Looking back, I've realized just how much the stories here influenced me. Burning Chrome is still one of my favorite stories, and there's a little-known PKD gem called the Golden Man that brings up all sorts of ideas about intelligence and evolution. It's not all dark stories, but they're the most memorable to me. I need to dig this book up again. Make sure you do too. This book is a good starting point for the journey to the 'dark' science-philosophical-fiction reading. Featuring from Lewis Carroll's work to Italo Calvino, it provides a wide range of mathematical-fiction and poetry collection ie.
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Amazon Rapids Fun stories for kids on the go. These images show us neither the character who speaks most, nor the most important character in the story. The former is a job for a different program, and the latter one for a human. I would like to conclude therefore with a triptych, composed of those images that represent the Henry VI trilogy. Here, the lines in red show us what a tangled web Shakespeare weaves, and how the trilogy descends from the high martial nobility of Talbot, to the bitter struggle led by York and his sons for control of the English throne, until we reach the last convulsions of the war, where Warwick and the Lancastrian army is betrayed and killed at the battle of Barnet.
Many of these anecdotes are the fruit of the research that he and his team have carried out in the compilation of The Shakespeare First Folios: A Descriptive Catalogue , to be published later this month, whilst many more are drawn from existing studies either of Elizabethan England or of the more famous owners of a First Folio. The entire volume, from preface to appendix, consists of a little less than two hundred pages. In this respect, there is a great deal here for the Shakespeare enthusiast if not for the Shakespeare expert, and all presented in small, bite-size chunks.
Sometimes even an enthusiast might wish for a little more detail, however. The next chapter takes us to the bar in which Quentin Tarantino filmed Kill Bill , and an excited description of how one researcher found a hair trapped in the ink of a First Folio. It is of itself a fascinating idea, but, again, lasts for only a few pages before a chapter on a botched attempt to steal a copy of this book takes its place. Despite this endless variety, Rasmussen is able to provide us with little facts at every turn, and it is a testament to his knowledge of the subject, that he is able to wear it all so lightly indeed.
I must confess that as I continued with this book, I had the guilty desire that Rasmussen would depart from what actually happened to the First Folios and begin a fictitious account. So many different things have happened to so many different copies of the First Folio that it would have been impossible to impose a single narrative on them all, and the problems of this constantly moving text are to a certain extent the problems of its topic.
The title, perhaps revealingly, also makes me think of J. I enjoyed this book, and after having eagerly turned all its pages, finished it in possession of several new tidbits of information that I did not possess before, such as the fact that a clause in a Japanese will has hidden a Folio from the world for thirteen years, and that the bullet lodged in one Folio stopped at Titus Andronicus. For this, I would recommend the book as a stocking-filler for a Shakespeare buff, although, even then, be prepared to find the aforesaid buff perhaps wanting a little more when he has consumed this book.
One final comment, as one of those in charge of a website devoted to making information about Shakespeare as widely accessible, as open , as possible.
simple musings Manual
I do not know if his publishers have such plans, but given the evident wealth of information available, it really does seem a logical step. Everyone was agreed that it would almost certainly grow very big, yet also that, before it did, a few things needed to be put in place, namely:. If we want to extend the annotator beyond Shakespeare, and really increase its use, one delegate pointed out how well adapted science fiction would be to the tool. Last but not least in this rag-tag post, a point about some of the other things I heard during the day. Rufus Pollock provided the opening address , pointing out how the convergence of the two phenomena of greater data availability and advanced computing power had created the perfect conditions for openness to flourish.
He announced one such flourishing in the form of datacatalogs. His next point was to argue that the focus of activities in the community was moving from making data accessible to providing tools for and building communities around that data. Of course, the quantity problem is only half solved a later speaker pointed out the small quantities of open government data in Asia, for example , but was still at a point where data cycles ecosystems of community, tools and data could be founded.
It was he, for example, that questioned the merits of crowd-sourcing, arguing that it did not provide objective data, since its contributors could be extremely biased, an MP participating, for instance, in the crowd-sourced analysis of his own expenses. This point was backed up by Stefan Candea , with both he and Simon Rogers emphasising the important labour that remained for the journalist when it came to looking over crowd-sourced responses and shaping them into a story.
Being a Writer: Advice, Musings, Essays and Experiences From the World's Greatest Authors
Although not flawless one imagines a Palin aide slaving away to hide significant correspondence , its randomness nevertheless provided an even coverage of the files. It is on this idea of subjective annotation, the generation of subjective data, that I would like to bring this summary to a close. The conference was on Open Knowledge, but it is significant that I found the adjective to have been discussed far more often than the noun.
Is the second still data? I would argue that it is, but it is of a kind rarely discussed in Berlin.
After all, what are we to do with it in order to integrate it back into the system of open data? Rufus Pollock was right to argue for the existence of ecosystems of open data, but the case of Open Shakespeare shows that they can only be fully functional if all three elements are given their full weight: tools, data, and users together. As ever, quite a bit has been done on the project, and there remains much more to do in the future.
There is no single word with which to encompass our plans for the future. These essays are written in a prose style that is clear, engaging, and personable. Any jargon or technical terminology is explained in careful detail. I was charmed by the wit and intelligence of the material, which I feel addresses students directly without ever talking down to them, offering tools and motivation that invite readers into the ongoing conversation of humankind. While of course there are stylistic distinctions from one essay to the next, as a whole the collection is consistent in terms of composition terminology and concepts.
It fits together into a coherent whole in the sense that it puts forward a framework for understanding composition processes and then follows that arc throughout. The text seems flexible enough that it could work well in a range of first-year composition courses. As a collection of essays with brief apparatus, the text is of course entirely modular.
For less experienced teachers, it follows as mentioned above a sensible composition arc, from foundational skills to more specialized issues, so it could be read in order; for more experienced teachers, it would be flexible enough to allow classes to pick and choose the order and kind of essays they read. While the aforementioned arc of composition skills and concepts the book puts forward is logical, meaning the book's structure is perfectly straightforward, I think some divisions of the material——sections, subcategorizations, indexes? For example, if the arc itself were made more visible since the essay titles themselves don't always explicitly state the essay's pedagogical focus , then the move from foundational skills and concepts critical reading to more specialized issues blogging would be more visible to both teachers and students.
The book's interface as a PDF is quite user-friendly: the hyperlinked table of contents is convenient, scrolling is effortless, tables and images are glitch-free, and navigation is quite smooth. These essays and the accompanying apparatus notes, citations are clearly written and, as far as I could see, free of grammar errors or sentence-level issues. I think I spotted one set of questions with quotes that were formatted with the question mark inside the quotation marks, though the question mark wasn't part of the original quote As such it doesn't seem to speak to the range of students likely to be present in today's composition classrooms.
More explicit attention to prior knowledge what do students bring with them? Perhaps the uniformity is a result of all the pieces in the collection being written by educators from one field or at least scholarly area , who share some commonalities in background and experience? Feels a bit insular. I enjoyed reading these pieces. As I read I found myself smiling, nodding, wanting to highlight passages.
Akin to having students in a cooking course read cookbooks all semester but never enter a kitchen. A brief introduction that explains how the collection actually came together would provide some useful rhetorical context. Thank you! I'm not sure this book is intended to be a comprehensive look at writing. Rather, it is a compilation of essays that's highly modular and flexible. That said, it does cover writing topics about as comprehensively as is possible for this format. I found this book highly accurate, which is rare for a book of this type. Because so much of the writing process is different for different people and situations, it's challenging to make a book on process that's 'accurate' throughout.
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This one framed issues in writing in the right way, something that I really like for the composition classroom, where many texts are still in the old mode of talking about 'modes' of writing, rather that 'context' and 'genre,' which is a real strength of this text. My comment above on accuracy applies here. The book is written with an awareness of best-practices in composition pedagogy, encouraging students to think about the rhetorical situation, rather than looking at writing as a process of following rigid rules. While it varies from essay to essay, the book is overall quite accessible, speaking about complex issues with relevant and easy-to-understand examples.
In several essays, I was very impressed with how the writers demystify complex processes; this is exactly what I'm looking for in the comp classroom. It feels a little unfair to judge the book on this parameter, as it is a collection of essays. However, as a collection of essays, the book had great unity of purpose and vision, and is arranged in a way that makes it flow well for use in composition classes. While terminology is not always consistent, each essay does a good job of situating the reader and helping to explain complex information.
The book is consistent in the way it simplifies complex ideas and processes into plain language with clear examples. It's a collection of essays, so it's super modular. Also, the way it's presented in the library makes this even easier--you can grab a pdf of just one essay, or the whole thing, and all the pdfs include links to helps students or instructors find the rest of the book.
This is one of my favorite things about it. Again, it feels a little unfair to evaluate the book on this parameter. However, as a collection of essays, the flow and unity of approach here is excellent. I feel like if I used this book in its entirety, I would probably change the order a lot less than I would with commercially available readers from the big publishers. I did not find anything that was insensitive or offensive here.
The examples used are more general or academic. I believe that most comp. I particularly liked Chapters 1, 5, and I will certainly be using these in my comp. I love how modular the book is, while still having a unified vision and good flow. I love how up-to-date it is in terms of how it talks about the writing process, and how it explains writing in a very accessible way.
Overall, this is an excellent collection of essays on writing. I'm so pleased that the authors compiled this into an open resource, and I'm very glad I was exposed to it!
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Writing Spaces Vol. II addresses first-year college writing through a series of essays about writing, reading, research, collaboration, publishing, etc. The book has a hyperlinked table of contents that makes it easy to browse around, but there's The book has a hyperlinked table of contents that makes it easy to browse around, but there's no index because this book isn't organized into distinct topics, but instead explores a variety of broad writing-related topics in essay form such as how to read like a writer and how to analyze a writing assignment by thinking about the topic as a problem.
The book is somewhat comprehensive in that it is an in-depth look at a variety of writing issues that first-year college writers will encounter. However, it doesn't provide guidance around mechanical issues that typical first-year writers experience nor does it discuss some of the more typical pre-writing strategies that students might find useful such as brainstorming, listing, webbing, or outlining, but it makes up for this with several chapters that include creative writing strategies and techniques.
This book has been peer-reviewed, and all the chapters that I read were error free except for one typo, which I often find in traditionally published books, too. Every chapter includes a Works Cited list showing the research the authors did to substantiate their ideas. I find this book to be quite relevant to my students. I listed eight chapters that I'll be using in my classes next term. Some of the chapters included pop culture references, but they were all described and explained thoroughly so future readers or those who aren't familiar with the references will still understand the context.
Most of the information included is relatively timeless and won't need a lot of updating; however, any updating that might be necessary would be easy for the authors to do. For the most part, I found the content to be very clear, and many of the chapters had a friendly, conversational tone, which I think students will appreciate. Most chapters include stories and incorporate student work, quotes, and classroom examples that readers will be able to relate to easily.
A found a couple of the chapters to be written a little bit over the heads of my students, so I won't be using those. One chapter, for example, mentions the name of a composition theory but doesn't go far enough to explain it so students understand the jargon and how to interpret it in the context of the chapter. This is an exception though. Most of the chapters are easy to read and understand.
The book is very consistent in terms of content, format, and topics. Writing Spaces, Vol. II is easily divided up into separate chapters. Each chapter stands alone and doesn't refer back to other chapters.
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Each chapter has headings and subheadings that make the texts easy to skim to find relevant information. I'm not sure the order matters all that much since the titles make it clear what easy chapter will discuss and each chapter can stand alone. The interface was great for the most part.
However, two of the chapters' links were dead: chapters 3 and Everything else looked and worked perfectly. I noticed that the book does a good job of using both male and female pronouns and names from various cultures. The only slightly specific cultural reference that it's possible some readers might not know is an example that uses Jello as a metaphor. It talks about the difference between the plain Jello at the hospital versus the Jello that relatives make with fruit in it. I'd consider this a small issue since most Americans have at least heard of and seen Jello.
However, readers from other cultures may be confused by this. Overall, I was impressed by the breadth of examples and metaphors used in a culturally aware way.
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I really appreciated the overall depth and tone of the writing in this book. I'm looking forward to trying it out with my students to see how they like it. This text seemed like a general overview of first year composition and with the exception of the chapters on research, the chapters are simply too broad for the discipline.
For example, For example, Chapter 6 contains such a rich discussion of rhetoric, but fails to adequately focus the discussion on students writing for academic audiences. Most the information in this text is accurate—a couple of the sections are a little biased but I actually think that works well considering the context. The textbook certainly has the possibility for longevity, but revision would be so daunting since each chapter is written by a different author using their experiences in the classroom to help make their point.
Making changes, unless only small, would almost require different classroom experiences and take quite a bit of work. The content in each chapter does match the content in other chapters, but the poor placement of the chapters only makes that consistency accessible if one were to really dig. It should be easy for students to match concepts from one chapter to the other. The real gems of this text are the chapters regarding research 10, There is no clear direct logic for laying out the chapters in the order the editors do with the exception of the research chapters.
My only complaint here is that the footnotes in the chapters do not appear on the page in which the number first appears. A lot of them are not discussed until the en of the chapter and by then the odds are pretty low that students are going to return to the number to figure out what the footnote is referring to.
I would hope that a textbook about college writing would be free of grammatical errors and, thankfully, this one is.
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This book is indeed accessible for a universal audience of first year writing students. In fact, the content is so neutral, there is little possibility for offending anyone, which, in my opinion is exactly what a writing textbook should do. Readings cover a wide range of topics that are essential for an introductory composition course, including audience, voice, critical thinking, critical reading, invention, research, and assessing sources. There was some overlap in readings, with There was some overlap in readings, with several readings covering the same topics. Overall, the essays on research strategies, assessing sources, and documentation were much stronger than the essays about the writing process.
Rather than a primary text, I would assume most instructors would use this book in addition to a grammar handbook and other more challenging academic readings. At times, it seemed the audience was not adequately taken into account. Chapter 11, which covered ethnographic writing, was interesting to me since my students write an ethnography paper in my introductory writing course, but would not likely be a useful reading for students in writing classes that are not engaging in ethnographic writing. Otherwise, the content presented should be relatively timeless.
The overall tone of the essays felt a bit on the informal, conversational side, some of which felt more appropriate for high school students than college students. If anything, it was almost too accessible, falling somewhat below the range of what I would expect college students to be reading. This could have been balanced by including several more academic selections. In some of the readings, there was a tendency to use initialisms e.
Each chapter was a single essay and capable of standing alone. Chapters could also easily be assigned in any order, with an instructor choosing to use only some of the essays.