The poems in this collection are shocking in their clarity, simplicity and power to move the reader. The author, when asked 'what kind of poetry he writes, ' came up with a term-"reductive."

The author has, as his children have reminded him, 'lived a life'. His travels have taken him all over the world, to Mali, Bahia, Mississippi, Morocco, Kenya, Cuba, Italy, Sardinia, Louisiana, South Central Los Angeles to name a few of his destinations, where he has spent time with 'frequently disreputable people in occasionally disreputable places'!

He has spent time in juke joints, fish fries, goat roasts, danced barefoot on the Sahara Desert, and whirled on the beaches of Morocco to the trance of Gnawa music. The poems reflect a joy, a curiosity and love of what is best, most authentic in people and cultures all over the planet.

His love of the mysterious A and the powerfully erotic love poems to her are icing on the proverbial cake!

When the stock market crashed in 1929, Benjamin Roth was a young lawyer in Youngstown, Ohio. After he began to grasp the magnitude of what had happened to American economic life, he decided to set down his impressions in his diary.

This collection of those entries reveals another side of the Great Depression--one lived through by ordinary, middle-class Americans, who on a daily basis grappled with a swiftly changing economy coupled with anxiety about the unknown future. Roth's depiction of life in time of widespread foreclosures, a schizophrenic stock market, political unrest and mass unemployment seem to speak directly to readers today.

In the race to discover real solutions for the conflicts that plague contemporary society, it is essential that we look to precedent. Many of today's conflicts involve ethno-religious tensions that modern wisdom alone is ill-equipped to resolve. In Third-Party Peacemakers in Judaism, Rabbi Dr. Daniel Roth asks us to consider ancient religious and traditional cultural solutions to such present-day issues. Roth presents thirty-six case studies featuring third-party peacemakers drawn from Jewish classical, medieval, and early-modern rabbinic literature. Each case is explored through three layers of analysis - text, theory, and practice. The first layer offers historical and literary analysis of textual case studies, many of which are critically analyzed here for the first time. The second layer examines the theoretical model of third-party peacemaking imbedded within the selected cases and comparing them to other cultural and religious models of third-party peacemaking and conflict resolution. The final layer of analysis, based upon the author's personal experience of religious conflict resolution and peacemaking, looks at the practical implications of these case studies as models for modern peacemaking. Third-Party Peacemakers in Judaism serves as an inspiration for fostering indigenous practices of third-party peacemaking and mediation in the modern era.

Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Trier, course: The American Films of Alfred Hitchcock, language: English, abstract: 1. Introduction It was probably Psychos expressionistic interplay between music, mise en scene and story telling which remotely reminded me of Martin Scorseses Taxi Driver, a film I had written about before, that fostered my decision to write about the film that is by many considered to be Alfred Hitchcocks masterpiece. As a student of English literature I became quickly interested in the literary model of Psycho by Robert Bloch. It soon dawned on me that since the book is basically a piece of pulp fiction with considerably low literary value I would not be able to draw very profound interpretations out of it. Hitchcock however had not adapted the book for its substance but for its structure which he had incorporated with some minor alterations almost identically into the film. On my search for the structure of my paper a book by Vibeke Reuter called Alfred Hitchcocks Handschrift rose my attention. Her starting point basically is the question what constituted Hitchcocks originality and in how far his filmic material differs from its literary models. With occasional references to the books she analyzes Hitchcocks films according to ten different narrative parameters. These parameters cover a broad range of aspects and in terms of narration display a rather integral picture. I adopted her structure but omitted the parameter of the "structure of time" since Hitchcock pretty much conformed with the novels chronology and the fact that some characters are in a way imprisoned by their past did not prove to be enough to form a whole subsection. As far as she referred to Psycho in her book I have integrated her arguments into my own argumentation. Like her I have primarily concentrated on the 1960 film and only referred to the novel in order to elaborate on

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Comparative Literature, grade: 1,5, University of Trier, course: The Films of Martin Scorsese, language: English, abstract: Introduction Starting point for my term paper was the question of how to approach such a complex work of art, since I had no previous experience or theoretical knowledge in the analysis of films. It quickly dawned on me that a literal analysis of the films plot and its characters under particular consideration of the authors intention, that I was used to in the field of literary studies, would be dysfunctional, since there were too many creative sources involved in the genesis of a film. To further complicate matters, I became in my search for appropriate secondary literature quickly acquainted with some post-modern scholars such as Robin Wood, who sees Paul Schrader as a "neo-fascist," "whose films amount to a systematic repudiation of all minority groups and any possible social alternative, in order to re-assert a quasi-mystical sense of male supremacy, heterosexual superiority, and a total spurious "transcendence." ...] the film's interest is inseparable from its sense of confusion, its failure to define a coherent attitude towards its protagonist." (Wood) Since I was convinced that there was more to Taxi Driver than its sense of confusion" and, that a coherent, clear analysis was possible, though coming to a definite conclusion might not be possible due to its characters ambivalence, I intended my term paper to be a step out of this academic mingling of terms by the use of an integral approach. I use the word integral in a Wilberian sense, which is "to include as many perspectives, styles, and methodologies as possible within a coherent view of a] topic." ("integral thought" -Wikipedia) Part one of my paper is generally a brief summary of the main underlying motives that I identified in the secondary literature on Taxi Driver. These motiv

The poems in this collection are shocking in their clarity, simplicity and power to move the reader. The author, when asked 'what kind of poetry he writes, ' came up with a term-"reductive."

The author has, as his children have reminded him, 'lived a life'. His travels have taken him all over the world, to Mali, Bahia, Mississippi, Morocco, Kenya, Cuba, Italy, Sardinia, Louisiana, South Central Los Angeles to name a few of his destinations, where he has spent time with 'frequently disreputable people in occasionally disreputable places'!

He has spent time in juke joints, fish fries, goat roasts, danced barefoot on the Sahara Desert, and whirled on the beaches of Morocco to the trance of Gnawa music. The poems reflect a joy, a curiosity and love of what is best, most authentic in people and cultures all over the planet.

His love of the mysterious A and the powerfully erotic love poems to her are icing on the proverbial cake!

Publisher's Note: Products purchased from Third Party sellers are not guaranteed by the publisher for quality, authenticity, or access to any online entitlements included with the product. MASTER ROBOT PROGRAMMING ITH YOUR OWN FREE VIRTUAL 'BOT! This ingenious book/Web site partnership teaches the skills you need to program a robot -- and gives you a virtual robot waiting online to perform your commands and test your programming expertise. You don't need to know either robotics or programming to get started! Using an intuitive method, Robot Programming deconstructs robot control into simple and distinct behaviors that are easy to program and debug for inexpensive microcontrollers with little memory. Once you've mastered programming your online 'bot, you can easily adapt your programs for use in physical robots. Though Robot Programming smoothes the path to acquiring skills in this arcane art, it does not reduce it to simplistics. With this resource, you can open the door to all the complexity, sophistication, versatility, and robustness that it is possible for robot behavior to exhibit. WHAT DO YOU WANT YOUR ROBOT TO DO? Robot Programming's hands-on approach to behavior-based robotics-- * Teaches you intuitively, with a system that integrates explanation, code examples, and exercises using an online robot simulator * Demonstrates programming for mobile robots * Gives you the tools to combine sensors with robot skills * Shows you how to develop new robot behaviors by manipulating old ones and adjusting programming parameters * Provides examples of programming for object seeking, object avoidance, decision-making, and much more * Leads you to advanced strategies for designing your own behavior-based systems from scratch * Introduces the history and theory behind behavior-based programming * Requires no background in either programming or robotics