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Over 700 black-and-white illustrations, detailed descriptions, and prices for a vast array of upscale women's clothing and accessories — dresses, bathing suits, cloche hats, shoes, much more. Attire for men and children, too.
Reviews the epistemological ideas that inspired the classical economists: the methodological principles of Bacon, Descartes, Hobbes, Newton, Locke, Hume, Stewart, Herschel, and Whewell. The classical age of economics was marked by an intense interest in scientific methodology. It was, moreover, an age when science and philosophy were not yet distinct disciplines, and the educated were polymaths. The classical economists were acutely aware that suitable methods had to be developed before a body of knowledge could be deemed philosophical or scientific. They did not formulate their methodological views in a vacuum, but drew on a rich collection of philosophical ideas. Consequently, issues of methodology were at the heart of political economys rise as a science. The classical era of economics opened under Adam Smith with political economy understood as an integral part of a broader system of social philosophy; by the end, it had emerged via J. S. Mill as a "separate science", albeit one still inextricably tied to the other social sciences and to ethics. The Rise of Political Economy as a Science opens with a review of the epistemological ideas that inspired the classical economists: the methodological principles of Bacon, Descartes, Hobbes, Newton, Locke, Hume, Stewart, Herschel, and Whewell. These principles were influential not just in the development of political economy, but in the rise of social science in general. The author then examines science in eighteenth- and nineteenth-century Britain, with a particular emphasis on the all-important concept of induction. Having laid the necessary groundwork, she proceeds to a history and analysis of the methodologies of four economist-philosophers—Adam Smith, Robert Malthus, David Ricardo, and J. S. Mill—selected for their historical importance as founders of economics and for their common Scottish intellectual lineage. Concluding remarks put classical methodology into a broader historical perspective.
“I have used this textbook for four courses on children’s literature with enrollments of over ninety students. It is without doubt the most well organized selection of literary fairy tales and critical commentaries currently available. Students love it.” —Lita Barrie, California State University, Los Angeles This Norton Critical Edition includes: · Seven different tale types: “Little Red Riding Hood,” “Beauty and the Beast,” “Snow White,” “Sleeping Beauty,” “Cinderella,” “Bluebeard,” and “Tricksters.” These groupings include multicultural versions, literary rescriptings, and introductions and annotations by Maria Tatar. · Tales by Hans Christian Andersen and Oscar Wilde. · More than fifteen critical essays exploring the various aspects of fairy tales. New to the Second Edition are interpretations by Ernst Bloch, Walter Benjamin, Max Lüthi, Lewis Hyde, Jessica Tiffin, and Hans-Jörg Uther. · A revised and updated Selected Bibliography.
Biographic Memoirs: Volume 48 contains the biographies of deceased members of the National Academy of Sciences and bibliographies of their published works. Each biographical essay was written by a member of the Academy familiar with the professional career of the deceased. For historical and bibliographical purposes, these volumes are worth returning to time and again.
Amid early twentieth-century China’s epochal shifts, a vital and prolific commercial publishing industry emerged. Recruiting late Qing literati, foreign-trained academics, and recent graduates of the modernized school system to work as authors and editors, publishers produced textbooks, reference books, book series, and reprints of classical texts in large quantities at a significant profit. Work for major publishers provided a living to many Chinese intellectuals and offered them a platform to transform Chinese cultural life. In The Power of Print in Modern China, Robert Culp explores the world of commercial publishing to offer a new perspective on modern China’s cultural transformations. Culp examines China’s largest and most influential publishing companies—Commercial Press, Zhonghua Book Company, and World Book Company—during the late Qing and Republican periods and into the early years of the People’s Republic. He reconstructs editors’ cultural activities and work lives as a lens onto the role of intellectuals in cultural change. Examining China’s distinct modes of industrial publishing, Culp explains the emergence of the modern Chinese intellectual through commercial and industrial processes rather than solely through political revolution and social movements. An original account of Chinese intellectual and cultural history as well as global book history, The Power of Print in Modern China illuminates the production of new forms of knowledge and culture in the twentieth century.
Set against the backdrop of the black struggle in society, Slow Fade to Black is the definitive history of African-American accomplishment in film--both before and behind the camera--from the earliest movies through World War II. As he records the changing attitudes toward African-Americans both in Hollywood and the nation at large, Cripps explores the growth of discrimination as filmmakers became more and more intrigued with myths of the Old South: the "lost cause" aspect of the Civil War, the stately mansions and gracious ladies of the antebellum South, the "happy" slaves singing in the fields. Cripps shows how these characterizations culminated in the blatantly racist attitudes of Griffith's The Birth of a Nation, and how this film inspired the N.A.A.C.P. to campaign vigorously--and successfully--for change. While the period of the 1920s to 1940s was one replete with Hollywood stereotypes (blacks most often appeared as domestics or "natives," or were portrayed in shiftless, cowardly "Stepin Fetchit" roles), there was also an attempt at independent black production--on the whole unsuccessful. But with the coming of World War II, increasing pressures for a wider use of blacks in films, and calls for more equitable treatment, African-Americans did begin to receive more sympathetic roles, such as that of Sam, the piano player in the 1942 classic Casablanca. A lively, thorough history of African-Americans in the movies, Slow Fade to Black is also a perceptive social commentary on evolving racial attitudes in this country during the first four decades of the twentieth century.