Showing posts with label classic. Show all posts
Showing posts with label classic. Show all posts

Jungle, The Review

Jungle, The
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Jungle, The ReviewLithuanian immigrant Jurgis Rudkus and his new bride Ona, along with several other extended family members, try to survive in the "Back of the Yards" district of Chicago. Strapping Jurgis quickly finds employment in the meat packing business and the family begins to eke out a very modest living.
The appeal of home ownership quickly becomes their undoing. They invest their life savings as the downpayment and due to unplanned costs of homeownership (interest, taxes, repairs, etc), they quickly fall behind in their finances. This requires all family members to seek employment, which allows them to hold their heads above water. Unfortunately, the seasonal swings of work, ill health and brutal Chicago winters lead to further financial struggles.
A variety of further circumstances such as death, illness and infidelity lead to choices that continue to test the morals of the characters. Each struggle with the choices necessary for their survival. All are changed forever by the "evils" of the system.
The story details the horrific working conditions of the Stockyards laborers, the deplorable practices followed by the meat packing industry itself and the corruption associated with a capitalistic system. Yes, socialism is an underlying theme in this novel that becomes more evident at novel end.
Overall a very well written novel that provides a glimpse into the despicable conditions endured by the labor force of the Stockyards. No issues with the Kindle edition.Jungle, The Overview

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An Enemy of the People (A Play in Five Acts) (CD-ROM Edition of a Drama written in the late Nineteenth Century) Review

An Enemy of the People (A Play in Five Acts) (CD-ROM Edition of a Drama written in the late Nineteenth Century)
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An Enemy of the People (A Play in Five Acts) (CD-ROM Edition of a Drama written in the late Nineteenth Century) ReviewHenrik Ibsen is the father of modern drama and his 1882 drama "An Enemy of the People" ("En folkefiende") was one of his more controversial works. In the play Dr. Stockmann discovers that the new baths built in his town are infected with a deadly disease that requires they should be closed until they can be repaired. However, the mayor of the town (the Burgomaster), who is Stockmann's brother Peter, rejects the report and refuses to close the baths because it will bring about the financial ruin of the town. When Dr. Stockmann tries to make his case to the people of the town, the mayor counters by pointing out how expensive it would be to repair the baths and dismisses the doctor for having wild, fanciful ideas. At the public meeting Dr. Stockmann is declared "an enemy of the people" by the Burgomaster.
To really appreciate this particular Ibsen play you have to look at it in the context of his previous dramas, because they all represent a conflict between the playwright and his critics. In 1879 Ibsen's play "A Doll's House" ("Et dukkehjem") was produced, wherein the character of Nora pretends to be a silly little wife in order to flatter her husband, who is revealed to be a hypocritical fraud. The idea that a woman would leave her husband and children was seen as being outrageous and basically obscene. Ibsen upset his audience and critics even more in his next play, "Ghosts" ("Gengangere"), an 1881 drama that again attacks conventional morality and hypocrisy. The topic is of congenital venereal disease but the true subject is moral contamination. Mrs. Alving has buried her husband, a degenerate who has left behind a son dying from syphilis and an illegitimate daughter who is probably going to end up being a prostitute. The play ends with Mrs. Alving having to decide if she should poison her son to put him out of his misery or let his agonies persist.
Again, Ibsen was attacked for outraging conventional morality. The following year after "Ghosts" the playwright responded with "An Enemy of the People" and the character that is most identified with representing Ibsen on stage in Dr. Stockmann. The allegory is quite plain when the play is considered within the context of Ibsen's work during this period, although while Stockmann is portrayed as a victim there is a sense of destructiveness to his behavior. At the end of the play Stockman has decided to leave the town, but then changes his mind to stay and fight for those things he believes are right.
As is the case with most of Ibsen's classic works, "An Enemy of the People" speaks to larger issues than those in conflict in the play. The debate is over the bad water pipes at the new baths, but the true conflict is over the clash of private and public morality. Dr. Stockmann is by far the most idealistic of Ibsen's characters, and that fact that he is opposed by his own brother, the Burgomaster, harkens back to Genesis and the fight between Cain and Able. As was the case with "Ghosts," there is an ambiguous ending where what happens next can be seen as going either way given your own inclinations as a member of the audience.
Both of the Stockman brothers are flawed. Dr. Stockman's idealism is at odds with the practical realities of the world in which he lives while the Burgomaster ignores ethical concerns. Ultimately, Ibsen is not forcing us to choose between the two but rather to reject both in terms of some middle ground. The Burgomaster is certainly old school, believing those in authority get to make all the decisions and that the people must subordinate themselves to the society. But he was the one who made the mistake of putting the new water pipes in the wrong place, so even his claims that he is looking out for the welfare of the community are dishonest. Dr. Stockman argues for individual freedom and the right of free expression, but his attempt to fix the problem ignores any effort at persuasion or building public support. He also seems to take pleasure in be able to show that his brother made a mistake. Still, in the end we have to favor the doctor over the mayor because his integrity is clearly stronger, while still recognizing that his idealism is tragically flawed.An Enemy of the People (A Play in Five Acts) (CD-ROM Edition of a Drama written in the late Nineteenth Century) Overview

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Tarzan Of The Apes: Tarzan Series, 1 Review

Tarzan Of The Apes: Tarzan Series, 1
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Tarzan Of The Apes: Tarzan Series, 1 ReviewIt's hard to imagine a time when no one had ever heard of Tarzan, when the ape man hadn't swung his way across countless B movie screens and Disney features. When I saw Edgar Rice Burroughs' 1912 novel Tarzan of the Apes listed among the public domain texts easily downloaded to the Kindle for free, I was curious to see what the original Tarzan looked like, before his cartoonification. It was worth the download.
The outline of the story told in Tarzan of the Apes--the first of what would be 24 Tarzan novels written by Burroughs--will be familiar. It begins with the story of Tarzan's parents, who were generously put ashore by a mutinous crew rather than killed, abandoned on an island that was inhabited only by wild beasts and cannibals. John Clayton is an Englishman's Englisman, brawny and brave and possessed of an innate nobility. His pregnant wife Alice strives to be a suitable companion to such a man. They survive in the jungle for a time, until their son is a year old, and then they both die from separate causes. Tarzan is adopted into a family of apes, where he eventually thrives because he is able to compensate for his physical shortcomings (compared to apes; compared to your average man he is a god) by employing his intellect. Tarzan teaches himself to read from the books he finds among his dead parents' possessions, and so he is able to communicate when the island is finally visited by Europeans, Jane Porter and her bumbling father, who've been marooned themselves. A romance ensues, which leads Tarzan to civilize himself and follow Jane to America.
One can complain that Tarzan is sexist and racist. Jane's black servant Esmeralda is a beloved but comically uneducated appendage to the family, wont to faint at the slightest disturbance, while the cannibals Tarzan runs across are scarcely portrayed as human. Tarzan's mother is all fluttering female, striving to deserve her man. These biases are hardly surprising, however, given the book's age. Like Esmeralda, but without the racist subtext, Jane's father is portrayed comically, as a blithering idiot, in passages which seem ill-fitted to the rest of the rather serious narrative. Burroughs also offers the occasional over-long, poorly written sentence:
"From this primitive function has arisen unquestionably, all the forms and ceremonials of modern church and state, for through all the countless ages, back beyond the uttermost ramparts of a dawning humanity our fierce, hairy forebears danced out the rites of the Dum-Dum to the sound of their earthen drums, beneath the bright light of a tropical moon in the depth of a mighty jungle which stands unchanged today as it stood on that long forgotten night in the dim, unthinkable vistas of the long dead past when our first shaggy ancestor swung from a swaying bough and dropped lightly upon the soft turf of the first meeting place."
Tarzan impresses as a character both because of his physical prowess and his mental acuity. He is portrayed as a noble savage, a blend of human and ape that is superior to both species, both of which come in for criticism. (Though Tarzan is not perfect: we're told, for example, that as a man he will sometimes kill merely for sport.) The book closes with a final act of nobility on Tarzan's part--very nicely done--that underscores his inherent quality.
Many elements of Burroughs' story are of course fantastic, but the author makes much seem credible because of the details he provides--he describes how John Clayton was able to build a sturdy dwelling, for example, from limited supplies; or how Tarzan could teach himself to read; or how he could track someone's progress through the jungle by minute signs which to his practiced eye were like flashing neon. The details bring Tarzan's jungle to life.
Despite the familiarity of Tarzan's story and any shortcomings in the book, Tarzan of the Apes is actually quite a gripping read. I was able to put the book down, to be sure, but there were many times when I was lost in the story while reading, eager to see how things would play out. I can understand how Tarzan came to be such a beloved icon given this introduction.
-- Reviewed by Debra HamelTarzan Of The Apes: Tarzan Series, 1 Overview

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The Return of Tarzan: Tarzan Series, Book 2 Review

The Return of Tarzan: Tarzan Series, Book 2
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The Return of Tarzan: Tarzan Series, Book 2 Review"The Return of Tarzan" by Edgar Rice Burroughs is the second volume in the Tarzan series. First published in 1913, this book is a work of genius. There is something about Burroughs' writing that is captivating, and this book is no exception. "The Return of Tarzan" is a highly entertaining volume.
The book first starts with Tarzan on a ship going from New York to France. On this trip, he makes friends with a Countess and makes an enemy with her brother, a Russian. The Russian will attempt to cause Tarzan problems for the following months. After growing tired of France, Tarzan decides to return to Africa. However, his journey is beset with adventures in desert and wilderness.
The story leads to Tarzan finding Opar, the lost outpost of Atlantis, in the heart of Africa. Although both the men and women of Opar are white, the women retained their beauty, while the men are more ape-like in appearance. From here, there are more adventures and peril.
For great adventures, as you may have come to expect from Edgar Rice Burroughs, "The Return of Tarzan" will meet your needs.The Return of Tarzan: Tarzan Series, Book 2 Overview

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Doll's House, Lady from the Sea (Everyman's Library (Paper)) Review

Doll's House, Lady from the Sea (Everyman's Library (Paper))
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Doll's House, Lady from the Sea (Everyman's Library (Paper)) ReviewThe Norwegian playwright Henrik Ibsen subjects his writing to the intricacies of marriage time and time again. He seems to have an omniscient power and ability to observe the sacrament itself, along with the fictional characters whom he creates to engage in these marital affairs. Such is the case with his classic drama, A Doll's House.
The play raises questions about female self-sacrifice in a male-dominated world. Nora is a "wife and child" to Torvald Helmer, and nothing more. She is his doll, a plaything on display to the world, of little intellectual value and even less utility in his life. Thus it is logical for Helmer to act so shockingly upon his discovery that Nora has managed financial affairs (typically a family responsibility reserved for the patriarch) without so much as his consent or knowledge. What, then, is the play saying about women by allowing Nora to act alone and independently, all the while allowing her to achieve little success in doing so?
Such an apparent doubt by the playwright of the abilities of women is quickly redeemed by Nora's sudden mental fruition, as though she, in the course of a day or so, accomplishes the amount of growing up to which most persons devote years and years. She has developed the intuition and motivation to leave behind everything she has lived for during she and Helmer's eight years of marriage in exchange for an independent life and the much-sought virtue of independent thought. Nora suddenly wishes to be alone in the world, responsible for only her own well-being and success or failure. She is breaking free of her crutches (Helmer, her deceased father, the ill-obtained finances from Krogstad) and is now appetent to walk tall and proud.
Through the marital madness of Helmer and Nora, Ibsen is questioning the roles of both husband and wife, and what happens when one person dominates such a relationship in a manner that is demeaning to the other, regardless of whether such degradation is carried out in a conscious, intended frame of mind. Ibsen is truly a master playwright, and his play A Doll's House is truly a masterpiece.Doll's House, Lady from the Sea (Everyman's Library (Paper)) Overview

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Not Even Wrong: Margaret Mead, Derek Freeman, and the Samoans (Chandler and Sharp Publications in Anthropology and Related Fields) Review

Not Even Wrong: Margaret Mead, Derek Freeman, and the Samoans (Chandler and Sharp Publications in Anthropology and Related Fields)
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Not Even Wrong: Margaret Mead, Derek Freeman, and the Samoans (Chandler and Sharp Publications in Anthropology and Related Fields) ReviewThis book is yet another nitpicking attack on Derek Freeman that, as usual, treats disagreements on interpretation and judgment as if they were huge errors in concrete facts that discredited Freeman.
Martin Orans implicirly admits that Samoan society was as Derek Freeman depicts it (puritanical, authoritarian, unequal, and punitive) and was not as Margaret Mead depicted it (relaxed, sexually free, egalitarian, and permissive).
Orans makes it sound as if he had proven Freeman wrong or dishonest on key matters of fact, when the actual substance of his accusation is a mere disagreement with Freeman on motives, purpose, beliefs and intentions, a topic on which neither Orans nor Freeman have any special qualifications.
The substance of Freeman's criticism is that Mead, and the anthropology profession, presented an account of Samoa that was radically false
Orans writes as if showing Freeman wrong on the issue of whether Mead was hoaxed exculpates Mead, and anthropology. It does not. Orans writes as if he is accusing Freeman of important errors of fact and substance, but when we look at the actual details he is merely accusing Freeman of attributing incorrect thoughts and intentions to Mead's actions, issues on which the truth cannot be known, and is difficult to even define, issues on which neither Freeman nor Orans have any special qualifications or ability.
Given that Mead's depiction of Samoa was untrue, and was widely accepted and taught by the anthropological profession, as Orans implicitly admits, we must conclude that Mead, and the anthropological profession, are either fools or liars, and most likely something of both. Deciding where self deception ends, and deliberate deception of others begins, is more a job for a priest than a job for anthropologist, so if Freeman has got it wrong, as Orans argues that he got it wrong, that is both unsurprising and unimportant.
Orans writes as if Freeman's weakness on the question of the extent to which Mead was hoaxed show Freeman as a bad scientist, but rather than condemning Freeman as a bad scientist, the evidence and arguments presented in this book merely condemn him as bad priest, a condemnation that is probably accurate, but hardly surprising.
Orans argues that Margaret Mead, and the entire anthropological profession, was somehow being scientific and responsible in presenting a politically motivated image of Samoa that was clearly false, and that they were well aware it was false, and that Freeman is somehow unscientific and irresponsible in presenting an image of Samoan society that is clearly true.
Freeman argues that the Mead, and the entire anthropological profession, were hoaxed largely due their strong desire to be self deceived. If, as Orans argues, they were not hoaxed, that does not make the falsehoods that they presented about Samoa any less of a hoax, it merely makes them more guilty of wickedness, but less guilty of stupidity.
Neither Orans or Freeman are trained to distinguish between wickedness and stupidity.. It is not their job.
If Orans's position on Mead being hoaxed is correct, and Freeman's position is wrong, then the conclusion we should draw is not that Mead is right, but that she was a liar and not a victim of self deception. The hoax is Freeman's excuse for Mead's behavior, not the substance of his attack on Mead, thus for Orans to attack Freeman on this issue of Mead being hoaxed as if it was the substance of his accusation, as if refuting it exculpated Mead and anthropology, is irrelevant and deceptive, an attempt to manipulate the reader. If Orans is right on this issue, and Freeman is wrong, we should think worse of Mead, and of Anthropology and anthropologists in general, not better.Not Even Wrong: Margaret Mead, Derek Freeman, and the Samoans (Chandler and Sharp Publications in Anthropology and Related Fields) Overview

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