Applications of LC-MS in Environmental Chemistry (Journal of Chromatography Library)

Book Description

Looking at the literature available, it is clear that there is a need for a book on LC-MS applications in environmental analysis. This book endeavours to answer the following questions: What interface to use to solve "my detection problem"? Can I obtain enough sensitivity for the confirmation of my compound in real-world environmental samples? Is there enough structural information?

The present book aims to provide a critical evaluation of LC-MS in environmental chemistry and it is structured in different areas. Apart from an introductory section with fundamental aspects, application areas using the most relevant interfacing systems (PB, TSP, ES) for the characterization of environmental compounds are included. In this sense, applications are discussed on the characterization of the most relevant compounds of environmental interest such as pesticides, detergents, dyes, polar metabolites, waste streams, organotin compounds and marine toxins with comparison between different interfacing systems. Finally, new methods and strategies in LC-MS, e.g. the use of capillary electrophoresis, MS together with on-line post-column systems in LC-MS are also shown.

By the nature of its content and written as it is by experienced practitioners, the book is intended to serve as a practical reference for analytical chemists who need to use LC-MS in environmental studies. Each chapter includes sufficient references to the literature to serve as a valuable starting point and also contains detailed investigations. The broad spectrum of the book and its application to environmental priority compounds makes it unique in many ways.

Book Description

In this book, authors Tenko Raykov and George A. Marcoulides introduce students to the basics of structural equation modeling (SEM) through a conceptual, nonmathematical approach. For ease of understanding, the few mathematical formulas presented are used in a conceptual or illustrative nature, rather than a computational one. Featuring examples from EQS, LISREL, and Mplus, A First Course in Structural Equation Modeling is an excellent beginner’s guide to learning how to set up input files to fit the most commonly used types of structural equation models with these programs. The basic ideas and methods for conducting SEM are independent of any particular software.

Highlights of the second edition include:
* review of latent change (growth) analysis models at an introductory level;
*coverage of the popular Mplus program;
*updated examples of LISREL and EQS; and
*a CD that contains all of the text’s LISREL, EQS, and Mplus examples.

A First Course in Structural Equation Modeling is intended as an introductory book for students and researchers in psychology, education, business, medicine, and other applied social, behavioral, and health sciences with limited or no previous exposure to SEM. A prerequisite of basic statistics through regression analysis is recommended. The book frequently draws parallels between SEM and regression, making this prior knowledge helpful.

Customer Reviews:

good guide.......2007-04-25

easy to understand and follow. only book i've seen that describes using MPlus software. Wish authors would write a Second Course in SEM and use more complex, realistic examples.

A First Course in Structural Equation Modeling

Average customer rating:

A real "First Course"

A First Course in Structural Equation Modeling
Tenko Raykov , and George A. Marcoulides
Manufacturer: Lawrence Erlbaum Associates
ProductGroup: Book
Binding: Paperback

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ASIN: 0805835695

Book Description

This book is designed to introduce students to the basics of structural equation modeling through a conceptual, nonmathematical approach. The few mathematical formulas included are used in a conceptual or illustrative nature, rather than a computational one. The book features examples from LISREL and EQS. For that reason, the book can also be used as a beginning guide to learning how to set up input files to fit the most commonly used types of structural equation models with these programs. Intended as an introduction for graduate students or researchers in psychology, education, business, and other applied social and health sciences. The only prerequisite is a basic statistics course.

Customer Reviews:

A real "First Course".......2006-04-23

If you haven't been exposed to SEM , this book is right for you. Basic, straightforward, well planned and nonmathematical. However, this book cannot be the "only" book in your library if you are planning to go deep in SEM. This book is a good step for moving to intermediate or advanced levels.
The book is well desinged. It starts with fundamentals of SEM and EQS and LISREL programs. This book is NOT an EQS or LISREL reference, however, in each chapter, Raykov and Marcoulides cover an example showing the syntax and output of each program. The syntax and the output are deeply explained.
After introducing SEM and EQS and LISREL, the authors start to cover different approaches in SEM. Path analysis, Confirmatory Factor Analysis, Structural Regression Models and finally there is chapter about Latent Change Analysis.
In overall, the book is useful for only beginners as the authors' claim.

Book Description

The new translation, by the masterly John E. Woods, of one of Thomas Mann's most famous and important novels: his modern reworking of the Faust legend, in which twentieth-century Germany sells its soul to the devil.

Mann's protagonist, Adrian Leverkühn, is one of the most significant characters in the literature of our era, for it is in him that Mann centers the tragedy of Germany's seduction by evil. This modern Faust is a great artist: Leverkühn is a musical genius who trades body and soul in a Mephistophelian bargain for twenty-four years of triumph as the world's greatest composer. He is isolated, brilliant, a radical experimenter who both plays and thinks at the very edges of artistic possibility. The story of his life becomes an apocalyptic narrative of his country's moral collapse as it surges into the catastrophe of World War II. No simple symbolic figure, Leverkühn is himself, almost paradoxically, a morally driven man in the vortex of an entire culture's self-destruction.

Through the wonderful--and terrible--story of Leverkühn's life and death, Mann not only gave us his most profound writing on the very nature and heart of all art--how it is created and how it impinges on every aspect of our experience: artistic, religious, political, sexual, psychological--but also forced his countrymen (the novel was first published fifty years ago, in 1947) to come face-to-face with how they had fallen prey to all that was most lethal in their heritage.

Customer Reviews:

Artist Meets Scientist.......2006-12-27

In Doctor Faustus, arguably his greatest book if not the greatest book ever, all of Mann's formidable gifts come together. Lying at the heart of Mann's concern is the central figure of Adrian Leverkuhn, theologian turned composer. In him all the warring impulses, all the contradictions of our age are focused. "Cold" by nature, inclined to mathematics and to "speculate the elements" as scientists do, he yet craves the freedom and unrestraint of art, specifically music, the most demonic of the arts. But the fearful complexities of modern composition and his own innate coldness form an insuperable barrier, he needs something to kindle him to his destiny as a great composer. This turns out to be the Devil, who in a memorable interview heavy with fate offers him a quick way out of his difficulties.

The book teems with unforgettable images. To pick a few at random: the extended description of Adrian's sojourn in the Italian countryside, where he meets the Devil and his fate is sealed; the wintry excursion to the Bavarian Alps; the vision of the children in the choir singing a motet to Adrian, bedecked with rubies on their fat hands while little yellow worms crawl from their nostrils down into their chests in the finest diabolic style. The density and vividness of Mann's imagery, its capacity to fill the mind and linger there, is Shakespearean.

Mann's treatment of his characters is sensitive, fine-grained, subtly ironic, and humanly engaging, with much wry humor. The amazing chapters dealing with Schwerdtfeger's vicarious wooing of Marie Godeau for Adrian, the piling up of layers of meaning and subcontext (including the latent homosexuality that runs like a provocative thread throughout Mann's writings), amount to a virtuoso performance whose incredible, sustained brilliance is rivaled only by Joseph's interview with Pharaoh in Joseph and His Brothers, also by Mann. Those readers who complain that the narrator Serenus Zeitblom is a tedious boor, that the other characters are lifeless cardboard cutouts, and that nothing ever happens, simply haven't gotten to first base with this novel.

What then is the problem? It is one that Mann himself wrestled with and which for a time led him to consider the work a failure, although he was determined to finish it. The problem is that the story cannot just unfold naturally and tell itself. A certain amount of history, of context, is needed to motivate the character of Adrian Leverkuhn; readers must be made to understand why the problems he wrestled with are not peculiar to him but arise inevitably and are universal -- in short, our problems as well. This context-building necessitates a rather long, abstract, and careful development. With his daughter Erika's help, the original manuscript was cut extensively to leave only the most essential material, but even so this development occupies the first third of the book. Anyone interested in Western history will find it fascinating, while those who aren't will be richly rewarded for persisting, for the narrative pace, at first imperceptible, does pick up and toward the end becomes irresistible, like the final running out of the sand in Adrian's hourglass.

Given that Adrian's concerns are ours as well, what are we to do about them in our own very different age? What meaning does the concluding high G on the cello in Adrian's final work, that abides like a light in the night, hold for us? When we strip away all the inanity, futility, and trash of our era, what is left? Not art, alas, for art is a finite store that has been exhausted. But there is science, which is unlimited and inexhaustible, and it is specifically the scientific aspect of Adrian's nature, his tendency to "speculate the elements", that is meaningful for us. Modern biology now offers the prospect of understanding and manipulating the essence of life itself. Will it just be more "devil's juggling", more falling down in the dust to worship the quintillions, from which Zeitblom protested nothing human can ever emerge? Can man be trusted to resist temptation in carrying out such a program? Can the devil and the humane even be separated from this vital substance? No one can tell us, yet the essence of the problem is already fully present in symbolic form in Doctor Faustus. This is the triumph of Mann's representative art, of the Artist way. As we continue on the precarious, ever-changing path of self- and world-discovery, Mann's book stands as a guidepost and a warning. This is the enduring significance of Doctor Faustus and the reason why it will always be with us for as long as we remain recognizable as a species.

brief thoughts..........2006-12-24

I just finished Doctor Faustus by Thomas Mann.

I agree with other readers that it is written in highly complex prose. It reminds me quite a bit of Joseph Conrad. While Mann's sentences are strangely convoluted, if you read them slowly and carefully, eventually they do make sense. The effort is worthwhile and satisfying. The translator Woods has obviously done a painstaking job in rendering into English an obviously difficult German text. There is however an annoyingly substantial amount of technical discussion on musical theory that (as Mann himself notes on several occasions) demands considerable forbearance on the part of the reader, especially one who is not particularly skilled in the art. It is not clear why Mann decides to go into such detailed technical discussions, except perhaps as an expression of some longstanding personal interest of his in classical music. The depth of technical detail is not critical to the reader being able to appreciate the brilliance of Adrian's composing. Balanced against this, there are some beautiful literary passages (Adrian's trip to the brothel; his father's science experiments; the exchange with the devil; the sleigh ride in the country) that more than compensate for the long-winded music-theoretical discourses.

The basic story, as all reviewers know, is the classic Marlowe/Goethe tale of a man who sells his soul to the Devil in return for a lengthy period of great artistic creativity and power. In this case the luckless hero is composer Adrian Leverkuhn. The parallel between Adrian and Germany in the inter-war years has been noted by other reviewers, so I won't go into further detail here.

I have not yet read the Marlowe or Goethe versions but, having read this book, I have now put these high up on my list. However, I am not in a particular rush to read anything more by Thomas Mann. I might care to open up one of his earlier books in a couple of years, but I first need to let Doctor Faustus crystallize in my mind for a while. The subtlety of the text (reminsicent of Kenziburo Oe's masterpeice "Somersault" or Madison Smartt Bell's recent "All Souls' Rising") needs time to work its way properly into my neural network.

I would not advise casual readers, simply looking for a good entertaining story, to pick up Doctor Faustus by Thomas Mann. Such a reader might be disappointed and would have trouble getting very far into it. The book, written somewhat relectively by a mature writer, is more appropriate for a person interested in digging around in the dusty corners of great literature.

A Reckoning........2005-04-20

This review is dedicated, in friendship and grateful memory, to Bob Zeidler, one of Amazon's best and brightest customer reviewers. It is partly inspired by an exchange with Bob, whose comments hereon are sorely missed.
_______________________________

"Yes ... we are lost. That is to say: the war is lost, but that means more than a lost military campaign, in fact it means that *we* are lost, lost is our substance and our soul, our faith and our history. It is over with Germany; ... an unnamable collapse, economical, political, moral and spiritual, in short, all-encompassing, is becoming apparent, - I don't want to have wished for what is looming, because it is despair, it is madness."*

Thus, the narrator of Thomas Mann's last completed and, I think, greatest novel sums up Germany's fate after the barbarities of national-socialism. But this is no mere character speaking: This is Mann himself - the erstwhile self-proclaimed "Unpolitical Man," condemned to watch the Nazi tyranny's horrors from the distance of his Californian exile, taking up the mighty pen that had gained him his Literature Nobel Prize and, through the voice of a narrator named Dr. Serenus Zeitbloom (in itself, supremely ironic comment on Mann's own circumstances) composing his final reckoning with the country he left when the Nazis came to power, and where he never returned to live, although he finally did leave the U.S. in 1952, driven out by McCarthyism.

According to his diaries, as early as 1904 Mann had the idea of using a composer's temptation by the devil (and thus, updating the Faustian legend, *the* quintessential theme of Germany's cultural history at least since the Middle Ages) to illustrate the corruption of art by evil. Seeing the country's intoxication with the glorious promises of Hitler and his henchmen, seeing all of German society fall under the spell of evil, including the "Bildungsbürgertum," the educated middle class considering itself guardians of Germany's cultural tradition (and for whose acceptance the dark-haired merchant's son without a university education struggled throughout his life, much as they bought his books), reviving that idea first conceived forty years earlier was a logical choice; now further inspired by the personalities of Arnold Schoenberg, whom Mann met in exile and whose twelve-tone scale became that of his novel's protagonist Adrian Leverkuehn, and Friedrich Nietzsche, with whose writings and personal fate Mann had been fascinated early on. Philosophically and musically, the novel is also influenced by critical theorist Theodor Adorno, with whom Mann entertained an in-depth epistolary dialogue.

Blending together musical theory, the decline of humanist philosophy, the rise of fascism and the powers of black magic (most of which Mann had already explored in earlier works like "The Magic Mountain" and, very pointedly, in the 1930 short story "Mario and the Magician"), "Doctor Faustus" is thus simultaneously a comment on the political developments, a warning, an attempt to come to grips with Germany's high-flying, yet so easily destructible philosophical and moral compass - and, masterfully construed though it is, a cry of despair in the face of utter madness. For while the novel is brimming with references to the better part of German (and European) cultural history, from the medieval "Faustus" tale to Goethe, Weber's "Freischuetz," Martin Luther, Protestantism, and Thuringia and Saxony as focal points of all things German, Mann's central point remains the parallel between his country's fate and that of his novel's protagonist, both ending in ruin and madness-induced stupor after their deal with the devil has run its evil course.

Unlike Goethe, who places his Faust's temptation at his tragedy's beginning, leaving no doubt about the event's physical reality, Mann even narratively lifts Leverkuehn's temptation into the realm of allegory and imagination, by splitting it into two incidents, whose combined effect will only come to fruition in the novel's final part. On neither occasion Zeitbloom, the narrator, is present; for both we thus have only Leverkuehn's own words. Yet, even the first account, a letter describing how the would-be composer is mischievously led to a brothel and falls under the spell of a prostitute, already intimates the evil to come, the venereal disease that will later constitute the outward cause of his madness; and not only does Leverkuehn ask his friend to destroy that letter, he also closes it imploring him to pray for his soul.

Much later in the narrative - although indicating that it was actually written earlier; thus employing yet another level of (temporal) abstraction - Mann introduces Leverkuehn's transcript of his exchange with the devil; a dream-like sequence during which shape-shifting "Sammael," in language hearkening back to Goethe and even the Middle Ages, promises Leverkuehn nothing short of "the metamorphosis of a god": that by his name a whole generation of "receptively healthy boys"* will swear, "those who thanks to [his] madness will no longer have to be mad themselves;"* and that, indeed, his name will live forever. Still, at this point we have already witnessed Leverkuehn explaining the foundations of his twelve-tone scale, only to be challenged by Zeitbloom's question whether the strictness of his concept doesn't deprive the composer of all freedom (which Leverkuehn denies, rather seeing the composer as "bound by a self-imposed order, hence free").* And when in an exchange laden with symbolism Zeitbloom then presses whether the formation of harmony wouldn't be left to chance, Leverkuehn's response is, "Rather say: to constellation"* - thus squarely introducing, as his friend will quickly note, concepts of black magic, which in addition to the dialogue's musical and political references again drive home Leverkuehn's exposure to the irrational and evil, long before the reader actually learns about his interview with the devil.

Doubtlessly among Mann's most intimately personal works, "Doctor Faustus" is also among his most complex ones; and while hardly any of his writings make for a leisurely read, the sardonic "Felix Krull," the near-humoristic "Royal Highness" and even his early masterpiece "Buddenbrooks" are foils to the seasoned master craftsman's rapier that is drawn here. Demanding, certainly - but also highly recommended!
_______________________________

*Translation mine.

A great book, but very rough going!.......2004-08-04

First of all, I think Thomas Mann is without doubt the very greatest 20th century author! I am familiar with about everything he wrote, as well as his very interesting life. But I have found Dr. Faustus to be simply very rough going. The book's basic theme is outlined by many other reviews here. Though a very serious subject (life and death and the horrors of WW2), there is still not the wry humor I find in Mann in his other blockbusters (MagicMountain,Buddonbrooks,Royal Highness,Felix Krull,etc), so that solemnity overwhelms this great enterprise. In fact,in my humble opinion, the 2 best parts are his descriptions of prehistoric life under the sea, and the bombings of great German cities. The characterizations seem a bit dry, with nothing like the amusing personages in say, the Magic Mountain. And the descriptions of musical compositions practically require an advanced degree from the Julliard School. So these small criticisms simply suggest that great patience, learning, and thinking are required to fully appreciate this great novel, and probably this reviewer does not have these three qualities in ample quantity to really appreciate Dr. Faustus!

Hardly bearable.......2004-04-21

Mann's gorgeous, rich prose cannot save this dull, plodding tale from being an ordeal to read. The same density of language which charms the reader in the beginning becomes an irritant as hundreds of pages pass and almost literally nothing happens. Characters are well drawn, but in gloomy colors which evoke no sympathy. Not a single character stands as a hero; few are even likable. The narrator is a long-winded bore. In many respects, Adrian, the subject of this fictitious biography, remains inscrutable to the very end. Having loved THE MAGIC MOUNTAIN, I persevered to the end in the hope of finding something to make the time invested seem worthwhile. I was disappointed.

Doctor Faustus: The Life of the German Composer Adrian Leverkuhn, as Told by a Friend

Average customer rating:

A Reckoning.
A shattering feast of despair
great and dark novel
Artist meets Scientist
Hardly bearable

Doctor Faustus: The Life of the German Composer Adrian Leverkuhn, as Told by a Friend
Thomas Mann
Manufacturer: Vintage
ProductGroup: Book
Binding: Paperback

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ASIN: 067973905X
Release Date: 1992-03-31

Book Description

Tells the story of Adrian Leverkuhn, a theological student turned composer, who symbolically enters into a pact with the Devil, selling his soul and body in return for twenty-four years of musical genius.

Customer Reviews:

A Reckoning........2006-09-09

"Yes ... we are lost. That is to say: the war is lost, but that means more than a lost military campaign, in fact it means that *we* are lost, lost is our substance and our soul, our faith and our history. It is over with Germany; ... an unnamable collapse, economical, political, moral and spiritual, in short, all-encompassing, is becoming apparent, -- I don't want to have wished for what is looming, because it is despair, it is madness."*

Thus, the narrator of Thomas Mann's last completed and, I think, greatest novel sums up Germany's fate after the barbarities of national-socialism. But this is no mere character speaking: This is Mann himself -- the erstwhile self-proclaimed "Unpolitical Man," condemned to watch the Nazi tyranny's horrors from the distance of his Californian exile, taking up the mighty pen that had gained him his Literature Nobel Prize and, through the voice of a narrator named Dr. Serenus Zeitbloom (in itself, supremely ironic comment on Mann's own circumstances) composing his final reckoning with the country he left when the Nazis came to power, and where he never returned to live, although he finally did leave the U.S. in 1952, driven out by McCarthyism.

According to his diaries, as early as 1904 Mann had the idea of using a composer's temptation by the devil (and thus, updating the Faustian legend, *the* quintessential theme of Germany's cultural history at least since the Middle Ages) to illustrate the corruption of art by evil. Seeing the country's intoxication with the glorious promises of Hitler and his henchmen, seeing all of German society fall under the spell of evil, including the "Bildungsbürgertum," the educated middle class considering itself guardians of Germany's cultural tradition (and for whose acceptance the dark-haired merchant's son without a university education struggled throughout his life, much as they bought his books), reviving that idea first conceived forty years earlier was a logical choice; now further inspired by the personalities of Arnold Schoenberg, whom Mann met in exile and whose twelve-tone scale became that of his novel's protagonist Adrian Leverkuehn, and Friedrich Nietzsche, with whose writings and personal fate Mann had been fascinated early on. Philosophically and musically, the novel is also influenced by critical theorist Theodor Adorno, with whom Mann entertained an in-depth epistolary dialogue.

Blending together musical theory, the decline of humanist philosophy, the rise of fascism and the powers of black magic (most of which Mann had already explored in earlier works like "The Magic Mountain" and, very pointedly, in the 1930 short story "Mario and the Magician"), "Doctor Faustus" is thus simultaneously a comment on the political developments, a warning, an attempt to come to grips with Germany's high-flying, yet so easily destructible philosophical and moral compass - and, masterfully construed though it is, a cry of despair in the face of utter madness. For while the novel is brimming with references to the better part of German (and European) cultural history, from the medieval "Faustus" tale to Goethe, Weber's "Freischuetz," Martin Luther, Protestantism, and Thuringia and Saxony as focal points of all things German, Mann's central point remains the parallel between his country's fate and that of his novel's protagonist, both ending in ruin and madness-induced stupor after their deal with the devil has run its evil course.

Unlike Goethe, who places his Faust's temptation at his tragedy's beginning, leaving no doubt about the event's physical reality, Mann even narratively lifts Leverkuehn's temptation into the realm of allegory and imagination, by splitting it into two incidents, whose combined effect will only come to fruition in the novel's final part. On neither occasion Zeitbloom, the narrator, is present; for both we thus have only Leverkuehn's own words. Yet, even the first account, a letter describing how the would-be composer is mischievously led to a brothel and falls under the spell of a prostitute, already intimates the evil to come, the venereal disease that will later constitute the outward cause of his madness; and not only does Leverkuehn ask his friend to destroy that letter, he also closes it imploring him to pray for his soul.

Much later in the narrative -- although indicating that it was actually written earlier; thus employing yet another level of (temporal) abstraction -- Mann introduces Leverkuehn's transcript of his exchange with the devil; a dream-like sequence during which shape-shifting "Sammael," in language hearkening back to Goethe and even the Middle Ages, promises Leverkuehn nothing short of "the metamorphosis of a god": that by his name a whole generation of "receptively healthy boys"* will swear, "those who thanks to [his] madness will no longer have to be mad themselves;"* and that, indeed, his name will live forever. Still, at this point we have already witnessed Leverkuehn explaining the foundations of his twelve-tone scale, only to be challenged by Zeitbloom's question whether the strictness of his concept doesn't deprive the composer of all freedom (which Leverkuehn denies, rather seeing the composer as "bound by a self-imposed order, hence free").* And when in an exchange laden with symbolism Zeitbloom then presses whether the formation of harmony wouldn't be left to chance, Leverkuehn's response is, "Rather say: to constellation"* -- thus squarely introducing, as his friend will quickly note, concepts of black magic, which in addition to the dialogue's musical and political references again drive home Leverkuehn's exposure to the irrational and evil, long before the reader actually learns about his interview with the devil.

Doubtlessly among Mann's most intimately personal works, "Doctor Faustus" is also among his most complex ones; and while hardly any of his writings make for a leisurely read, the sardonic "Felix Krull," the near-humoristic "Royal Highness" and even his early masterpiece "Buddenbrooks" are foils to the older master craftsman's rapier that is drawn here. Demanding, certainly -- but also highly recommended!
_______________________________

*Translation mine.
_______________________________

Bob Zeidler, in friendship and grateful memory of an exchange that partly inspired the above. Bob's comments thereon are sorely missed.

A shattering feast of despair.......2006-04-12

"What human beings have fought for and stormed citadels, what the ecstatics exultantly announced -- that is not to be. It will be taken back. I will take it back."

"I don't quite understand, dear man. What will you take back?"

"The Ninth Symphony."

great and dark novel.......2005-08-24

Thomas Mann was one of the greatest writers of the 20th century and this was his last and perhaps his greatest novel. Reading it is a daunting challenge as it merges history with philosophy and religion with music history and composition. This novel requires great concentration. Sustained reading is however greatly rewarded. I am still mulling over much that is in this novel. Written and presented against the backdrop of the closing years of World War II and the horrors of Nazi Germany, the novel is also clearly a statement against Hitler and the Nazis, and Mann from exile was a determined opponent of the Nazis. A very important work of literature on several levels!!

Artist meets Scientist.......2004-05-03

Hardly bearable.......2003-06-26

Average customer rating:

Doctor Faustus the Life of the German Composer Adrian Leverkuhn as Told by a Friend
Thomas Mann and HT Lowe Porter
Manufacturer: ALFRED A KNOPF
ProductGroup: Book
Binding: Hardcover
ASIN: B000TS4TNW

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Doctor Faustus, The Life of the German Composer Adrian Leverkuhn As Told By A Friend

Manufacturer: Alfred A. Knopf
ProductGroup: Book
Binding: Hardcover
ASIN: B000G3LCL2

Doctor Faustus. The life of the German composer, Adrian Leverkühn, as told by a friend

Average customer rating:

Doctor Faustus. The life of the German composer, Adrian Leverkühn, as told by a friend
Thomas Mann
Manufacturer: New York, Knopf, 1963
ProductGroup: Book
Binding: Hardcover
ASIN: B000M71ODS

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Doctor Faustus: the life of the German composer, Adrian Leverkühn, as told by a friend
Thomas Mann
Manufacturer: New York: A. A. Knopf, 1948
ProductGroup: Book
Binding: Hardcover
ASIN: B000OCEOR4

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Doctor Faustus; The Life of the German Composer Adrian Leverkuhn; as told by a friend
Thomas Mann
Manufacturer: New York Modern Library 1947.
ProductGroup: Book
Binding: Hardcover
ASIN: B000MT626A

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Doctor Faustus, The Life of the German Composer Adrian Leverkuhn as Told By a Friend
Thomas Mann
Manufacturer: Alfred A. Knopf
ProductGroup: Book
Binding: Hardcover
ASIN: B000PAS82W

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Doctor Faustus: The Life of the German Composer Adrian Leverkuhn As Told By a Friend

Manufacturer: The Book League of America
ProductGroup: Book
Binding: Hardcover
ASIN: B000H3G3RE

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Doctor Faustus: The Life of The German Composer Adrian Leverkuhn As Told By a Friend

Manufacturer: Knopf
ProductGroup: Book
Binding: Hardcover
ASIN: B000HJHNOU

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