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WINNER OF THE 2017 PULITZER PRIZE: from Man Booker Prize and National Book Critics Circle Award finalist Hisham Matar, a memoir of his journey home to his native Libya in search of answers to his father's disappearance. In 2012, after the overthrow of Qaddafi, the acclaimed novelist Hisham Matar journeys to his native Libya after an absence of thirty years. When he was twelve, Matar and his family went into political exile. Eight years later Matar's father, a former diplomat and military man turned brave political dissident, was kidnapped from the streets of Cairo by the Libyan government and is believed to have been held in the regime's most notorious prison. Now, the prisons are empty and little hope remains that Jaballa Matar will be found alive. Yet, as the author writes, hope is "persistent and cunning." Winner of the 2017 Pulitzer Prize for biography/autobiography, the PEN/Jean Stein Book Award, France's Prix du livre étranger, and a finalist for the Orwell Book Prize and the 2016 National Book Critics Circle Award, The Return is a brilliant and affecting portrait of a country and a people on the cusp of immense change, and a disturbing and timeless depiction of the monstrous nature of absolute power.
From William Dalrymple—award-winning historian, journalist and travel writer—a masterly retelling of what was perhaps the West’s greatest imperial disaster in the East, and an important parable of neocolonial ambition, folly and hubris that has striking relevance to our own time. With access to newly discovered primary sources from archives in Afghanistan, Pakistan, Russia and India—including a series of previously untranslated Afghan epic poems and biographies—the author gives us the most immediate and comprehensive account yet of the spectacular first battle for Afghanistan: the British invasion of the remote kingdom in 1839. Led by lancers in scarlet cloaks and plumed helmets, and facing little resistance, nearly 20,000 British and East India Company troops poured through the mountain passes from India into Afghanistan in order to reestablish Shah Shuja ul-Mulk on the throne, and as their puppet. But after little more than two years, the Afghans rose in answer to the call for jihad and the country exploded into rebellion. This First Anglo-Afghan War ended with an entire army of what was then the most powerful military nation in the world ambushed and destroyed in snowbound mountain passes by simply equipped Afghan tribesmen. Only one British man made it through. But Dalrymple takes us beyond the bare outline of this infamous battle, and with penetrating, balanced insight illuminates the uncanny similarities between the West’s first disastrous entanglement with Afghanistan and the situation today. He delineates the straightforward facts: Shah Shuja and President Hamid Karzai share the same tribal heritage; the Shah’s principal opponents were the Ghilzai tribe, who today make up the bulk of the Taliban’s foot soldiers; the same cities garrisoned by the British are today garrisoned by foreign troops, attacked from the same rings of hills and high passes from which the British faced attack. Dalryrmple also makes clear the byzantine complexity of Afghanistan’s age-old tribal rivalries, the stranglehold they have on the politics of the nation and the ways in which they ensnared both the British in the nineteenth century and NATO forces in the twenty-first. Informed by the author’s decades-long firsthand knowledge of Afghanistan, and superbly shaped by his hallmark gifts as a narrative historian and his singular eye for the evocation of place and culture, The Return of a King is both the definitive analysis of the First Anglo-Afghan War and a work of stunning topicality.
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.
The book describes in a very unconventional way the role of man as an observer in the universe that surrounds us. Many physical phenomena are described from an unfamiliar point of view. These include wave-particle duality of light, the speed of light, why are space and time relative, what does reality mean, what are reference systems, what do the Lorentz transformations link, without necessarily having to deal with mathematics. The book should be of interest to anyone who considers himself an observer. It doesn't matter what he wants to watch. It is about the principles that arise when observing. What can generally be regarded as secured. Unfortunately, that's not much, because in order to draw conclusions from what has been secured, you have to make assumptions. These do not have to be correct and results that are logically incompatible with these assumptions are excluded from the outset by these assumptions. If one is willing to break away from some of these assumptions, possible solutions could arise for puzzling observations in the sky.
Time calls the shots. Unwitting time traveler Joseph Bridgeman is adjusting to life in the present and wondering if his traveling days are behind him. But when he’s contacted by the Continuum, an organized group of time travelers based in the future, he learns his career is just getting started. The Continuum needs Joe’s help. One of their operatives is missing, last seen in nineteenth-century Paris, and they believe Joe’s ability to see the past might be the only way to find him. Teamed up with Gabrielle Green, an acerbic, wisecracking traveler, Joe heads back to 1873 on his most dangerous mission yet, one that will take him deep inside a burning opera house. But how will Joe succeed when his new companion clearly hates his guts, the missing traveler disappears the second anyone sets eyes on him, and a familiar foe threatens to trap them in the past for good? With help on hand from his best friend, Vinny, and mysterious clues hidden in his sister Amy’s paintings, Joe must hone his gift, develop new skills, and figure out a way to complete his mission before the blazing inferno comes crashing down around them all.
"My Train is On Schedule offers the speaker in a vulnerable and straightforward way; he shows how romantic, family, political, and spiritual worlds change him as he is changed. The poems have an authority-a kind of wisdom- and I get the sense of who the writer is and what's at stake for him in the poems. The potency of the poems' handling of identity is especially interesting and important." Sean Singer, Editor
For this new edition, the text has been brought fully up to date – and the period covered is from 2005 to 2010. Inevitably, this has meant that large sections of the book have been completely rewritten. Much has happened since the ?rst edition was published in 1998. Patrick Moore December 2004 v 00-OY2e_PRE(i-xvi).qxd 14/2/05 2:03 PM Page vii Contents Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . v Introduction . . . . . . . . . . . . . . . . . . . . . . . . ix Phases of the Moon 2005–2010 . . . . . . . . . . . . . . xii January . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 February . . . . . . . . . . . . . . . . . . . . . . . . . . 39 March. . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 April. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 May . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 June . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 July . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 August. . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 September. . . . . . . . . . . . . . . . . . . . . . . . . . 237 October . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 November. . . . . . . . . . . . . . . . . . . . . . . . . . 295 December. . . . . . . . . . . . . . . . . . . . . . . . . . 325 Appendix A: The 88 Constellations. . . . . . . . . . . . 351 Appendix B: Glossary . . . . . . . . . . . . . . . . . . . 353 Appendix C: The Greek Alphabet. . . . . . . . . . . . . 363 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 vii 00-OY2e_PRE(i-xvi).qxd 14/2/05 2:03 PM Page ix Introduction It was once said that ‘the night sky always looks much the same’. In fact, nothing could be further from the truth. There are 365 days in each year (366 in a Leap Year!), and from an astronomical point of view no two are alike.
Observer Mechanics: A Formal Theory of Perception provides information pertinent to the fundamental aspects of perception. This book provides an approach to the study of perception that attempts to be both general and rigorous. Organized into 10 chapters, this book begins with an overview of the structure of perceptual capacity. This text then presents the relationship between observers and Turing machines. Other chapters provide a formal framework in which to describe an observer and its objects of perception, and then develop from this framework a perceptual dynamics. This book discusses as well the conditions in which an observer may be said to perceive truly and discusses how stabilities in perceptual dynamics might permit the genesis of higher level observers. The final chapter deals with the relationship between the formalisms of quantum mechanics and observer mechanics. This book is a valuable resource for physicists, psychophysicists, philosophers, cognitive scientists, and perceptual psychologists.