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Meet your students where they are--online. Pearson is excited to announce a new online resource for your art history and art appreciation courses--MyArtsLab. MyArtsLab offers your students an interactive environment to foster their critical thinking and analytical skills while sharpening their writing skills. Take a tour here! www.myartslab.com MyArtsLab is currently available with these following new editions:Marilyn Stokstad and Michael Cothren's Art History 4e- coming July 2010!Marilyn Stokstad and Michael Cothren's Art: A Brief History 4e- published!Davies, et al.Janson's History of Art: The Western Tradition, 8e- published!Henry Sayre's A World of Art 6e- published! ... Read more

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The comprehensive guide to Congress for anyone who wants to know how Congress really works: federal executives, government affairs, policy and budget analysts, lawyers, lobbyists, media and public affairs staff, congressional offices, and students of Congress. ~~~~~ Highly recommended. All collections." -- CHOICE ~~~~~ Now in its 4th edition, the Congressional Deskbook is the complete guide to Congress, clearly describing the legislative and congressional budget processes in 15 chapters that discuss all aspects of Congress. ~~~~~ "The Deskbook is a highly readable, timely and comprehensive resource on Congressional operations and procedures. It is a consistently reliable tool for any student of Congress and any legislative practitioner, regardless of their level of experience." -- MARTIN B. GOLD, Covington & Burling, Washington, DC ~~~~~ "The Congressional Deskbook is perfect for anyone who wants to understand how Congress works. It is concise, clarion clear and comprehensive all at once. It is spare and crisp -- but it never oversimplifies. It is written in lay language, but it never 'dumbs it down.' The Congressional Deskbook is a unique tool, one that I use regularly." -- DAVID HAWKINGS, Senior Editor, Congressional Quarterly ~~~~~ "The breadth and depth of its coverage of Congress and of the institution's innumerable rules and practices are truly extraordinary. Most importantly, such detail is presented in an exceedingly accessible and efficient fashion. I have no doubt that the Deskbook will become an indispensable teaching tool and reference volume in my teaching and research pursuits." -- SARAH BINDER, Assistant Professor, Dept. of Poli. Sci., The George Washington University ~~~~~ "An essential resource for those working within, reporting on, lobbying, or just trying to understand our very complicated and essential national legislature." -- THOMAS E. MANN, The Brookings Institution ~~~~~ Table of Contents, sample sections, & Index are online. ... Read more

Customer Reviews (1)

The 5th Edition is now available
You can see the reviews for the previous edition of the Congressional Deskbook by searching Amazon for ISBN 1587330040

You can see more about the Deskbook on its web site at CongressionalDeskbook dot com

The 5th Edition of the Congressional Deskbook is now available: ISBN: 1587330970

Congressional Deskbook, 5th Edition (Congressional Deskbook).



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The Monash Law Faculty is one of Australia's oldest law schools, although it is itself relatively new, having been established in 1963. With some of the strictest entry requirements of any faculty in Australia, it is considered one of the country's best schools of law. Currently, almost all of the senior judicial positions in Victoria - including Chief Justice of Victoria, Chief Judge of the County Court, Chief Magistrate, President of VCAT, Chief Magistrate of the Children's Court, Solicitor-General and State Coroner - are occupied by Monash Law School graduates. The Law School currently has approximately 2800 undergraduate, graduate and postgraduate students, as well as several hundred academic staff, many of whom are world leaders in their field. According to statistics recently published by the Victorian Tertiary Admissions Council, the Monash undergraduate law degree was the preferred and most sought after undergraduate law degree of any offered by a university in Victoria. Acceptance into the Bachelor of Laws requires an ENTER score of at least 99.3, meaning that students must be in to the top 0.7% of high school leavers. ... Read more

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The only manuscripts to survive that lead to the production of one of William Blake's published illuminated books are those of the Songs of Innocence and of Experience, his most accessible and best-loved work. Here, one of the world's foremost authorities on Blake's manuscripts and illuminated printing details the evolution of this masterwork and its entire production process.

In the manuscript known as An Island in the Moon are found the beginnings of Songs of Innocence and in the Manuscript Notebook, a treasure of the British Library, over fifty poems in draft leading to Songs of Experience. All of the pages in manuscript of Songs of Innocence and Songs of Experience are reproduced in color facsimile, including many of the drawings used in illustration, granting the reader a singular view of the artist's mind at work. Michael Phillips details the stages of Blake's composition and his remarkable technique of relief etching text and design on a single copperplate. For the first time, he demonstrates Blake's development of selective color printing of the design in opaque pigments over the original monochrome impression. Used in producing the first copies of Songs of Experience, this second step accounts for their dramatic contrast with the first issues of Songs of Innocence, which were hand-colored in transparent watercolors.

Blake united Songs of Innocence and Songs of Experience in 1794 and produced copies in greater numbers than any other work until his death. In the past, the last copies Blake made have been reproduced because of their elaborate and expensive decoration. Phillips concentrates upon the first copies, revealing the original conception of the work. An impressive selection of these plates are reproduced for the first time.

This beautifully illustrated book is a major contribution to Blake studies. It will delight Blake enthusiasts and all who are fascinated by the extraordinary processes of creation and reproduction it describes.Amazon.com Review
One day in the late 1760s, when William Blake was a little boy enrolled in a London drawing school, a strange thing happened as he walked across Peckham Rye. He saw "a tree filled with angels, bright angelic wings bespangling every bough like stars." These spirits, and a host of other creatures that peopled his fervent imagination, would later be immortalized in the engravings and poems he printed on his own press, which have placed him in the first rank of British artists and literary figures. And so it is surprising that this fine book--impeccable in every respect, from the detailed yet easy-to-follow notes on individual prints, drawings, and paintings to the quality and thoughtful presentation of the 250 reproductions--wasn't published sooner. It accompanies "William Blake," the largest-ever exhibition of the artist's works, which originated at the Tate Britain and is at the Metropolitan Museum of Art in New York through May 27, 2001.

Essays by biographer and novelist Peter Ackroyd and Romantic poetry specialist Marilyn Butler set the stage for the haunting images of powerful, accursed, and spectral figures on succeeding pages. The four sections of the book address key aspects of Blake's art. The first one focuses on the influence of Gothic style and spiritualism on his style. The second deals with Blake's life during the 1790s in the South London village of Lambeth, where he harnessed his printmaking innovations to radical political views. It is intriguing to learn how even Blake's new, typically contrary method of etching in relief was a metaphor for his belief in divinely inspired innate ideas. The third section discusses the odd characters that peopled Blake's works, and the fourth surveys his major illuminated books (including Songs of Innocence and Experience), which he created, in his words, "under the direction of Messengers from Heaven, Daily & Nightly." --Cathy Curtis ... Read more

Customer Reviews (3)

William Blake
The purpose of this exhibition and its accompanying catalogue is to explain and bring to life the achievements of William Blake, one of our greatest and most intriguing artist, poet and writer. In displaying the full range of Blake's work together with contextual materials, this exhibition focuses on his vision, his rich and complex mythology, his political interests, and his highly original working techniques.

Brilliantly enlarged pictures, much variety
I used to buy art books only from bargain shelves and tables, sometimes from bookstores that were only selling bargain books.Amazon.com has both varieties of books, and it would be unfair for me to review one book when I really think you should buy the other (bargain) variety.There should not be much confusion between two 304 page books with the title WILLIAM BLAKE when the books are actually the same, but the contents are of such variety, listing Peter Ackroyd, Marilyn Butler, Robin Hamlyn, and Michael Phillips as authors of the exhibition guide for the exhibition at Tate Britain, London, 9 November 2000 - 11 February 2001, and the Metropolitan Museum of Art, New York, 29 March - 24 June 2001, so it might be possible for someone who was looking to see if the listing in two places was identical to discover differences in the information given, though I believe both books are published in 2001 by Harry N. Abrams, Incorporated, New York (Printed and bound in Great Britain).

If you just want pictures, some of which seem quite large, this book has 250 illustrations, including 240 plates in full color.If you like descriptions of pictures, you might find yourself jumping around in the book.A large picture on page 10 is labeled:`Opposite:`Newton' 1795/c. 1805 (no. 249, detail) on page 11.After the Index on pages 296-298 is a Checklist of Works Exhibited at the Metropolitan Museum of Art on pages 299-304 provide a variety of numbers, including a catalogue number in brackets as follows:

129 [249] Newton 1795/c. 1805Color print finished in pen and ink and watercolor 46 x 60 (18 1/8 x 23 5/8) on paper approx. 54.5 x 76 (21 1/2 x 30)Tate; presented by W. Graham Robertson 1939

The full picture is shown on page 213 with a tiny number 249 in the corner by the top margin and a description on page 212 that includes more information than above about "Signed `1795 WB inv [in monogram]' and the inscription.It is possible that the detail page 10 is about full size, showing the lower 30 cm. of a picture that is 46 cm. tall.Catalogue number 248, Sketch for Newton c. 1795 described on page 212 as being on a paper slightly smaller than standard typing paper, might not appear in this book at all.Turning back the page from 212 to pages 210-211 reveals a gigantic crawling Nebuchadnezzar 1795/c. 1805 (no. 247, detail) which is a 30 x 46 cm. (almost 12 inch by 18 inch) enlargement of less than half of a picture that was even larger 44.6 x 62 (17 5/8 x 24 3/8) originally.Pages 210-211 is almost lifesize, with a nose 2 inches long and 5 inches from the bottom of Nebuchadnezzar's lower lip to the part in his hair just above his forehead.

It is difficult to tell how many numbered pictures are not in this book.The final catalogue number 303 described as `Jerusalem.The Emanation of the Giant Albion 1804 - c. 1820' on page 282 is a general reference used to cover paintings of Jerusalem plate 97 (detail) (p. 283), Plate 1 (p. 284), Plate 2 (p. 285), Plates 3, 4, 9, and 11 (p. 287), Plate 12, Plate 26 (p. 289), Plates 51, 69, 70, 84 (p. 291), Plates 92, 97, 99 (p. 293), and pages describing these 15 plates describe 7 plates from Jerusalem that are not shown.

People who are interested in reading interpretations of Blake's works will find a sponsor's forward by Stephen Deuchar on page 7, Acknowledgements and Preface by Robin Hamlyn, Christine Riding and Elizabeth Barker on pages 8-9, `William Blake:The Man' by Peter Ackroyd on pages 11-13, `Blake in His Time' by Marilyn Butler on pages 15-25, a Chronology on pages 26-28 and initials of 10 individuals indicating other authorship on page 29.

`One of the Gothic Artists' on pages 32-97 describes items up to catalogue number 96, `The Queen of Heaven in Glory.'`The Furnace of Lambeth's Vale' on pages 100-171 starts with a description of Blake's Printmaking Studio and various techniques, including a detail on page 111 shown more than 5 times the original size of the small print no. 107 There is No Natural Religion 1788/1795 Copy L shown on page 110.There is in this part a political section called "Lambeth and the Terror" on pages 152-167 which mention items of `Rex vs. Blake' catalogue numbers 208 through 210, items that are not shown.Perhaps we learn more by merely seeing no. 212, The Accusers c. 1804 Copy E on page 167, "A Scene in the Last Judgment."

Pictures are generally clear enough for the lettering by William Blake to be legible, where it is not too small, but pages have been selected without regard to the continuity of the original text.For example, Blake's comments on Swedenborg in his book THE MARRIAGE OF HEAVEN AND HELL, Catalogue no. 127, pages 132-135, include Plate 21 and Plate 24 but not the pages between to and from which the thoughts carry over.

`Chambers of the Imagination' on pages 174-257 includes items numbered from 219 to 297 The Ancient of Days 1824?`Many Formidable Works' on pages 258-293 concludes with many plates from a few of Blake's works.No. 298 Plate 42 `The Tyger' on page 269 (upper left) is lightly colored, "Shown in profile beneath the pale blue bark of a tree trunk," (p. 268) while no. 163 Plate 42 Copy G c. 1793-1794 on page 155 shows a tree and tyger with much darker colors.

Anyone who plans to enjoy looking at the pictures more than anything else could start with this book.People who seriously study WILLIAM BLAKE must have their own reasons.Because his writings cover so much, most people could gain some knowledge of bits and pieces from a work like this.

Beautiful Art
The works of Blake are represented here on wonderful gloss paper with large images to fully appreciate the artistic genius of William Blake. This book is also intersperesed with essays that explain his life, his writing, and his art. through his various images you can see his complex and troubled life come into view. A must have for anyone who loves Blake and Extremely helpful for anyone who wants to know him and his work. ... Read more

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Souvenir Play Book FUNNY GIRL Starring Lillian Roth, Anthony George, and Marilyn Michaels as Fanny Brice (1965 Softcover 9 x 12 inches, 16 pages with photographs and information) ... Read more

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This digital document is an article from Fordham Urban Law Journal, published by Thomson Gale on November 1, 2005. The length of the article is 1779 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Stein Center conference: professional challenges in large firm practices: Marilyn & Edward Bellet: a dedication.(Testimonial)
Author: William Michael Treanor
Publication: Fordham Urban Law Journal (Magazine/Journal)
Date: November 1, 2005
Publisher: Thomson Gale
Volume: 33Issue: 1Page: 1(5)

Article Type: Testimonial

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Product Description
This digital document is an article from Fordham Urban Law Journal, published by Thomson Gale on January 1, 2007. The length of the article is 682 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Judge Marilyn Hall Patel: a dedication.(Rethinking Judicial Selection: A Critical Appraisal of Appointive Selection for State Court Judges)(Testimonial)
Author: William Michael Treanor
Publication: Fordham Urban Law Journal (Magazine/Journal)
Date: January 1, 2007
Publisher: Thomson Gale
Volume: 34Issue: 1Page: 1(2)

Article Type: Testimonial

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ART HISTORY provides students with the most student-friendly, contextual, and inclusive art history survey text on the market.  These hallmarks make ART HISTORY the choice for instructors who seek to actively engage their students in the study of art. 

This new edition of ART HISTORY is the result of a happy and productive collaboration between two scholar-teachers (Marilyn Stokstad and Michael Cothren) who share a common vision that survey courses on the history of art should be filled with as much enjoyment as erudition, and that they should foster an enthusiastic, as well as an educated, public for the visual arts. 

Like its predecessors, this new edition seeks to balance formal and iconographic analysis with contextual art history in order to craft interpretations that will engage a diverse student population.  Throughout the text, the visual arts are treated as part of a larger world, in which geography, politics, religion, economics, philosophy, social life, and the other fine arts are related components of a vibrant and cultural landscape.

Art History Portable Edition offers exactly the same content as Art History, Fourth Edition but in smaller individual booklets for maximum student portability.  The combined six segment set consists of four booklets that correspond to major periods in Western art and two that cover global art.  Each book is available individually, making them ideal for courses focused on individual periods.

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Published by Ferrara, Italy, 2004. ... Read more