Asimov wrote the short story "The Ugly Little Boy" in 1958. But there is much more to the story of the little Neanderthal boy plucked out of time and transferred to the 21st century. Now, Robert Silverberg--in this second collaboration with Asimov--has made this sf classic into an engrossing novel-length tale.

A critical examination of economics's past and future, and how it needs to change, by one of the most eminent political economists of our time The dominant view in economics is that money and government should play only a minor role in economic life. Economic outcomes, it is claimed, are best left to the "invisible hand" of the market. Yet these claims remain staunchly unsettled. The view taken in this important new book is that the omnipresence of uncertainty makes money and government essential features of any market economy. Since Adam Smith, classical economics has espoused nonintervention in markets. The Great Depression brought Keynesian economics to the fore, but stagflation in the 1970s brought a return to small-state orthodoxy. The 2008 global financial crash should have brought a reevaluation of that stance; instead the response has been punishing austerity and anemic recovery. This book aims to reintroduce Keynes's central insights to a new generation of economists, and embolden them to return money and government to the starring roles in the economic drama that they deserve.

This reissue of the penetrating biography of Senator John McCain, the man who may be the next president of the United States, by celebrated author Robert Timberg now has a new foreword that updates readers on the politician's life since this book's original publication in 1999. In John McCain: An American Odyssey, Timberg provides a riveting account of McCain's remarkable life -- from his rambunctious childhood and his madcap escapades as a U.S. Naval Academy midshipman to his grim experiences as a combat pilot and POW in Vietnam, where the North Vietnamese held him prisoner for five and a half years. Most important, the author illuminates Senator McCain's postwar evolution into one of our country's most distinguished politicians and a formidable presidential candidate. This biography probes deeply into the life of this hugely colorful, straight-talking American original. It is a rich and captivating portrait of one of America's most fascinating and provocative public figures -- a man who has captured the imagination of millions of Americans and who will continue to be a most prominent figure in the American political landscape.

More thon forty years ago, Robert Warshow wrote that "the unresolved problem of 'popular culture' . . . has come to be a kind of nagging embarrassment to criticism." Despite the rise of academic trends like cultural studies, we don't have a criticism that speaks to the actual, immediate experience of seeing and responding to popular culture. Warshow argued that the evasion of the popular arts in his time was due to a "disastrous vulgarization of intellectual life" that corrupted American liberalism from the 1930s to the 1950s. Political correctness then, like political correctness since the 1960s, had led to "organized mass disingenuousness" on the part of intellectuals who turned away from developing a vocabulary for describing the immediate, aesthetic experience and used irony instead, even about their own experiences. But, says Warshow, "a whole literature cannot be built on irony." Warshaw died a young man of 37 in 1955, but he left as his legacy a series of essays for The Partisan Review, Commentary, The Nation, and other journals. These writings, the cornerstone of a major account of the role of mass culture in our lives, were first gathered and published as a book in 1962. A number of essays have been anthologized frequently, and the book as a whole has achieved cult status for a number of discerning critics. "A legendary little book, partly because its author died at the age of 37, but mostly because it stands as a virtually unique representative from its period of a consistently open-minded, moral, aesthetic, and political engagement with commercial culture." -Louis Menand

We are born with the instinct to create and invent. Indeed our ability to do so is what separates we humans from the rest of the animal world. The moment man first converted a stone to a useful tool set him on a relentless path toward greater control and power over his environment. But have our creative ideas always produced desirable results in line with their original good intention? How many ill-effects and dangers have they brought about along the way? And have they really served us well? Bad Ideas? traces the fascinating history of our attempts at self-improvement but also questions their value. The dubious consequences of the development of weaponry, for example, is self-evident from the primitive but lethal sling to the devastating nuclear bomb. But what of apparently more innocuous inventions such as farming, writing or medicine? All were initiated for the greater good but have nonetheless produced unforeseen fallout that continues to this day. What are their undesirable side-effects, how did they emerge over the years and where will they take us in the future? Written against a huge historical canvas, we join Robert Winston on a thrilling and inspiring journey from our earliest days to the present. We learn about the history of modern science, engineering, IT and much more, following the unexpected twists and turns of their progress. We meet the individuals who played a key role in their development, and share quirky anecdotes about their lives and brainwaves. Inspiring, unusual, and at times controversial, Bad Ideas? enables us by appreciating the past to look forward to the technological opportunities and ethical challenges of the future. In so doing it celebrates man's extraordinary capacity for achievement whilst warning us that his good intentions can sometimes end up as thoroughly bad ideas.

Join Nellie, Gus, baby Jake, and their parents at Funland as they go on rides, watch performers, and play games along with many other children and grown-ups. As they enjoy their excursion, they notice that people are the same as one another in lots of ways, and different in lots of ways too. Helps children realize why it's important to treat others the way they want to be treated whether a person is a lot like you or different from you, a good friend or someone you have just met or seen for the first time.

"In this original investigation, Robin Lakoff uncovers those roots of our language that classify and delineate the sexes. Why are parallel words--one applying to masculine beings, the other to feminine--not also parallel in their range of use and connotation? Why have "bachelor/spinster" or "master/mistress? come to mean such widely different things? Language and Woman's Place points out this parallelism as symptomatic of the nonparallelism in the roles of the sexes and as further reinforcement of a social disparity."--Publisher's description.

In these pages Roger Corman, the most successful independent filmmaker in Hollywood relates his experiences as the director and/or producer of such low-budget classics Attack of the Crab Monsters, The Little Shop of Horrors, The Raven, The Man with the X-ray Eyes, The Wild Angels, The Trip, Night Call Nurses, Bloody Mama, Piranha, and many others. He also discusses his distribution of the Bergman, Fellini, and Truffaut movies that later won Academy Awards in the Best Foreign Film category. Corman alumni—John Sayles, Martin Scorsese, Jack Nicholson, Vincent Price, Francis Ford Coppola, Peter Bogdanovich, Peter Fonda, Joe Dante, and Jonathan Demme, among others—contribute their recollections to give added perspective to Corman's often hilarious, always informative autobiography.

This revealing autobiography details Roger Corman's rise from Twentieth Century-Fox messenger to antistudio maverick and producer of low-budget "exploitation" films. With such memorable titles as The Little Shop of Horrors, Attack of the Crab Monsters and The Beast with 1,000 Eyes, Corman carved his niche in the history of Hollywood. Photographs.

Pages clean and unmarked. Slight wear from time on shelf like you would see on a major chain. Immediate shipping.

No detailed description available for "Child Language, Aphasia and Phonological Universals".

This collection of essays and articles by the great Russian-American linguist Roman Jakobson covers a wide range of topics, from language and literature to semiotics and poetics. Written in a lucid and engaging style, these pieces are a must-read for anyone interested in the nature of human communication. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

What does mathematics have to do with poetry? Seemingly, nothing. Mathematics deals with abstractions while poetry with emotions. And yet, the two share something essential: Beauty. Euclid alone has looked on beauty bare, says the title of a poem by Edna St. Vincent Millay. Mathematics, Poetry and Beauty tries to solve the secret of the similarity between the two domains. It tries to explain how a mathematical argument and a poem can move us in the same way. Mathematical and poetic techniques are compared, with the aim of showing how they evoke the same sense of beauty. The reader may find that, as Bertrand Russell said, Mathematics, rightly viewed, possesses not only truth, but supreme beauty - a beauty hold and austere, like that of sculpture ... sublimely pure, and capable of a stern perfection such as only the greatest art can show.

"A dynamic work of reportage" (The New York Times) written "with clarity and...wit" (The New York Times Book Review) about what happens when the ancient boundary between war and peace is erased. Once, war was a temporary state of affairs. Today, America's wars are everywhere and forever: our enemies change constantly and rarely wear uniforms, and virtually anything can become a weapon. As war expands, so does the role of the US military. Military personnel now analyze computer code, train Afghan judges, build Ebola isolation wards, eavesdrop on electronic communications, develop soap operas, and patrol for pirates. You name it, the military does it. In this "ambitious and astute" (The Washington Post) work, Rosa Brooks "provides a masterful analysis" (San Francisco Chronicle) of this seismic shift in how America wages war from an unconventional perspective--that of a former top Pentagon official who is the daughter of two anti-war protesters and married to an Army Green Beret. By turns a memoir, a work of journalism, a scholarly exploration of history, anthropology, and law, How Everything Became War and the Military Became Everything is an "illuminating" (The New York Times), "eloquent" (The Boston Globe), "courageous" (US News & World Report), and "essential" (The Dallas Morning News) examination of the role of the military today. Above all, it is a rallying cry, for Brooks issues an urgent warning: When the boundaries around war disappear, we undermine both America's founding values and the international rules and organizations that keep our world from sliding towards chaos. "--

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-Francois Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions. Rosalind Krauss is Professor of Art History at Columbia University and an editor of the journal October.

"A deeply reported look at how polarization and compounding crises, including the war in Gaza and threats to democracy, are reshaping the American political system"--

Traces the role of Judaism and the Jewish people in God's plan for the salvtion of mankind, from Abraham through the Second Coming, as revealed by the Catholic faith and by a thoughtful examination of history. It will give both Jews and Christians a deeper understanding of Judaism, both as a religion in itself and as a central component of salvation history. The book examines the unique and central role Judaism plays in the destiny of the world. It documents that throughout history attacks on Jews and Judasim have been rooted, not in Christianity, but in the most anti-Christian of forces. Areas addressed in depth include: the Messianic prophecies in Jewish Scripture; the very anti-Christian roots of Nazi anti-Semitism; the links between Nazism and Arab anti-Semitism; the theological insights of well-known Jewish converts; and the role of the Jews in the Second Coming.

Rudolf Arnheim is one of this century's most influential thinkers in the visual arts, and perhaps the most lucid and accessible writer on the arts today. From his now-classic book on film theory to his definitive texts on visual perception, from his seminal treatment of Picasso's Guernica to his primary research on the psychology of the creative process; from his lasting influence as a professor at Harvard to the overcrowded lectures at the University of Michigan in the final decade of his teaching career, Arnheim has shaped the discourse of the visual arts like no other individual in this century. The collection reflects on the scope, direction, and impact of Arnheim's work, through his own words as well as those of the contemporaries he influenced. The book includes an impressive array of essays, interviews, and tributes by internationally recognized artists, architects, and scholars, including art historian Vincent Scully, graphic artist Paul Rand, architect Daniel Libeskind, and writers and artists such as Gyorgy Kepes, Dore Ashton, and Sir Ernst Gombrich. The collection is enhanced by visual material from Arnheim's personal collection, which forms a further narrative strand. This volume cuts across a series of disciplines including art history, psychology, architecture, and studio art. Rudolf Arnheim: Revealing Vision will find an appreciative audience among scholars and specialists whose thinking has been influenced by Arnheim, as well as among general readers interested in the visual arts. "This imaginatively conceived and executed collection is a fine tribute to one of the major thinkers of modernism of the twentieth century--someone whose work has deeply influenced generations of artists, art historians, psychologists, and historians and critics of film." --Donald Preziosi, University of California, Los Angeles