding: Hardcover
Mahler, Gustav
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ASIN: 0754607097 |
Book Description
Literacies provides students with engaging selections on complex issues that resist easy answers. This impressively diverse collection contains 44 selections from both academic and nonacademic sources. Coupled with thoughtfully crafted pedagogy, these readings ask students to examine the knowledge, experience, and assumptions they bring to their reading, to interpret the selections in conversations with other readings, and to respond in writing. With the Second Edition, the editors have strengthened the book's emphasis on literacy as a theme, incorporating more cross-disciplinary selections, and enriched the apparatus. These revisions reflect the editors' commitment to making Litreacies the ideal choice for composition courses that emphasize academic discourse.
Customer Reviews:
An Ok book.......2004-07-20
The stories in this book is ok. Many of them were hard to understand, but it started a debate/discussion in class. There are many stories that undergrads, like myself, can relate to, such as Angelou's story (Mary). But there are stories that not many people can relate to or write about (such as El-Saadawi "Love and Sex in the Life of the Arab")
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