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The Fullerenes: New Horizons for the Chemistry, Physics and Astrophysics of Carbon
Manufacturer: Cambridge University Press
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ASIN: 0521459176 |
Book Description
The study of carbon has been revolutionized since the discovery of the soccerball shaped C60 molecule Buckminsterfullerene. This book examines the modern study of the chemistry, physics and astrophysics of carbon, through contributions from leading workers in the subject. It includes a history of the origins of a soccerball structure for the C60 molecule and a section on its discovery and production. It then looks at the theory and the astrophysics and chemistry of the material. These contributions result from a meeting held at the Royal Society in October 1992. The contributions formerly appeared in the Philosophical Transactions of the Royal Society.
Book Description
This book presents the mathematical theory of finite elements, starting from basic results on approximation theory and finite element interpolation and building up to more recent research topics, such as subgrid viscosity methods and Discontinuous Galerkin methods. The main body of the text is organized into three main sections. The first part develops the theoretical basis for the finite element method, emphasizing inf-sup conditions over the more conventional Lax-Milgrim paradigm, while the second and third parts address various applications and practical implementaions of the method, respectively.
Written at the graduate level, the text contains numerous examples and exercises and will be beneficial to students and researchers alike. Depending on one's interests, several reading paths can be followed, emphasizing either convergence results, numerical algorithms, code efficiency, or applications in the engineering sciences.
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Engineering the Guitar: Theory and Practice
Richard Mark French
Manufacturer: Springer
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Binding: Hardcover
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ASIN: 0387743685 |
Book Description
Engineering the Guitar: Theory and Practice uniquely describes the mechanics of the guitar for engineers and craftsmen alike. Complete with informative illustrations, this popular musical volume describes the underlying mechanical concepts behind the guitar, supported by theory and test. A detailed description of guitar electronics paired with an analysis of sound quality appeals to scientific audiences as well as musicians technically apt. Readers will gain an understanding of the technical behavior of the instrument with respect to structural and component dynamics, in addition to the informative treatment of analytical models. Hand made and mass produced techniques are also examined in a chapter devoted to manufacturing processes.
Audiences interested in mechanics, acoustics, and instrument making will find Engineering the Guitar: Theory and Practice an informative and enjoyable read.
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Finite Element Methods for Viscous Incompressible Flows: A Guide to Theory, Practice, and Algorithms (Computer Science and Scientific Computing)
Max D. Gunzburger
Manufacturer: Academic Press
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ASIN: 0123073502 |
Book Description
In this book, the author examines mathematical aspects of finite element methods for the approximate solution of incompressible flow problems. The principal goal is to present some of the important mathematical results that are relevant to practical computations. In so doing, useful algorithms are also discussed. Although rigorous results are stated, no detailed proofs are supplied; rather, the intention is to present these results so that they can serve as a guide for the selection and, in certain respects, the implementation of algorithms.
Customer Reviews:
Very clear and well written.......2001-04-13
I own several books on the subject but no one is clear as this one. I recommend this book to anybody interested in Finite Element Method.
MODERN.......2000-03-28
HELLO,THIS IS A GREAT BOOK, ESPECIALLY FOR THOSE WHO FEEL LOST IN COMMERCIAL FEA-SOFTWARE TUTORIALS.
Book Description
The only unabridged prose translation of Ariosto's Orlando Furioso--a witty parody of the chivalric legends of Charlemagne and the Saracen invasion of France--this version faithfully recaptures the entire narrative and the subtle meanings behind it.
Customer Reviews:
Orlando Furioso.......2001-08-23
Before anything else is said, it should be known that this edition is a prose translation, which does not retain most poetic characteristics of the original poem although for a modern English reader this is probably the best edition yet: fairly clear and still interesting in its own way. Orlando Furioso is a 16th century epic poem dealing with Charlamgne's wars against the "Saracens" who had (if we are to take the poem as historical fact) even reached the point of besieging the city of Paris. Of course,the book was not meant by its author to be historically accurate in any way, merely a parody of chivalric court legends as the book description says. Whoever reads this book and fails to sense irony on every page, even crude jokes in some parts clearly does not understand what he is reading in the least. But Orlando Furioso is not a parody of just chivalric court legends; it also pokes fun at the Illiad, popular tales and even common peasant stories. The heads (complete with helmets) sliced in two by a single sword blow are taken from The Illiad, in which Greek champions perform similar feats, although in Orlando Furioso, literally hundreds of men meet their end in this manner to the point of becoming amusing in a way. And I found it strange to notice a very clear similarity between the story told by an innkeeper in the book and the prologue to a translation of a 13th century version of the Arabian Nights (translated by Hussain Haddawy). Ariosto had no possible way to know of the existence of the Nights, but still it is interesting to see how truly close the two incidents are: In Orlando, two men who have given up on the possibility of women being chaste, take one woman and watch her day and night, yet she still deceives them in their own bed. In the Nights, a demon has locked his wife inside an impenetrable castle, yet she still deceives him as he sleeps right next to her in bed. The two events are described similarly, with the same irony (being meant as a joke which the author denies believing in in the least). The book is funny only in the way reading Candide is funny. This is simply another example of what makes the book enjoyable. During the reading of Orlando, somewhere about 3/4 of the way into the book, the reader may wish that it would end right there and that two characters; Bradamant and Ruggiero should get married and finish the story. But the continuation of their separation and further adventures is just another parody of common legends, exaggerated out of proportion. In the end, with all its jokes and its surprisingly individualistic narrative technique, its more serious scenes (the most touching of which is when a woman named Isabel is killed) forms into a large picture, with a great deal of good atmosphere, such that when it ends (although the reader may not have been touched very much during its reading) will want it to go on.
A Great Classic ý with an obscure message.......2001-07-13
Although "Orlando Furioso" is one of the Great Classics, in terms of household recognition it has not been able to hold its own. Thus, it is not nearly as well known as Dante's Divine Comedy, a work to which it is sometimes compared. The work has been aptly described as a combination of Homer and Cervantes's "Don Quixote." To these two I would add Boccaccio's "Decameron."
"Orlando Furioso" deals with the exploits of Charlemagne's Paladins (knights) in their attempts to repulse the "Saracen" (Moorish) invasion of France. Against this rich backdrop all sorts of adventures take place, ranging from knightly combat, to amorous dalliance, to dragons, nymphs and other magic.
Ariosto wrote "Orlando Furioso" around 1516, some 750 years after the events it purports to describe. Thus, it is not surprising that the work contains many anachronisms. His warriors - both Christian and Saracen - fight in full body armor with stirrups and lance. But this mode of fighting did not develop until well after the year 1000. He makes reference to Tartars and Prester John. But "Tartars" is another name for Mongols, who were not known in Europe until the 13th century. The legend of Prester John has a similarly late origin.
Our age is greatly concerned with violence, especially the "gratuitous" kind. The violence in Orlando thus comes as something of a shock. There are frequent references to heads being lopped off and bodies cloven in twain. Also surprising are the great powers attributed to women. But it is unlikely that Ariosto was an early woman's libber. More likely he reflected prevailing views, and these gave women more due than we customarily attribute to past ages. Perhaps the status of women (and men) is governed by cyclical events, such as population pressures.
Is there a dominant message in "Orlando Furioso?" I found it hard to clearly identify one. Possibly the title contains a clue: "Orlando" is the name of the principal protagonist, and "Furioso" means "mad" or "rabid." What drove Orlando mad? Why, a faithless woman, of course! Yet one gets the impression that Ariosto intends most of the blame to go to Orlando himself. In pursuing this woman (an enemy, to boot) he betrays many of the ideals of courtly love. He turns the great powers of sublimated love to selfish interests. For this he is punished.
Praise for Waldman's translation.......2001-03-29
Easy enough to refer to a prose translation as "appropriate for the masses," but the fact remains that when a translator is freed from the necessity of forcing a poem to conform to rhyme and meter in a second language, he has access to a broader range of vocabulary and is therefore more able to remain true to the spirit of the original (as Waldman deftly explains in his introduction). Is it any wonder that this work has received so little attention in America when past translations have been so hidebound and pedagogical? Orlando Furioso is anything but a sing-songy, staid old verse.
In Waldman's translation are to be found both the idealised virtues of chivalry and sometimes startlingly lowbrow humor, all wrapped up in an epic tale of adventure, romance and magic. By providing an unabridged translation (another shortcoming of more traditional editions), and by attempting to capture the true flavor of the work rather than slavishly abiding by the dictates of classical poetic rules, he has presented to English readers for the first time a tale that rivals the epics of Homer in its scope and aspiration. And for sheer entertainment value (coupled with the elitism of Ariosto's sly jabs at the very people for whom the work was composed), this work is all but impossible to beat-- his original audience, after all, was not the literati, but the idle rich.
A True Classic.......2000-06-09
Orlando Furioso is a classic story that has often been overlooked by the average reader. We follow Charlemagne's paladins as they traverse the world, pagan and Christian, looking for adventure, fame, and love. They end up in many fascinating places such as enchanted castles, Hades, and on the moon with St. John the Apostle. Their adventures bring them into contact with fascinating people, incredible beasts, and magic weapons. They engage in sword fights and duels, convert the Muslims, and fall in love. The story centers on Orlando and other pagan and Christian knights as they try to win the love of Angelica, a Saracen Princess. Meanwhile, a war between the Christians and Muslims is going on. These events are a continuation of the story told in Orlando Innamorato by Boiardo, which came before this poem. Ariosto, however, has given us a sequel that in many ways surpasses its predecessor. Orlando Furioso is a story of epic proportions that is subtly funny, never boring, and always beautiful. To the basic themes of chivalry and love, Ariosto has added elements of allegory, irony, and even prophecy to make an enchanting masterpiece. The stories contained are similar to the Arthurian legends, only with more humor and excitement. I agree with C.S. Lewis when he wrote: "Our oblivion of these poets (i.e. Boiardo and Ariosto) is much to be regretted...because it robs us of a whole species of pleasures and narrows our very conception of literature."
For some reason amazon.com links this review to both the Reynolds and the Waldman translations, but they are different books. Although the previous part of my review is valid for any translation, this part is only relevant for the Waldman version. I have not read the one by Reynolds. This translation is in prose, meaning it loses some of the original spirit of Ariosto. However, by doing this Waldman makes the stories much easier to read and more accessible for the average person, who usually does not read poetry. I really enjoy the prose rendering; it has been done beautifully. If you love poetry and/or want a translation closer to the original Italian, then perhaps you should buy another version. One benefit though, is that this edition is complete in one volume and unabridged. Also, there is an introduction and an index of characters and their adventures. Unfortunately, there are no annotations. Overall, this is an excellent book that I think everyone should read at least once. It is a classic!
Funny, touching, exciting!.......1999-05-10
Ariosto's work presents us a rich tapestry of characters, plots and situations. Funny characters stand alongside with tragic ones. Grotesque plots are placed next to romantic or tragic ones. In a word, Ariosto transports us to a fantasy world not so far away from life itself.
Much of the book's greatness stands in Ariosto's ability in handling such a rich and complex material, never losing his balance between comic and tragic moods. Although many episodes have been drawn from a classic source (i.e. Homer's Odissey, just to cite one), Ariosto handles them in a personal style, bestowing on them all the freshness of his Renaissance background.
However, who could ever be so FOOLISH (or ignorant, if you prefere) to say that in Ariosto's "Orlando Furioso" Talkien meets Jonson? Doesn't he know that Ariosto was dead and buried long before Jonson, Swift and Talkien were born???? It were better to say that these genial guys borrowed a little something from Messer Ludovico, weren't it?
:-)
Customer Reviews:
Powell's Orlando.......2003-11-16
Not a review here but a note. Readers who enjoy Orlando would appreciate Anthony Powell's witty account of the moon trip in the 12th and last volume of his A Dance to the Music of Time.
A delightful giant.......2001-09-20
Ariosto was one of the giants of Renaissance literature, and this was his footprint. Grand, touching, funny, witty, stirring -- as Dryden said of Chaucer, here is the world's plenty. Some of the greatest poets of the next two centuries (Tasso, Spenser, Milton) explicitly attempted to overdo him, and only sometimes succeeded; Byron took as much from Ariosto as he did from Pulci.
But don't read this on that account. Read it because it's a delight from start to finish. War, love, and chivalry are the poet's themes, and they're here in all their forms.
I don't know Italian, but everyone I've asked who would know assures me Reynolds's translation captures not just the essence but the spirit of the original.
(Ignore the reviews that claim that this is a prose translation -- they are from another translation.)
Reynold's is one of the classic English translations.......2001-04-27
I may not have been the only person to have noticed how much the poetry improves in the last half of _Paradiso_ in the Dorothy Sayers translation. This is because Sayers died before completing the last of her translation of the _Divina Commedia_, and her devoted friend and admirer Barbara Reynolds took over. But where Sayers had been technically impressive in matching Dante's terza rima, but pedestrian in the poetry, at the point where (as I guess) Reynolds takes over a new lightness of touch and poetic feel for the language makes itself felt.
This Ariosto translation is Reynolds' great achievement. Moreover it is one of the three or four greatest literary translations in English, an achievement to stand beside Dryden's _Aeniad_ and Fairfax's _Gerusalemma Liberata_. (On Pope's _Illiad_, which I'm currently reading, I tend to agree with the contemporary reviewer who commented, "A very pretty poem, Mr Pope, but you must not call it Homer".)
She captures Ariosto's wit and lightness, occasionally turning in closing couplets for her stanzas that are as sharp as Byron's in _Don Juan_ (who was in turn also using Ariosto - among others - as a model), but also following Ariosto in allowing the sense to flow from stanza to stanza in a quite un-Byronic way. As well, she manages to transmit Ariosto's graver passages in equally dignified verse, for example some of the set pieces imitated (by Ariosto) from Homer. English readers tend to think of Ottava Rima as a vehicle for comic verse, but in Italian it is a model for epic. It's just that the great Italian epic tradition, unlike the English epic tradition before Byron's great anti-epic, includes humour.
As for Ariosto, he is a great poet and story-teller, and (not exactly a literary judgment, this) his authorial "voice" is one whose company you cannot help enjoying. His humour, sometimes sly, is also warmly compassionate; sometimes satirical, sometimes splendidly and deliberately silly. Ariosto knows his flying horses, invisibility rings, sexy sorceresses and the rest are perfectly absurd, but manages to maintain the fantasy elements as wonderful and exciting, without ever undercutting them with mere cynicism or bathos. But most often the humour is warm and character-based.
His story has an astonishing range of characters, the Moorish warriors and their lovers depicted as fairly and favourably as his Christian protegonists, and an astonish sweep, all over Europe and the East, with digressions to the Moon and other enchanted places.
Another feature of Ariosto is his feminism, which shows in his warrior women, who give and take in battle every bit as well as the men. He also tellingly mocks some of the anti-feminist aspects of chivalry, as in the scene where one of Ariosto's heroes is called upon to champion in a trial by combat a woman who has been accused of unchastity. The hero readily agrees to defend the woman's honour, but only after observing that he would as readily defend her if she were unchaste, as in his view (clearly also Ariosto's) women have a right to make love without being condemned for it.
Two last observations. First, I believe that this poem, and not Dante's, is the great Italian epic, superior to Dante for the same reason that Shakespeare is superior to Racine, or Byron's English epic is superior to Milton's or even Spencer's. Dante offers moral allegory (though with a thoroughly repellant worldview), and Ariosto's failure to preach has sometimes been taken as a sign of lack of depth or seriousness. But the great epics are about humanity, not allegory (though I have seen attempts to allegorise Homer, none have done so convincingly); and Ariosto presents one of the widest and greatest human canvases of all epic. It is the most readable long poem since the _Odyssey_. Yes.
Second, Amazon has linked this translation to another, a prose translation. I haven't read the prose translation, but I would observe that _Orlando Furioso_ is a poem. To render it as something else is to lose its structure, its purpose and its very nature. To present a prose translation of this poem as a genuine "version of Ariosto" is a bit like presenting Beethoven's Ninth symphony by playing an arrangement for kazoo: some of Beethoven will come through in a kazoo transcription, but you cannot call it the Ninth. Get the Reynolds; it is a great and easy _read_, and it is one of the glories of English poetic translation.
Cheers!
Laon
The Web of Ariosto.......2000-06-12
This is a wonderful flight of fantasy that is full of magic castles, horses that fly (hippogriffs), and such imagination and humor that you never cease to be entertained by it all. You may wonder like I did that: If this is "Part One", where is part two? I was unable to find any such continuation. You have to just enjoy this marvelous tale for what it is.
Amazing... a treat.......1999-09-30
I read this book over the course of a summer, and delighted in taking Reynold's translation canto by canto. Ariosto's style is immortalized in her translation, complete with his witty asides and satirical commentary. Amazing.
Book Description
Great 19th-century illustrator's last major achievement. 108 brooding, surreal illustrations of magnificent, influential Renaissance epic poem. Damsels, knights, grotesque monsters. 208 black-and-white illustrations. Captions, introduction.
Customer Reviews:
A great inspiration for illustrators,...and dreamers........2000-06-14
This book contains a treasure of very atmospheric and detailed scenes. Doré's masterly use of superwide pespectives is an open invitation to explore his detailed and scetched people, landscapes, castles, heroes, battlefields and romantic situations. The illustration settings cover an area as huge as old europe with an ocassional touch of Asia. A particular delight are the morphed human-animal creatures. This book is great for just diving in and imagining yourself in these bizarre environments. enjoy !
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Orlando Furioso
Ludovico Ariosto
Manufacturer: Edimat Libros
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ASIN: 8497642821 |
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The Quest for Epic: From Ariosto to Tasso (Toronto Italian Studies)
Sergio Zatti
Manufacturer: University of Toronto Press
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Epic and Empire
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Orlando Furioso (Oxford World's Classics)
ASIN: 0802093736 |
Book Description
Translated here for the first time into English, Sergio Zatti's The Quest for Epic is a selection of studies on the two major poets of the Italian Renaissance, Ludovico Ariosto and Torquato Tasso, by one of the most important literary critics writing in Italy today. An original and challenging work, The Quest for Epic documents the development of Italian narrative from the chivalric romance at the end of the fifteenth century to the genre of epic in the sixteenth century.
Zatti focuses on Ariosto's Orlando Furioso, written in the early 1500s, and progresses to Tasso's Jerusalem Delivered, written at the end of the century, but also touches briefly on Boiardo, Ariosto's great predecessor at the Estense court in Ferrara, as well as on Pulci, Trissino, and many other Italian writers of the period. Zatti highlights the critical debates over narrative form in the sixteenth century that become signposts on the way to literary modernity and the eventual rise of the modern novel. Albert Russell Ascoli's introduction provides context by mapping Zatti's criticism and situating it among Italian and Anglo-American literary critical studies, making a case for the contribution this book will have for English-language readers.
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Orlando Furioso
Ludovico Ariosto
Manufacturer: Catedra
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Binding: Paperback
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ASIN: 843761984X |
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The Orlando Furioso: A Stoic Comedy (Medieval and Renaissance Texts and Studies)
Clare Carroll
Manufacturer: Medieval & Renaissance Texts & Studies
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Binding: Hardcover
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ASIN: 0866982159 |
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