This second edition of the 1990 Library Journal "Best Reference" book, four years in the compiling and writing, is an exhaustive A-Z direct-entry encyclopedia of Antarctica. It doubles the first edition's entries to 30,000, covering geographical features, historical events, explorers, expeditions, airplanes, ships, scientists, scientific stations, tour operators, scientific terms, birds, animals, insects, flora, items of general interest and much more. "Antarctica" is defined as all land and water south of 60°S. Information for geographical features is drawn primarily from national gazetteers, both current and old, and is not limited to ­English-­language sources. Extensive cross-referencing simplifies the continent's often bewildering nomenclature--geographical features' names, for example, may vary widely from one national gazetteer to the next, and are further complicated by having been named and renamed multiple times, and in many languages, through the years. All linguistic variations of placenames are included and cross-referenced.

In this fascinating exploration of justice, eminent philosopher D. D. Raphael presents the culmination of a lifetime's study of its evolution, from ancient times to the late twentieth century. His aim is not just historical but philosophical: to illuminate our true understanding of justice. His unique approach examines not only classic texts by such philosophers as Plato, Aristotle, Hume, Mill, and Rawls but also the Bible and Greek tragedy, as well as some neglected but important thought from the modern era. Lucid and stimulating, this work can be enjoyed by anyone interested in moral and political thought, even by those with little to no knowledge of political theory or philosophy.

Les Demoiselles d Avignon: five young women that changed modern art forever. Faces seen simultaneously from the front and in profile, angular bodies whose once voluptuous feminine forms disappear behind asymmetric lines-with this painting, Picasso revolutionised the entire history of painting. Cubism was thus born in 1907.Transforming natural forms into cylinders and cubes, painters like Juan Gris and Robert Delaunay, driven by Braque and Picasso, imposed a new vision upon the world, in total opposition to the principles of the Impressionists. Largely diffused in Europe, Cubism developed rapidly in successive phases that brought art history to all the richness of the 20th century: from the futurism of Boccioni to the abstraction of Kandinsky, from the suprematism of Malevich to the constructivism of Tatlin. Linking the core text of Guillaume Apollinaire with the studies of Dr. Dorothea Eimert, this work offers a new interpretation of modernity s crucial moment, and permits the reader to rediscover, through their biographies, the principal representatives of the movement.

The book is a superlative intersection of history and practice. With its charts, pictures, historical antecedents, and well-explained concepts, Electronic and Experimental Music is an essential resource for anyone interested in extraordinary sound.' Chris DeLaurenti, The Stranger 'This third edition effectively replaces both previous editions due to substantial additions and a well-executed reorganization... Holmes does an excellent job of avoiding unnecessary technical jargon while providing specific information on the analog techniques and digital software and hardware that have driven the development of this genre... This well-known history remains an invaluable guide for those hoping to gain a firm grounding in the history and culture of electronic music... Highly recommened.

Michael Nyman's book is a first-hand account of experimental music from 1950 to 1970. First published in 1974, it has remained the classic text on a significant form of music making and composing that developed alongside, and partly in opposition to, the postwar modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed toward concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass. This second edition contains a new Foreword, an updated discography, and a historical overview by the author.

Th ere are many people that I would like to acknowledge. Th is book was made possible with the generous support of a number of institutions — and more specifi cally the individuals that work in them: Judy Janec, Director of Library and Archives Holocaust Center of Northern California; Tina Minh, at the USC Shoah Foundation Institute; and Edyta Chowaniec, chief audio-visual archivist at the Auschwitz-Birkenau Memorial and Museum. Th ere are a couple of fi lmmakers that have been quite generous with me sharing their work, and providing me with supporting material. Elida Schogt generously (and very promptly) supplied me with reviews of her trilogy of fi lms — Silent Song (2001), The Walnut Tree (2000), and Zyklon Portrait (1999). Abraham Ravett — who made Everything’s For You (1989), and The March (1999) — was also very generous. Nina Koocher kindly provided me with a DVD of her 2007 fi lm How Much to Remember: One Family’s Conversation with History. Likewise, some of my fellow researchers have been quite generous as well. I would like to especially thank Joshua Hirsch. I would also like to thank Griselda Pollock and Max Silverman for inviting me to their seminar series, “Concentrationary Imaginaries: The Politics of Representation,” at the University of Leeds. Th is presentation was instrumental in developing the ideas found in exploitation and horror chapters in this book. Griselda, you continue to be an inspiration to me, and I only hope to be as productive and engaged as you are. I would also like to thank Francesco Ventrella for organizing my trip, and even helping to spring me from detention, aft er being detained by British Customs Agents at Gatwick. A number of my colleagues have also been instrumental in shaping the book — Julian Hoxter, Randy Rutsky, Tarek Elhaik, and Bill Nichols. Julian was especially helpful in bouncing ideas off of. I am deeply indebted to Chi-Hui Yang who read an early version of the book and helped to shape it. To my family: I thank you for your patience. Ariel, Daddy can come out to play now. “And now, let the wild rumpus start!”

Hitler's Occupation of the Ukraine (1941-1944) by Ihor Kamenetsky. Out of print for over 50 years, this is still the standard work on the occupation of the Ukraine by the Germans and how their policies turned success into failure. Give it 5 stars for the subject and content. Its not a novel however, its a serious study and my 5 stars is based on that and the content, not the rather dated writing style. The greatest reservoirs of anti-Bolshevik manpower - those in eastern Poland, the Baltics and in the Ukraine - were left untouched, as the population of these territories was to be reduced to colonial status within the German eastern empire; on the other hand, loud huzzahs and spectacular celebrations greeted the appearance of the Spanish Blue Division, and the "Wallon" and "French" SS-Legions... Originally welcomed as liberators, the Germans quickly squandered that good will, as they pressed ahead with their archaic racial policies, and proceed to turn the Ukraine into a "German India". The lessons to be learned are that almost any population, which is the key to an insurgency, can be won over by even the most odious occupier, if they so choose. The seeds of Germany's failure in the Ukraine (and the Soviet Union) were sown, and what rose was a guerrilla force that not only fought the Germans, but continued to fight the Soviets until 1950. A concise history of the occupation, this work is also one of the few studies available that addresses the various Ukrainian resistance groups. A must have for any World War II collection. Seems to now becoming available from Print on Demand Publishers. There is also a version available from Hailer Publishing. Again, worth reading for anyone interested in the subject. The book is not large (116 pages) and was first published in 1956 by The Marquette University Press, Milwaukee, Wisconsin.

"Пётр Петрович пошёл погулять...", "Однажды отец Онуфрий, обозревая окрестности Онежского озера..." - по-розумному називаються тавтограмами. Тавтограми – це тексти, в яких кожне слово починається з однієї тіє ж самої літери. Втім, термін застосовують, як правило, до поетичних творів. Тому автори цієї книжки, в якій жодної поезії не спостерігається, використовують свій власний термін – еквіініційна проза – вигаданий ними ще у 80-ті. Втім, все це нуднувата теорія, авторська ж ідея проста і симпатична – написати по одному оповідання на кожну літеру російської абетки.