Friday, September 11, 2015

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Frankenstein, by Mary Wollstonecraft Shelley

Mary Shelly’s Gothic romance, “Frankenstein; or, The Modern Prometheus”, is often considered to be one of the earliest examples of the science fiction novel. Shelly had travelled throughout Europe and, when visiting in Germany, she became fascinated with the local story of an alchemist who had lived two centuries before in Frankenstein Castle. Her curiosity led her to dream about a scientist who experimented in creating life, which eventually led her to write the novel that would establish her fame. The first edition was published anonymously in 1818 in London, though Shelley's name appears on the second edition, which was published in France in 1823. Despite some initial unfavorable critical reviews, it became an immediate popular success.

  • Sales Rank: #530544 in Books
  • Published on: 2015-09-02
  • Original language: English
  • Dimensions: 9.00" h x .44" w x 6.00" l,
  • Binding: Paperback
  • 176 pages

Amazon.com Review
Frankenstein, loved by many decades of readers and praised by such eminent literary critics as Harold Bloom, seems hardly to need a recommendation. If you haven't read it recently, though, you may not remember the sweeping force of the prose, the grotesque, surreal imagery, and the multilayered doppelgänger themes of Mary Shelley's masterpiece. As fantasy writer Jane Yolen writes of this (the reviewer's favorite) edition, "The strong black and whites of the main text [illustrations] are dark and brooding, with unremitting shadows and stark contrasts. But the central conversation with the monster--who owes nothing to the overused movie image … but is rather the novel's charnel-house composite--is where [Barry] Moser's illustrations show their greatest power ... The viewer can all but smell the powerful stench of the monster's breath as its words spill out across the page. Strong book-making for one of the world's strongest and most remarkable books." Includes an illuminating afterword by Joyce Carol Oates.

From School Library Journal
Grade 9 Up-Full-color drawings, photographs, and reproductions with extended captions have been added to the unedited text of Shelley's novel, thus placing the work in the context of the era in which it was written. The artwork faithfully represents the text and makes this edition appealing to reluctant readers. Unfortunately, many of the captions provide tangential information that, although interesting, interrupts the flow of the story. However, readers will quickly learn that it is not necessary to read every caption and appreciate this volume for its many quality illustrations.
Michele Snyder, Chappaqua Public Library, NY
Copyright 1998 Reed Business Information, Inc.

From Booklist
Gr. 8^-12. Part of the Whole Story series, this is the full text of Mary Shelley's classic gothic story, which was first published in 1818 and has been a wild success ever since. Philippe Munch's illustrations have none of the power of Barry Moser's unforgettable woodcuts that evoke the loneliness of the grotesque outsider (in the Pennyroyal edition published by the University of California Press in 1984). The design here is crowded, and the type is small. However, the many period prints and maps in color and in black and white, with long, detailed captions, do provide the historical setting for the story, its geography, customs, and ideas. Teens enthralled by pop versions of the myth as well as science fiction fans will be interested in going back to the full version of what has been called the first science fiction novel and learning about the circumstances under which it was written by a woman, just 18 years old, 170 years ago. Hazel Rochman

Most helpful customer reviews

183 of 194 people found the following review helpful.
Choose the 1818 version
By Jim Dollar
Most editions of Mary Shelley's landmark book available today follow the heavily revised 1831 version. The impulse behind this trend is an honorable one (to present what is seemingly an author's "final revision"),but the 1818 version is preferable for many reasons. Looking back on her creation in later life, Shelley felt obliged to alter the book's focus in significant ways, adding what critic Marilyn Butler accurately describes as "long passages in which her main narrator, [Victor] Frankenstein, expresses religious remorse for making a creature..." The author sought to make the 1831 edition less controversial and thereby more palatable to the tastes of the reading public. The 1818 version is closer to Mary Shelley's original intentions, though it too, unfortunately, was filtered through the sensibilities of her husband, the poet Percy Shelley, who took many of his wife's rather straightforward passages and rendered them into his own more ornate and Ciceronian style. Still, the 1818 version remains more vital, more original, and less constrained by what the author believed would be acceptable to readers in 1830s England.

214 of 236 people found the following review helpful.
A moving, disturbing, depressing, but also touching tale
By Ian Fowler
Much like Bram Stoker's "Dracula", Mary Shelley's "Frankenstein" is a story we all think we know, but really don't. Very few films have consciously attempted to follow the novel too closely (which shouldn't detract from the excellent James Whale/Boris Karloff film, or its masterpiece-sequel, "The Bride of Frankenstein). Thus, everything popular culture "knows" about "Frankenstein" does not originate from literature, but from films. This is a shame, in a way, because the novel itself is, if not the progenitor, an early vessel of so many archetypes found science fiction and horror.

The basic plot remained intact when transferred to other media. Swiss medical student Victor Frankenstein discovers the secret of life (which he never reveals, lest someone repeat the mistake). He then puts together a body, essentially a man, from various corpses. He then becomes horrified by the creature he has built, and abandons. The creature, suffering a great deal of neglect and abuse, still manages to get a thorough education, and learns of his lineage. After murdering Victor's younger brother, and framing the family maid, the creature tells his (admittedly) sad tale to his "father", and then demands a mate. Victor, in a panic, agrees, then thinks better of it at the last moment, destroying the new bride. In retaliation, the creature murders all of Victor's loved ones (including his wife), and leads Victor on a merry chase across the world.

Most probably know that Mary Shelley wrote this book in response to a challenge issued by Lord Byron, during a vacation at Lake Geneva. (Along with this story came John Polidori's "The Vampyre", the first English vampire novel.) Most probably also know that Shelley went on to write other works of imaginative gothic fiction. Still, her modern reputation rests with this book.

As stated, numerous archetypes (themes, plot lines, characters) are present here. The basic fear of what evil technology may bring along with the good is a central theme, as is the warning against playing God. So is the implicit admonition to be responsible in all things, be it during innovation or being a parent. The creature is, for all intents and purposes, an android-everyone from Gort to C-3PO owe their existence to the Frankenstein monster. And the monster that slays all but one protagonist is a staple of horror, be it traditional monster movies, like "Alien", or more realistic slasher movies like "Halloween".

But, as I noted at the beginning of this review, certain of these elements have been lost in most interpretations. The creature is actually intelligent, and well-spoken, quite different from the inarticulate grunts or slow, half-sentences of the movies. Further, while the films have made lightening a staple of the creatures creation, Shelley never really explains the process. Finally, one of the staples of the films is the explanation for the creatures "evil" nature. Often, the problem lies with the brain used, which almost invariably is a criminal brain, or is damaged before implantation. In the book, the creature is really a child that's horribly neglected, but with the strength and intelligence to strike back: id without superego, and without restraints.

Thus, "Frankenstein" will be a new experience for readers who know the source exclusively from the films. Unlike "Dracula", there aren't any moments where a reader might look up and suddenly realize how quiet it is in the house, or how dark it's gotten outside. In that regard, "Frankenstein" has not aged particularly well. Throughout, however, it is a moving, disturbing, depressing, but also a touching and beautiful tale. Those qualities have withstood the test of time. While it is not always a rollicking adventure, it is a rewarding read.

91 of 101 people found the following review helpful.
Kindle edition is the 1831 edition, not 1818
By MsE0
I got the free Kindle edition from the link on the page for the Norton Critical Edition of the 1818 text. Mary Shelley made many significant edits to the book for the 1831 edition. I assumed it was the same edition because the link was from the same page. I didn't realize it was different until I went to write my assigned essay and went online to search for page numbers for the passages I wanted to quote. Many of the quotes I wanted to use don't even appear in the original version. This is a very important distinction, and I wish it had been labeled correctly so I would not have had to waste so much time looking for online versions of the correct text in order to replace the quotes I could not use from the later version. This edition is fine if you just want to read the book, but if you're reading it for school, you have more than likely been assigned the 1818 version, which is very different. The Kindle edition is also lacking in any kind of Kindle formatting, making it a hassle to find locations in the book.

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> PDF Download Design And Analysis Of A Low Pass FIR Filter Using Genetic Algorithm: Using Mean Square Error Approach, by Rahul Kumar Sahu, Vandana Vikas

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Design And Analysis Of A Low Pass FIR Filter Using Genetic Algorithm: Using Mean Square Error Approach, by Rahul Kumar Sahu, Vandana Vikas

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Design And Analysis Of A Low Pass FIR Filter Using Genetic Algorithm: Using Mean Square Error Approach, by Rahul Kumar Sahu, Vandana Vikas

Genetic Algorithm (GA) is a computational evolutionary search technique which is based on Darwin’s theory of natural selection i.e. “best fittest will survive”. The advantage of Evolutionary algorithm is it searches a population of points in parallel, not a single point. GA has been used for the designing & analysis of Finite Impulse Response (FIR) Low Pass Filter (LPF) by optimizes the error function i.e. Mean Square Error (MSE). In this the coefficients of the filter are treated as chromosomes which are optimized by the Genetic Algorithm to obtain a filter that would satisfy prescribed specifications and also reduces the multipliers and adders of the FIR filter making the system cost effective. After designing of FIR low pass digital filter, it is also compared with other designing methods viz. Equiripple, Least Square, Window techniques and Parks-McClellan Algorithm; to verify the improved accuracy in terms of transition width and reduced side lobes.

  • Published on: 2015-09-22
  • Released on: 2015-09-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.66" h x .20" w x 5.91" l, .31 pounds
  • Binding: Paperback
  • 88 pages

About the Author
Rahul Kumar Sahu received his B.Tech. Degree in Electronics and Communication Engineering from Gautam Buddh Technical University,Uttar Pradesh, India in 2011 and Master of Engineering in Communication Control and Networking (CCN) from Madhav Institute of Technology & Science,Gwalior under RGPV University Bhopal, Madhya Pradesh, India in 2015.

Most helpful customer reviews

0 of 0 people found the following review helpful.
In this all the things are explained from a very basic thing like What is Genetic Algorithm
By RAHUL KUMAR SAHU
This book is very helpful for Designing of Low Pass FIR Filter using Genetic Algorithm.This is fully based on the MATLAB basis. In this all the things are explained from a very basic thing like What is Genetic Algorithm, Filter designing, traditional methods and many more so this book is very usefull and I'm always recommnded to this for future scope. Please go through it.

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Grammy Award Nominee, Best Spoken Word Album, 2016

Set in the 19th century, Isabel Miller's classic lesbian novel traces the relationship between Patience White, an educated painter, and Sarah Dowling, a farmer's daughter, whose romantic bond does not sit well with the puritanical New England community in which they live. They choose to live together and love each other freely, even though they know of no precedents for their relationship; they must trust their own instincts and see beyond the disdain of their neighbors.

Patience and Sarah is a meticulously researched historical novel, originally self-published by the author in 1969. This classic of GLBT literature garnered so much attention that the American Library Association created its first Stonewall Award specifically for it in 1971. Grammy Award-winning narrator Janis Ian and Emmy and Tony Award-winning actress Jean Smart each perform as one of the characters in this dual-point-of-view love story. Their narration marks the first time that this beautiful work is available in audio and brings new life into this inspiring novel that is just as relevant today as it was decades ago.

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  • Sales Rank: #42732 in Audible
  • Published on: 2015-09-15
  • Released on: 2015-09-15
  • Format: Unabridged
  • Original language: English
  • Running time: 345 minutes

Most helpful customer reviews

34 of 36 people found the following review helpful.
Melting...A Classic
By Lesbian Reader
This wonderful book used to be one of the few positive lesbian books out there. I know when I found it, years ago, I was comforted by the portrayal of two women making their way in a world that does not want them to be together. They lack even the words to describe their feelings for each other. When one describes her physical reaction to the other's lovemaking as "melting" I thought that was a perfect description for the book. It made all my cynicism melt away for a while.
It's a period piece and a well-written romantic tale that no true romantic will want to miss.

6 of 6 people found the following review helpful.
A Timeless Story About Contemporary Issues and Human Feelings
By Russell Suereth Jr
This is a timeless story about contemporary issues and human feelings that is set in an old historical New England community. "Patience and Sarah" is a historical novel of two woman who have discovered love. It is narrated by Grammy Award-winning artist Janis Ian and Emmy Award-winning actress Jean Smart.

The narratives by Ms. Smart and Ms. Ian are certainly excellent. Their experience in vocals at the highest professional level is filled with accolades and awards. The expertise in their voices is showcased in the nuances that appear in caring moments, and in the fleeting thoughts that one must ignore. This historical novel by Isabel Miller is important in our literature history because it tells a tale that is beyond the bounds of time, age, gender, needs, or preferences. Thank you Janis Ian and Jean Smart for keeping this story alive, and for performing it for us so well. I highly recommend this audio book to anyone who loves fine historical novels, or to anyone who loves excellent works on contemporary issues.

9 of 10 people found the following review helpful.
An essential text for any enlighted woman.
By A Customer
PATIENCE AND SARAH was an unexpected suprise to me. As an avid reader, it is books like this that continue to fuel the flames of my reading passion. I found this novel absolutely delightful as a romance story, and unquestionably important as a women's history text. This is an important book for all who consider themselves concerned citizens. The story centers around a lesbian love story but translates its message of sexual awakening, search for identity, and tolerance into a profound reminder of the difficulties surrounding all marginalized groups. I place this novel alongside Simone de Beauvoir's THE SECOND SEX as esential reading that inspires me and has changed the face of women's history forever. the face of society for all women.

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Tuesday, September 8, 2015

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Young Henry Ford: A Picture History of the First Forty Years (Great Lakes Books Series), by Sidney Olsen

Young Henry Ford is a visual and textual presentation of the first forty years of Henry Ford—an American farm boy who became one of the greatest manufacturers of modern times and profoundly impacted the habits of American life. In Young Henry Ford, Sidney Olson dispels some of the myths attached to this automobile legend, going beyond the Henry Ford of mass production and the five-dollar day, and offers a more intimate understanding of Henry Ford and the time he lived in.

Through hundreds of restored photographs, including some of Ford's own taken with his first camera, Young Henry Ford revisits an America now gone—of long days on the farm, travel by horse and buggy, and one-room schoolhouses. Some of the rare illustrations include the first picture of Henry Ford, photos from Edsel's childhood, snapshots of the interior and exterior of the Ford homestead, Clara and Henry's wedding invitation, and photos of the early stages of the first automobile.

  • Sales Rank: #2261256 in eBooks
  • Published on: 2015-09-01
  • Released on: 2015-09-01
  • Format: Kindle eBook

From the Back Cover
In Young Henry Ford, Sidney Olson dispels some of the myths attached to this automobile legend, going beyond the Henry Ford of mass production and the five-dollar day, and offers a more intimate understanding of Henry Ford and the time he lived in. Through hundreds of restored photographs, including some of Ford's own taken with his first camera, Young Henry Ford revisits an America now gone - of long days on the farm, travel by horse and buggy, and one-room schoolhouses. Documentation and illustrations in this book came from the thousands of items, both monumental and inconsequential, saved by Henry Ford and presently in the collection of Henry Ford Museum & Greenfield Village.

About the Author
The late Sidney Olson had an extensive career serving as city editor of and White House correspondent to the Washington Post and a senior editor of Time, Life, and Fortune. He was involved in the cinema, advertising, and television, and was a scriptwriter for the "Ford Fiftieth Anniversary Show."

Most helpful customer reviews

1 of 1 people found the following review helpful.
Excellent book and pictures
By Chelsea S.
Nice book great pics as well. Would recommend this to friends and makes a nice gift
If you know a Ford enthusiast !!

0 of 0 people found the following review helpful.
Great Book
By Janice Teneyck
This book is an excellent source on Henry Ford's family and the world he was born into in Dearborn at the time. I bought this originally because it is one of the few books out there with information about my forebear, Conrad Ten Eyck, and the relationship between the Ten Eycks and the Fords. That said, it was a very interesting read and had lots of delightful historical tidbits on Detroit, Dearborn and the man who made the 20th century the century of the Automobile.

0 of 0 people found the following review helpful.
Five Stars
By Emil Benson
well written

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Monday, September 7, 2015

? Ebook Life of Hon. Phineas T. Barnum, by Joel Benton

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Life of Hon. Phineas T. Barnum, by Joel Benton


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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

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.

As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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.

  • Published on: 2015-09-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.21" h x 1.31" w x 6.14" l, 2.31 pounds
  • Binding: Hardcover
  • 628 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
This book is exactly what I was looking for.
By Richard F. S.
This book is exactly what I was looking for. Based on the brief summary of the book in the advertisement it was close enough in description to what I wanted to research. I usually only buy reference type books preferring books about life in the United States in the late 19th century to the early 20th century. This is a hard to find item locally and the price on Amazon was much lower that other sources of this type of book. I bought an original copy and not this reprint version.

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Saturday, September 5, 2015

> Free Ebook Alice's Adventures in Wonderland Decoded: The Full Text of Lewis Carroll's Novel with its Many Hidden Meanings Revealed, by David Day

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Alice's Adventures in Wonderland Decoded: The Full Text of Lewis Carroll's Novel with its Many Hidden Meanings Revealed, by David Day

This gorgeous 150th anniversary edition of Alice's Adventures in Wonderland is also a revelatory work of scholarship.

     Alice's Adventures in Wonderland--published 150 years ago in 1865--is a book many of us love and feel we know well. But it turns out we have only scratched the surface. Scholar David Day has spent many years down the rabbit hole of this children's classic and has emerged with a revelatory new view of its contents. What we have here, he brilliantly and persuasively argues, is a complete classical education in coded form--Carroll's gift to his "wonder child" Alice Liddell.
     In two continuous commentaries, woven around the complete text of the novel for ease of cross-reference on every page, David Day reveals the many layers of teaching, concealed by manipulation of language, that are carried so lightly in the beguiling form of a fairy tale. These layers relate directly to Carroll's interest in philosophy, history, mathematics, classics, poetry, spiritualism and even to his love of music--both sacred and profane. His novel is a memory palace, given to Alice as the great gift of an education. It was delivered in coded form because in that age, it was a gift no girl would be permitted to receive in any other way.
     Day also shows how a large number of the characters in the book are based on real Victorians. Wonderland, he shows, is a veritable "Who's Who" of Oxford at the height of its power and influence in the Victorian Age.
     There is so much to be found behind the imaginary characters and creatures that inhabit the pages of Alice's Adventures in Wonderland. David Day's warm, witty and brilliantly insightful guide--beautifully designed and stunningly illustrated throughout in full colour--will make you marvel at the book as never before.

  • Sales Rank: #426122 in Books
  • Published on: 2015-09-29
  • Released on: 2015-09-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.80" h x 1.00" w x 8.50" l, 1.25 pounds
  • Binding: Hardcover
  • 320 pages

Review

"This is the kind of book that could keep list-makers for an alternate-universe Buzzfeed site busy forever. . . . Day's book proves . . . that Carroll's work, and its indefatigable young protagonist, is itself a rabbit hole of mystery waiting to be discovered." —Quill & Quire

"For an exhaustive and entertaining account of how Lewis Carroll amused contemporaries in his favourite children's story, it may be impossible to top David Day's Alice's Adventures in Wonderland Decoded." —The Vancouver Sun

"It's no surprise to Lewis Carroll fans and scholars that Wonderland is a rich, multi-layered text. But Day's work engages and enlightens the casual reader in a way few scholarly works can, and the beautiful book makes for an essential keepsake for any Alice lover." —New York Daily News

"The book has never been out of print and each year brings new editions of—and books about—Alice in Wonderland. . . . Standouts this year include the beautifully illustrated and organized Alice's Adventures in Wonderland Decoded." —Chicago Tribune

"We all think we know Alice’s Adventures in Wonderland, but David Day's seductively scholarly new look at the background to the tale reveals the rich and labyrinthine workings of its creator and the Victorian mindset that inspired it. His lively, thoroughly researched investigations expand and enlarge all our ideas about the Alice story, and give a whole new life to a much-loved classic." —Michael Palin

"I've been reading the Alice adventures since my childhood, and David Day's book is the one I would have wanted to write, had I his talent, wit and wisdom. Decoded is the perfect vade mecum for all travellers, new and seasoned, who venture into Alice's realms. In the words of the poet, 'O frabjous Day!'" —Alberto Manguel, author of A History of Reading

"David Day combines the expertise of an academic with the fervor of a true Alice enthusiast. . . . In a remarkable act of literary excavation, Day exposes the historical references, classical allusions and subtly disguised symbols that he thinks Carroll embedded in the tale of Wonderland as lessons for his protégé, Alice Liddell. The volume includes Carroll's novel in full, supplemented by Day's observations as he painstakingly traces the various themes—music and philosophy, mathematics and poetry—that run through Carroll's narrative, proving along the way that Alice, even as it celebrates the absurd, exhibits airtight logic. Richly illustrated, this is a book Alice addicts will find irresistible." —BookPage

"Day has succeeded in making his thoroughly researched and persuasively argued book appealing also for lovers of Alice as well as for general readers interested in Victorian literature and society." —Library Journal

About the Author

DAVID DAY has published 40 books of poetry, ecology, history, fantasy, mythology and fiction. He has been published in magazines and newspapers worldwide. He has also been a magazine editor, a columnist for the Daily Mail and Punch, a scriptwriter for television, a playwright for theatre, and a dramaturge for the Royal Birmingham Ballet. His books have won numerous literary awards and been selected as "Books of the Year" by Time magazine, New Scientist, Parents magazine and The Observer. David Day's books--for both adults and children--have sold over 4 million copies and have been translated into twenty languages.

Most helpful customer reviews

8 of 8 people found the following review helpful.
Shaky guesswork, suppressed citations, outright fibs & one strong idea
By Tevis Fen-Kortiay
Author David Day has assembled 300 pages of mostly way-out-there guesses about secret allegorical patterns he believes might be hidden in the Wonderland story: chiefly the classical curriculum, with special emphasis on Greek mythology, mathematics and logic, plus a few esoteric subjects like Freemasonry, Theosophy, Rosicrucianism and Cabala. He also believes that every character and situation in Wonderland is meant to represent people and events in Oxford society. The actual physical book is very nicely designed by CS Richardson and will look lovely on any coffee table; The content is a frustrating mix consisting mostly of extremely-unpersuasive guesses - nearly always misrepresented as established facts - outright misinformation, and information which is accurate but borrowed from earlier Alice books without crediting those sources, all couched in a distasteful and unfair 'mean girl' tone.

Guesses presented as facts: On every page Day includes educated guesses which *might* be true, but he frames as statements of certainty. Examples: "The real-life Oxford White Rabbit was Alice Liddell's family physician, Dr. Henry Wentworth Acland" (quite plausible), or "many aspects of Wonderland are parodies of Plato's Republic" (extremely implausible). A good chunk of these claims are within the realm of possibility, but as Day shares no proof, nor even a citation, palming off his guesses as facts essentially amounts to outright fibbing.

Suppressed citations: Every idea in this book which I find valuable, save one, has appeared in earlier Alice books, but Day deliberately withholds citations, saying only "I cannot now even guess how many [Alice books] I have read over the last couple of decades" and providing a short list of his favorites. So if you want to follow up on a claim to learn more, Day blocks you from doing so - your only hope is to read every Alice book ever published. If you wish to learn which claims are original to Day and which he borrowed from an earlier author, Day again blocks you from learning this. In the sciences this practice is called 'suppressing citations,' and it is considered a rather underhanded attempt to steal credit for other people's work.

Misinformation: Day's factual claims are often incorrect. For example, he calls the descent of Inanna 'the oldest recorded myth in world literature' - Gilgamesh is older. Day claims that Peter Llewelyn Davis was 'the inspiration for Peter Pan' - nope; J. M. Barrie said that Davies inspired his character in name only, but the press of the time jumped on the idea, tagging Davies as 'The Original Peter Pan' - that false claim hounded him all his life, and appears to be one the primary motivations behind his suicide in 1960. Obviously it suits Day's narrative to claim that the original Alice was in the same room as the original Peter Pan, but at what point does spreading easily-corrected misinformation that led to a human being's suicide become morally not-okay?

Mean girl tone: A lot of this book, especially the final chapter, comes across as a character assassination of Lewis Carroll. To advance his not-entirely-fair narrative, Day describes Carroll's behavior after being excommunicated from the Liddell clan as "like a jilted lover"; well, maybe - why not tell his readers which facts he's referring to and let us draw conclusions ourselves, rather than simply stating his conclusion, withholding the facts on which those conclusions are based, and tacitly insisting that we take his conclusions on trust? (After 300 pages of showing himself to be at least sporadically untrustworthy.) Day accuses Dodgson of hypocrisy for chasing celebrities, then bridling after he became famous himself and was approached by fans - but anyone who's read a single book on Dodgson knows his objection was not to celebrity-seekers, but to anyone who insisted on identifying him as Lewis Carroll after he had gone to extreme lengths to keep his pseudonym private (Google J.K. Rowling/Robert Galbraith to learn how profound a betrayal this can be). One could easily make a case that Carroll ultimately became ingracious in his political disputes with Dean Liddell, but Day's suggestion that Carroll was profoundly immoral simply for disagreeing with his powerful boss comes across as grossly unfair - he seems to have mistaken oligarchic authoritarianism for morality.

Extremely dubious guesses: Most of Day's apparently-original theories are of this level of quality - he suggests that 'Orange Marmalade' is meant as an anagram for 'Am Analog Dreamer.' I suspect that most readers will find this unpersuasive. The only section of this book I found entirely convincing, though hardly original to Day, is the suggestion that Carroll may have filled his story with reductio ad absurdum situations in imitation of Zeno - this is not a difficult claim to support, as Carroll identified Zeno as his favorite philosopher, wrote a variation of Zeno's race between the Tortoise and Achilles, and explicitly wrote that reductio ad absurdum scenes were his favorite type of story in the introduction to 'Sylvie and Bruno.' Most of the math patterns Day suggests seem wildly far-fetched to me, though I am not a mathematician and perhaps they are simply over my head. Day's single biggest allegorical focus is the descent of the goddess motif, especially Persephone from Greek myth - this is not impossible (Carroll did once compare the Queen of Hearts to a 'blind and aimless Fury'), but I just don't see it. As a lifelong reader of books about Alice, the one idea here that grabbed my attention is the possibility that Carroll may have intended an allegorical parallel between the rose garden of spiritual enlightenment from Cabala (set around a fountain) and the rose garden with 'cool fountains' which Alice spends the first half of the book trying to reach; there's no absolute proof, but we know from his diaries that Carroll attended Masonic events, Freemasonry builds on Cabala, and the connection seems striking.

This book is so visually-pleasing that some readers might want it simply as an art object. We know from Carroll's surviving writings that there really are at least a handful of allegorical references to Oxford society and logic in the Alice books, and it's a good bet there are other allegorical bits in the stew. The best possible use of this book would be to whet the readers' appetite to learn more from Alice books which are perhaps a bit more level-headed and authoritative, in particular the fantastic annotated edition by Martin Gardner.

7 of 8 people found the following review helpful.
Hidden connections, references, and meanings in Alice in Wonderland in a smart coffee table book
By Robert J Stek
I have long been a fan of AIW and for years my favorite reference has been the various incarnations of Martin Gardner's Annotated Alice - it is now my second favorite, surpassed by David Day's Alice's Adventures in Wonderland Decoded. In October in NYC the Lewis Carroll Society of North America sponsored a number of events celebrating the 150th anniversary of the publication of Alice. At one of the venues I met David Day and purchased his massive, beautifully illustrated labor of love and scholarship with many new theories about the hidden meanings and implied references contained within AIW and Carroll's conscious/unconscious intentions in writing it. Day draws from multiple sources, especially classical sources so familiar to Charles Lutwidge Dodgson, and proposes multiple connections to themes and characters, some of which have been explored by previous scholars but many new and even controversial. If you think that AIW is just a beloved children's story, purchase this book and be prepared to take your own journey down the rabbit hole to discover a wonderland of new connections and symbolic meanings.

6 of 8 people found the following review helpful.
Thank you David Day for all your hard work
By Amazon Customer
What an adventure, Thank you David Day for all your hard work - I first heard your interview on Australian radio and said I must get that book. Many of us these days lack a REAL education (classical that is) and need this insight to fill in the blanks. Wonderful, Amazing!

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Sunday, August 23, 2015

* Ebook Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up (Sather Classical Lectures), by Mary Beard

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Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up (Sather Classical Lectures), by Mary Beard

What made the Romans laugh? Was ancient Rome a carnival, filled with practical jokes and hearty chuckles? Or was it a carefully regulated culture in which the uncontrollable excess of laughter was a force to fear—a world of wit, irony, and knowing smiles? How did Romans make sense of laughter? What role did it play in the world of the law courts, the imperial palace, or the spectacles of the arena?

Laughter in Ancient Rome explores one of the most intriguing, but also trickiest, of historical subjects. Drawing on a wide range of Roman writing—from essays on rhetoric to a surviving Roman joke book—Mary Beard tracks down the giggles, smirks, and guffaws of the ancient Romans themselves. From ancient “monkey business” to the role of a chuckle in a culture of tyranny, she explores Roman humor from the hilarious, to the momentous, to the surprising.  But she also reflects on even bigger historical questions. What kind of history of laughter can we possibly tell? Can we ever really “get” the Romans’ jokes?

  • Sales Rank: #371156 in Books
  • Published on: 2015-09-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.90" h x 1.00" w x 5.80" l, .0 pounds
  • Binding: Paperback
  • 336 pages

Review
"'Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up, ' which has just been published, is an engaging exploration of what made the Romans laugh--bad breath, among other things--but it also explores dimensions of Roman sensibility that have become elusive to us."--Rebecca Mead"New Yorker" (09/01/2014)

"Expect to be engaged by an enthralling book."--Harry Mount"The Spectator" (06/07/2014)

"Superbly acute and unashamedly complex. . . . To our vision of the solemn grandeur that was Rome, she restores a raucous, ghostly laughter."--Iona McLaren"The Telegraph" (07/01/2014)

"Written in Beard's trademark combination of erudition and effortless prose, Laughter in Ancient Rome is a fascinating combination of history, psychology, linguistic exploration and humor. This is scholarly writing at its best."--Pamela Toler"Shelf Awareness for Readers" (07/01/2014)

"You can read hundreds of books on Roman emperors and conquests; this represents a valiant attempt to bring a little understanding of a smaller, but no less important, part of what made Rome run."--Rob Hardy"Columbus Commercial Dispatch" (07/21/2014)

"Rich and provocative."--Roy Gibson"TLS" (08/13/2014)

"Like a great piece of archaeology, 'Laughter in Ancient Rome' allows us to glimpse ourselves in the cracked mirror of a distant culture."--John Domini"Washington Post" (09/17/2014)

"What made the Romans laugh? It's an incredible, almost childlike thought to have. But in this characteristically brilliant book by Mary Beard, this simple thought becomes a mental projection that conjures up the world of Rome as well or better than any book in recent memory."--Jonathon Sturgeon"Flavorwire" (12/03/2014)

'Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up, ' which has just been published, is an engaging exploration of what made the Romans laugh bad breath, among other things but it also explores dimensions of Roman sensibility that have become elusive to us."--Rebecca Mead"New Yorker" (09/01/2014)"

"Few things are more tiresome than seeing a joke analyzed. . . . Beard s book avoids pedantry but also its opposite, the archness that preens itself on 'not taking humor too seriously' and signals inane wordplays with 'pun intended!' More importantly, her treatment makes one look with new eyes . . . even at works she does not herself discuss . . . [a] stimulating book."
--Gregory Hays"New York Review of Books" (07/10/2014)"

"[Beard] makes the Romans come alive and through them, gets readers to ponder that most fundamental and uniquely human facility laughter. The phenomenal Ms. Beard has written another cracking book, one of her best, I think."--Yasmin Alibhai-Brown"The Independent" (05/29/2014)"

"What made the Romans laugh? It s an incredible, almost childlike thought to have. But in this characteristically brilliant book by Mary Beard, this simple thought becomes a mental projection that conjures up the world of Rome as well or better than any book in recent memory."--Jonathon Sturgeon"Flavorwire" (12/03/2014)"

"A fun read . . . accessible yet academic."--Sarah"Norfolk Bookworm" (04/27/2015)

"This is a very sensible, readable, and useful volume. . . . A valuable contribution to scholarship on a difficult topic."--Kristina Milnor"Bryn Mawr" (10/18/2015)

"Beard has posed excellent questions about Roman laughter . . . Her engaging style of writing draws the reader into the discussion. . . . A must read."--John R. Clarke"American Historical Review" (12/01/2015)

From the Inside Flap
“Laughter in Ancient Rome is a masterwork, simultaneously a sophisticated work of historical and literary scholarship and an unputdownable read. Beard never loses sight of the specificities of Roman culture, yet she encompasses an extraordinary range of ancient and modern theorizing. Her book will appeal to psychologists and anthropologists, as well as to classicists and indeed anyone who has ever thought about the much-debated question of why we laugh.”
—William V. Harris, William R. Shepherd Professor of History at Columbia University, and author of Dreams and Experience in Classical Antiquity

“With a bounty of suggestive and unfailingly intelligent conclusions about the situation of laughter within ancient Roman culture, Beard’s remarkable learning is displayed on every page. Laughter in Ancient Rome is unmistakably a work of scholarship, but it is also an unpretentious and inviting exploration available to anyone who is interested. As a literary attainment, this book is marvelous.”
—Dylan Sailor, Associate Professor of Classics at University of California, Berkeley

About the Author
Mary Beard is Professor of Classics at Cambridge University. Her many books include The Roman Triumph and The Fires of Vesuvius.

Most helpful customer reviews

15 of 16 people found the following review helpful.
Trying to Understand Ancient Laughter
By Rob Hardy
Here’s one that had them laughing in the olden times. “Doctor,” says the patient, “whenever I get up from my sleep, for half an hour, I feel dizzy, and then I’m all right.” And the doctor says, “Get up half an hour later.” This joke worked in ancient Rome 2000 years ago; I hadn’t heard it before, but it reminds me of, “Doctor, it hurts when I do _this_,” and the doctor says, “Then don’t do that.” I bet that second one would have had them rolling in the aisles at the Colosseum, too. But most of the stuff of laughter in _Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up_ (University of California Press) I didn’t find funny, and Mary Beard has good explanations for why what amused the Romans often fails to amuse us. So her book isn’t particularly funny, and that’s not surprising; Beard is able to write with wit and good humor, but she is a serious classicist with scads of books and papers to her name. Even with all her erudition, she has to remind us repeatedly that there is much that we do not understand about Roman society, language, and humor. You can read hundreds of books on Roman emperors and conquests; this represents a valiant attempt to bring a little understanding of a smaller, but no less important, part of what made Rome run.

Roman writers reflected Aristotelian thought about laughter, and Cicero had ideas about humor that showed the sort of split view Romans had of it. Cicero taught that there was little worse than an orator going for a laugh just for the sake of it. The Romans seem to have had a great deal of worry that the one who makes the joke could also be thought the butt of it. The subjects of jokes that made the Romans laugh will often strike us as strange. Suetonius writes of Caligula, “At one of his more lavish banquets he suddenly collapsed into a fit of guffaws. The consuls who were reclining next to him asked him politely why he was laughing. ‘Only at the idea that at one nod from me, both of you could have your throats cut instantly.’” Perhaps they laughed nervously in response; Caligula did find good fun in murdering people. Baldness was an easy instigator for laughter; to joke about blindness was to go too far, but baldness seemed a height of risibility. Julius Caesar’s baldness was a source of jokes, and he knew it, and practiced a form of comb-over, or wore his laurel leaves just so. But when Caesar came triumphantly back in 46 BCE, a ribald song ran, “Romans, lock up your wives. The bald adulterer’s back in town.” Then there was the knee-slapper “about the man from Abdera who saw a runner being crucified and quipped, ‘He’s no longer running, but flying.’” Beard notes that this one, like other jokes, now seems less funny “because of an unbridgeable gap between some of antiquity’s conventions of joking and our own. Crucifixion, for example, does not have a big part in the modern comic repertoire.” Another source of our lack of understanding has to be context, which at this distance we can never fully comprehend. There are those who say, for instance, that the famous mosaic of a chained dog at the house of the tragic poet, with the menacing motto _CAVE CANEM_ was not really a warning, but a joke that the dog was only a picture of a dog. I guess you just had to be there.

Beard admits, “The laughter of the past is always likely to frustrate our most determined efforts to systematize and control it. Anyone who - with a straight face - claims to be able to offer a clear account of why or how or when Romans laughed is bound to be oversimplifying.” Even so, she provokes us into thinking that perhaps the Romans invented the joke. “I have become increasingly convinced that the reason we can laugh along with the ancient Romans is because it is from them that - in part at least - we have learned _how_ to laugh and what to laugh _at_.” This is particularly clear in some of the selections she draws from a Roman joke book, the _Philogelos_ (“laughter lover”). The book was the source of a stand-up routine for a modern British comedian a few years ago, and part of the fun was that the audience was laughing at itself for laughing at jokes that were probably old when they were first written down two millennia ago. But the span of time might be a minimal obstruction. Some collections of humor include the story of Enoch Powell, a politician and wit, who replied to a chatty barber’s, “How shall I cut your hair, sir?” with the reply, “In silence.” It’s not Powell’s original joke, but maybe he especially enjoyed that he knew where it came from and those who repeated the story about him did not. He was a classicist himself, and the joke is from _Philogelos_.

11 of 11 people found the following review helpful.
A funny thing happened on my way......
By JGT
Normally, dissecting what makes us laugh is as distant from humor as dissecting a human body is from cuddling. All the parts of a joke can be labelled and parsed, or the nerves can be traced to their endings in the skin, but the result merely indicate a way to look at humor or affection, thus removing you to a point distant from the reality of either state. Normally. But in Mary Beard's book, Laughter in Ancient Rome, the dissection is done with such innate wit and verve that, while we may not slap our knees and guffaw while reading this beautifully written and impeccably researched essay, we are led gently, with affection, toward a greater understanding of what makes those ancestral jokesters our absolute kin.

8 of 8 people found the following review helpful.
An Interesting, but not Humorous, History of Laughter in Rome and Greece
By William Carpenter
Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up (Sather Classical Lectures) by Mary Beard has two parts. The first is a scholarly consideration of what laughter signifies and the difficulties of recovering what it meant in ancient times - with an emphasis on Greek and Latin sources. The second part of the book is a bit more lively with considerations of what the ancient Romans found humorous. She concludes that the Romans invented the joke (more or less) and that we still find some of them funny because their jokes have influenced what Europeans find funny two thousand years later.

Beard is excellent in handling the source material and discussing the many problems of textual analysis and translation. She also demonstrates why it is so difficult to analyze humor or to figure out what people laugh. This is a surprisingly knotty problem that has defeated writers since Aristotle.

Let me conclude with two minor things that I found disappointing. The book includes a few illustrations. Surprisingly, for a book published in 2014, these are grouped together in a few pages between the two main parts of the book and reproduced in rather fuzzy black and white. Is it really so expensive to include a few color illustrations? The book also has many notes, as is appropriate for a serious history book. Many of these notes give the full Greek or Latin text under discussion. Beard is very helpful about translating Greek and Latin quotes in the body of the book; I wish she had also done translations of the passages in the notes.

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