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Intended to acquaint the reader with the theory of x-ray diffraction, the experimental methods involved, and the main applications. The book is a collection of principles and methods stressing X-ray diffraction rather than metallurgy. The book is written entirely in terms of the Bragg law and can be read without any knowledge of the reciprocal lattice. It is divided into three main parts—Fundamentals; experimental methods; and applications. Designed for beginners, not as a reference tool for the advanced reader.

• Sales Rank: #585963 in Books
• Color: Hardcover,
• Brand: Brand: Prentice Hall
• Published on: 2001-02-15
• Original language: English
• Number of items: 1
• Dimensions: 9.40" h x 1.70" w x 7.10" l, 2.53 pounds
• Binding: Hardcover
• 664 pages

Features

• Used Book in Good Condition

From the Inside Flap
Preface

This edition appears over twenty years after the Second Edition was released. That the Second Edition, without revision, continued as a popular materials text and as a reference book is a tribute to Professor Cullity's clarity and thoroughness.

Instrumentation and techniques have changed considerably, however, in the intervening twenty years, engendered by the revolution in distributed computing heralded by the advent of the personal computer. In the Fall of 1973, for example, I ran BASIC programs from one of many teletypes connected to a single PDP-8 computer with 8 Bytes of memory. I recently came across loan papers from 1984 for my personal computer (256 Bytes RAM, no hard drive). Analyses which required graphical solution before computers or very astute programming in the first digital decades now can be done using spreadsheets packaged with word processing software; the earlier approaches are no longer of interest, except perhaps to historians.

With changes in instruments came changes in the types of x-ray diffraction experiments a materials scientist/engineer might be required to perform (or at least to interpret). Film-based techniques for powder diffraction fell into relative obscurity while diffractometry (parafocusing geometry) with electronic detectors assumed the principle role. The Second Edition, however, followed the First Edition in treating x-ray diffraction first from the standpoint of photographic methods and second from that of diffractometry; this edition changes emphasis to diffractometry as the primary technique. Practical considerations dictate this change: any x-ray diffraction data collection/analysis that the students subsequently encounter will almost surely be diffractometry, and most instructors emphasize these experiments. If the students are to understand their laboratory sessions, which must begin early in the term, diffractometry must be pushed forward in the course. Unfortunately, this requires a progression different from the very satisfactory approach used before: a single crystal diffracting many wavelengths in all directions, a polycrystal sample diffracting one wavelength in many directions, an apparatus sampling a small section of diffraction cones along a particular direction. I predict, however, that the second decade of the new millennium will see the area detector methods regain the prominence once held by photographic methods.

Yet another challenge was integrating reciprocal lattice treatment of diffraction into the text and adding reforming the material on diffraction from nearly perfect crystals. Since the Second Edition appeared, several topics have grown in importance in different segments of the materials community, diffraction from polymers and small angle scattering, and this is reflected in two new chapters. Finally, materials engineers n6ed some familiarity with transmission electron microscopy, and a couple of weeks, building on reciprocal lattice concepts developed earlier, at the end of a semester course on x-ray diffraction and crystal structure may be all that can be spared. To support this possibility, a brief summary of the high points of TEM in materials characterization is provided.

This revision took a long time to be completed, and I am grateful to the various editors who helped it along: Dan Jorananstad, Rob Merino, Laura Curless and especially Michael Slaughter and Scott Disanno, and also their staffs. I am grateful to the various reviewers for their advice: Z.L. Wang, Steve Spooner and Ray Young. I apologize to those who were forced to wait for me to finish this revision, but the revision was done without taking leave from my academic duties and this delay was the result.

Virtually all scholars blend research and teaching to various degrees, and I am no exception. It is difficult to imagine how this revision it might have been completed without the confidence of having a stable base of research funding provided by the U.S. Office of Naval Research; I am, therefore, very grateful to ONR and George Yoder.

I am very grateful to various mentors who laid the foundation on which this revision is based: Neva Gribble, John Hilliard, M. Meshii, Morrie Fine, Howard Birnbaum, Haydn Chen, Keith Bowen, Jerry Cohen, Brett Boston and Jane Deakins, and R. A. Young. I learned much from many others, and I apologize to them for not explicitly recognizing my debt to them. I am also very grateful to the numerous students from the diffraction classes I have taught and to my own research students, undergraduate, Masters and PhD; it would be hard to find a better bunch anywhere. I am grateful to Vinnie Holohan who helped prepare many of the new figures and to Lisa Novak who helped with the more complex equations.

From the Back Cover
Intended to acquaint the reader with the theory of x-ray diffraction, the experimental methods involved, and the main applications. The book is a collection of principles and methods stressing X-ray diffraction rather than metallurgy. The book is written entirely in terms of the Bragg law and can be read without any knowledge of the reciprocal lattice. It is divided into three main parts—Fundamentals; experimental methods; and applications. Designed for beginners, not as a reference tool for the advanced reader.

Excerpt. © Reprinted by permission. All rights reserved.
Preface

This edition appears over twenty years after the Second Edition was released. That the Second Edition, without revision, continued as a popular materials text and as a reference book is a tribute to Professor Cullity's clarity and thoroughness.

Instrumentation and techniques have changed considerably, however, in the intervening twenty years, engendered by the revolution in distributed computing heralded by the advent of the personal computer. In the Fall of 1973, for example, I ran BASIC programs from one of many teletypes connected to a single PDP-8 computer with 8 Bytes of memory. I recently came across loan papers from 1984 for my personal computer (256 Bytes RAM, no hard drive). Analyses which required graphical solution before computers or very astute programming in the first digital decades now can be done using spreadsheets packaged with word processing software; the earlier approaches are no longer of interest, except perhaps to historians.

With changes in instruments came changes in the types of x-ray diffraction experiments a materials scientist/engineer might be required to perform (or at least to interpret). Film-based techniques for powder diffraction fell into relative obscurity while diffractometry (parafocusing geometry) with electronic detectors assumed the principle role. The Second Edition, however, followed the First Edition in treating x-ray diffraction first from the standpoint of photographic methods and second from that of diffractometry; this edition changes emphasis to diffractometry as the primary technique. Practical considerations dictate this change: any x-ray diffraction data collection/analysis that the students subsequently encounter will almost surely be diffractometry, and most instructors emphasize these experiments. If the students are to understand their laboratory sessions, which must begin early in the term, diffractometry must be pushed forward in the course. Unfortunately, this requires a progression different from the very satisfactory approach used before: a single crystal diffracting many wavelengths in all directions, a polycrystal sample diffracting one wavelength in many directions, an apparatus sampling a small section of diffraction cones along a particular direction. I predict, however, that the second decade of the new millennium will see the area detector methods regain the prominence once held by photographic methods.

Yet another challenge was integrating reciprocal lattice treatment of diffraction into the text and adding reforming the material on diffraction from nearly perfect crystals. Since the Second Edition appeared, several topics have grown in importance in different segments of the materials community, diffraction from polymers and small angle scattering, and this is reflected in two new chapters. Finally, materials engineers n6ed some familiarity with transmission electron microscopy, and a couple of weeks, building on reciprocal lattice concepts developed earlier, at the end of a semester course on x-ray diffraction and crystal structure may be all that can be spared. To support this possibility, a brief summary of the high points of TEM in materials characterization is provided.

This revision took a long time to be completed, and I am grateful to the various editors who helped it along: Dan Jorananstad, Rob Merino, Laura Curless and especially Michael Slaughter and Scott Disanno, and also their staffs. I am grateful to the various reviewers for their advice: Z.L. Wang, Steve Spooner and Ray Young. I apologize to those who were forced to wait for me to finish this revision, but the revision was done without taking leave from my academic duties and this delay was the result.

Virtually all scholars blend research and teaching to various degrees, and I am no exception. It is difficult to imagine how this revision it might have been completed without the confidence of having a stable base of research funding provided by the U.S. Office of Naval Research; I am, therefore, very grateful to ONR and George Yoder.

I am very grateful to various mentors who laid the foundation on which this revision is based: Neva Gribble, John Hilliard, M. Meshii, Morrie Fine, Howard Birnbaum, Haydn Chen, Keith Bowen, Jerry Cohen, Brett Boston and Jane Deakins, and R. A. Young. I learned much from many others, and I apologize to them for not explicitly recognizing my debt to them. I am also very grateful to the numerous students from the diffraction classes I have taught and to my own research students, undergraduate, Masters and PhD; it would be hard to find a better bunch anywhere. I am grateful to Vinnie Holohan who helped prepare many of the new figures and to Lisa Novak who helped with the more complex equations.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Incomplete references!
By Jordan Porter
Cullity's expostion of x-ray diffraction is excellent, but the third edition, as noted by other reviewers, is missing all chapter specific references. If you're interested in this title, try to find a copy of the second edition.

1 of 2 people found the following review helpful.
2nd Edition Review
By B. Nartowt
Well, firstly I must say that this book could do with a great deal more mathematical rigour. Units are missing in areas that are somewhat critical. However, given the subject matter (x-ray diffraction (XRD) is not overly mathematical), you surely won't be stuck for hours. I am a pretty mathematical person, and if I edited this book, it would probably be one of the best.

On the plus side: this book has some awesome prose. It really is well-written, and, to confirm the words of another reviewer, Cullity is able to describe mathematically complicated ideas in words. THAT is laud-worthy, in my opinion.

Also on the plus side: experimental techniques are included, the applications of XRD, and many useful tables of information. This book is essential for the experimenter!

If it was more mathematically sound, heck, I'd give this book five stars, easy.

0 of 0 people found the following review helpful.
Five Stars
By Chang L.
good

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Synopsis All the techniques you need to create great manga characters, with step-by-step drawings in pencil, ink, and color. Learn how to draw bodies and faces, eyes and hair, hands and feet, expressions, and gestures, across a range of human and fantasy creatures. Includes galleries of finished art to show you the full range of what you can achieve, including scores of hairstyles, facial expressions, hand gestures, and body poses for you to practice, and add variety to your work. Pages of clothing, accessories and gadgets, weapons and vehicles for you to draw and color and incorporate into your manga illustrations and stories, together with ideas for animals, including monsters and cute fantasy creatures, to help you build skill and confidence.

• Sales Rank: #2733244 in Books
• Published on: 2007
• Number of items: 1
• Binding: Paperback
• 288 pages

Most helpful customer reviews

5 of 5 people found the following review helpful.
Great for Beginners!
By Book Bee
For those who are interested in getting started on drawing manga or drawing human figures in general, this is a GOOD book to use. I own "Mega Manga" and the "How to Draw Manga" series, but I will note that this was an excellent start for me. This book takes readers step-by-step in learning how to draw body positions/angles, hairstyles, clothing and accessories, and even animals in a Japaneses anime style.

Once you become more serious with drawing Manga, then I would recommend trying the "How to Draw Manga" books. But start with this first.

1 of 1 people found the following review helpful.
Excellent reference book for drawing the human figure
By Just-in-time
I'm not interested specifically in Manga, but I was looking for a reference book to use in improving my figure drawing skills. This is an excellent source for drawing the human figure. I very quickly improved my skills following the Mega Manga instructions for the human figure. I would have given this book 5 stars except for the following, the book is approximately 6 inches x 8 inches in size. I think an 8 1/2 x 11 would have been much better. Secondly, the book would be a better study guide if it had been spiral bound. If you could lay the book flat it would help. And, lastly, the print is very small and it's printed mostly in light gray ink, which does not make for easy reading. However, I still think Mega Manga could prove to be a valuable reference for your drawing work.

1 of 1 people found the following review helpful.
Good Basic Techniques
By Ronito101
I bought this book a while ago and i just decided to give it more attention. I went through the book and it's good for anyone who wants to learn basic skills in drawing manga. It has a chapter for each part of the body and for other non-related body anatomy. Although it doesn't give you a lot of examples and depth details, i still recommend it to anyone who wants to learn very simple and easy techniques.

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[O241.Ebook] Download PDF Perioperative Drill-Based Crisis ManagementFrom Cambridge University Press

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It is essential that medical professionals in the operating room regularly undertake emergency drills. This unique book takes what can be an onerous task for leaders and operating room physicians, and makes it easy. Chapters cover drills ranging from medical emergencies such as cardiac arrest and malignant hyperthermia, to non-medical emergencies such as an active shooter and evacuation of a medical facility. Each chapter includes at least three scenarios for a specific type of drill, with expected actions and educational material for debriefing. The latest specialty guidelines and algorithms are included throughout and key learning points are highlighted for each drill, removing the need for further detailed research in advance of each exercise. Written and edited by leading experts in the field and endorsed by the Society for Ambulatory Anesthesia, this manual enables every reader to lead a meaningful drill with educational value for all participants.

• Sales Rank: #3045958 in Books
• Published on: 2016-01-13
• Released on: 2015-11-19
• Original language: English
• Number of items: 1
• Dimensions: 9.69" h x .24" w x 7.44" l, .0 pounds
• Binding: Paperback
• 93 pages

About the Author
Steven Butz is Associate Professor of Anesthesiology at the Medical College of Wisconsin, Milwaukee, and Medical Director at the Children's Hospital of Wisconsin Surgicenter, Milwaukee, WI, USA.

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A stunningly ambitious and beautiful novel, perfect for fans of The Nightingale, Schindler’s List, and All the Light We Cannot See, about twelve-year-old Hannah Rosenthal’s harrowing experience fleeing Nazi-occupied Germany with her family and best friend, only to discover that the overseas asylum they had been promised is an illusion.

Before everything changed, young Hannah Rosenthal lived a charmed life. But now, in 1939, the streets of Berlin are draped with red, white, and black flags; her family’s fine possessions are hauled away; and they are no longer welcome in the places that once felt like home. Hannah and her best friend, Leo Martin, make a pact: whatever the future has in store for them, they’ll meet it together.

Hope appears in the form of the SS St. Louis, a transatlantic liner offering Jews safe passage out of Germany. After a frantic search to obtain visas, the Rosenthals and the Martins depart on the luxurious ship bound for Havana. Life on board the St. Louis is like a surreal holiday for the refugees, with masquerade balls, exquisite meals, and polite, respectful service. But soon ominous rumors from Cuba undermine the passengers’ fragile sense of safety. From one day to the next, impossible choices are offered, unthinkable sacrifices are made, and the ship that once was their salvation seems likely to become their doom.

Seven decades later in New York City, on her twelfth birthday, Anna Rosen receives a strange package from an unknown relative in Cuba, her great-aunt Hannah. Its contents will inspire Anna and her mother to travel to Havana to learn the truth about their family’s mysterious and tragic past, a quest that will help Anna understand her place and her purpose in the world.

The German Girl sweeps from Berlin at the brink of the Second World War to Cuba on the cusp of revolution, to New York in the wake of September 11, before reaching its deeply moving conclusion in the tumult of present-day Havana. Based on a true story, this masterful novel gives voice to the joys and sorrows of generations of exiles, forever seeking a place called home.

• Sales Rank: #11651 in Books
• Published on: 2016-10-18
• Released on: 2016-10-18
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.40" w x 6.00" l, .0 pounds
• Binding: Hardcover
• 368 pages

Review
“Fascinating . . . a brilliant entr�e into the souls, terrors, ardors, endeavors and hopeless valor of people who have been written off. . . . Now, in a new age of people in peril and adrift on the world’s seas, this magnificent novel—and the unexpected and intricate tragedies of its powerfully imagined characters—bespeaks this eternal injustice.” (Thomas Keneally, Bestselling author of Schindler’s List)

“An unforgettable and resplendent novel which will take its place among the great historical fiction written about�World War II.�Hannah Rosenthal will remain in your heart and her determination to tell the story of what she saw, lived, and lost will change the way you look at the world.” (Adriana Trigiani, bestselling author of The Shoemaker's Wife)

“powerful and affecting…that sheds light on a sorrowful piece of Holocaust history.” (Kirkus Reviews)

�“I found myself unable to put the book down.� I was able to identify with what my parents must have experienced first in Germany and later the St. Louis. . . . beautiful and heartbreaking.”� (Judith (Koepple) Steele, survivor of the St. Louis)

�"It was so true to our many life experiences… I became enthralled with the descriptions of the emotional turmoil that these characters endured.” (Eva (Safier) Wiener, survivor of the St. Louis)

�“A vital tribute to liberty, love and justice…one of the most fascinating and extraordinary literary events of recent times.” (Zo� Vald�s, international bestselling author of The Weeping Woman)

“Profound and moving …� This novel touched me personally, especially because it is written from the point of view of a girl, just like me, on the ship. This tragedy, ignored for so many years, contains a lesson the world must learn and never forget: compassion for refugees.” (Ana Maria (Karman) Gordon, survivor of the St. Louis)

"A timely must-read." (People)

About the Author
Armando Lucas Correa is an award-winning journalist, author, and the editor-in-chief for People en Espa�ol, the top-selling Hispanic magazine in the United States. Correa is the recipient of various journalistic awards from the National Association of Hispanic Publications and the Society of Professional Journalism. He is the magazine’s primary spokesperson and regularly appears on national Spanish-language television programs. The German Girl is his first novel.

Excerpt. � Reprinted by permission. All rights reserved.
The German Girl Hannah Berlin, 1939
I was almost twelve years old when I decided to kill my parents.

I had made up my mind. I’d go to bed and wait until they fell asleep. That was always easy to tell because Papa would lock the big, heavy double windows and close the thick greenish-bronze curtains. He’d repeat the same things he said every night after supper, which in those days had become little more than a steaming bowl of tasteless soup.

“There’s nothing to be done. It’s all over. We have to leave.”

Then Mama would start shouting, her voice cracking as she blamed him. She’d pace the whole apartment—her fortress at the heart of a sinking city; the only space she’d known for more than four months—until she wore herself out. Then she’d embrace Papa, and her feeble moans would finally cease.

I’d wait a couple of hours. They wouldn’t put up any resistance. I knew Papa had already given up and was willing to go. Mama would be more difficult, but she took so many sleeping pills, she’d be fast asleep, steeped in her jasmine and geranium essences. Although she had gradually increased the dose, she still awakened during the night crying. I would rush to see what had happened, but all I could make out through the half-open door was Mama inconsolable in Papa’s arms, like a little girl recovering from a terrible nightmare. Except that, for her, the nightmare was being awake.

Nobody heard my cries anymore; nobody bothered about them. Papa told me I was strong. I would survive whatever happened. But not Mama. The pain was gnawing away at her. She was the child in a house where daylight was no longer allowed. For four months, she had been sobbing each night, ever since the city was covered in broken glass and filled with the constant stench of gunpowder, metal, and smoke. That was when they started planning our escape. They decided we’d abandon the house where I was born, and forbade me to go to school, where nobody liked me anymore. Then Papa gave me my second camera.

“So that you can leave a trail out of the labyrinth like Ariadne,” he whispered.

I dared to think it would be best to be rid of them.

I thought about diluting aspirin in Papa’s food or stealing Mama’s sleeping pills—she wouldn’t last a week without them. The only problem was, first of all, my doubts. How many aspirin would he have to swallow to give him a lethal ulcer, internal bleeding? How long could Mama really survive without sleep? Anything bloody was out of the question, because I couldn’t bear the sight of blood. So the best thing would be for them to die of suffocation. To smother them with a huge feather pillow. Mama made it clear that her dream had always been for death to take her by surprise while she slept. “I can’t bear farewells,” she would say, staring straight at me—or, if I wasn’t listening, she would grab me by the arm and squeeze it with the little strength she had left.

One night I woke up during the night in tears, thinking my crime had already been committed. I could see my parents’ lifeless bodies but was unable to shed a single tear. I felt free. Now there would be no one to force me to move to a filthy neighborhood, to leave behind my books, my photographs, my cameras, to live with the terror of being poisoned by your own father and mother.

I started to tremble. I called out “Papa!” But no one came to my rescue. “Mama!” There was no going back. What had I turned into? How did I end up so low? What would I do with their bodies? How long would it take for them to decompose?

Everyone would think it was suicide. No one would question it. My parents had been suffering constantly for four months by then. Others would see me as an orphan; I’d see myself as a murderer. My crime existed in the dictionary. I looked it up. What a dreadful word. Just saying it gave me the shivers. Parricide. I tried to repeat it and couldn’t. I was a murderer.

It was so easy to identify my crime, my guilt, my agony. What about my parents, who were planning to get rid of me? What was the name for someone who killed their children? Was that such a terrible crime there wasn’t even a word for it in the dictionary? That meant they could get away with it. Whereas I had to bear the weight of death and a nauseating word. You could kill your parents, your brothers and sisters. But not your children.

I prowled through the rooms, which to me seemed increasingly small and dark, in a house that would soon no longer be ours. I looked up at the unreachable ceiling, walked down hallways lined with the images of a family that was disappearing little by little. Light from the lamp with the snowy-white shade in Papa’s library filtered out into the corridor where I stood disoriented, unable to move. I watched as my pale hands turned golden.

I opened my eyes and was in the same bedroom, surrounded by well-worn books and dolls I had never played with, nor ever would. I closed my eyes and sensed it wouldn’t be long before we fled without a set destination on a huge ocean liner from a port in this country where we had never belonged.

In the end, I didn’t kill my parents. I didn’t have to. Papa and Mama were the guilty ones. They forced me to throw myself into the abyss alongside them.



The apartment’s smell had become intolerable. I didn’t understand how Mama could live between those walls lined with moss-green silk that swallowed what little daylight there was at that time of year. It was the smell of enclosure.

We had less time to live. I knew it; I felt it. We wouldn’t be spending the summer there in Berlin. Mama had put mothballs in the closets to preserve her world, and the pungent odor filled the apartment. I had no idea what she was trying to protect, since we were going to lose everything regardless.

“You smell like the old ladies on Grosse Hamburger Strasse,” Leo taunted me. Leo was my only friend; the one person who dared look me in the face without wanting to spit on me.

Spring in Berlin was cold and rainy, but Papa often left without taking his coat. Whenever he went out in those days, he wouldn’t wait for the elevator but took the stairs, which creaked as he trod on them. I wasn’t allowed to use the stairs, though. He didn’t walk down because he was in a hurry but because he didn’t want to bump into anyone else from the building. The five families living on the floors beneath ours were all waiting for us to leave. Those who were once our friends were no longer friendly. Those who used to thank Papa or who tried to ingratiate themselves with Mama and her friends—who praised her good taste or asked for advice on how to make a brightly colored handbag match their fashionable shoes—now looked down their noses at us and could denounce us at any moment.

Mama spent yet another day without going out. Every morning when she got up, she would fasten her ruby earrings and smooth back her beautiful, thick hair—which was the envy of her friends whenever she appeared in the tearoom of the Hotel Adlon. Papa called her the Goddess, because she was so fascinated by the cinema, which was her only contact with the outside world. She would never miss the first night of any film starring the real screen goddess, “La Divine” Greta Garbo, at the Palast.

“She’s more German than anyone,” she would insist whenever she mentioned the divine Garbo, who was, in fact, Swedish. But back then motion pictures were silent, and no one cared where the star had been born.

We discovered her. We always knew she would be worshipped. We appreciated her before anybody else; that’s why Hollywood noticed her. And in her first talkie she said in perfect German: “Whisky—aber nicht zu knapp!”

Sometimes when they came back from the cinema, Mama was still in tears. “I love sad endings—in movies,” she explained. “Comedies weren’t meant for me.”

She would swoon in Papa’s arms, raise a hand to her brow, the other holding up the silk train of a cascading dress, toss back her head, and start talking in French.

“Armand, Armand�.�.�.” she would repeat languidly and with a strong accent, like La Divine herself.

And Papa would call her “my Camille.”

“Esp�re, mon ami, et sois bien certain d’une chose, c’est que, quoi qu’il arrive, ta Marguerite te restera,” she would reply, laughing hysterically. “Dumas sounds ghastly in German, doesn’t he?”

But Mama no longer went anywhere.

“Too many smashed windows” had been her excuse ever since the previous November’s terrible pogrom, when Papa had lost his job. He had been arrested at his university office and taken to the station on Grolmanstrasse, kept incommunicado for an offense we never understood. He shared a windowless cell with Leo’s father, Herr Martin. After they were released, the two would get together daily—and that worried Mama even more, as if they were planning an escape she was not prepared for yet. Fear was what prevented her from leaving her fortress. She lived in a state of constant agitation. Before, she used to go to the elegant salon at the Hotel Kaiserhof, just a few blocks away, but eventually it was full of the people who hated us: the ones who thought they were pure, whom Leo called Ogres.

In the past, she would boast about Berlin. If she went on a shopping spree to Paris, she always stayed at the Ritz; and if she accompanied Papa to a lecture or concert in Vienna, at the Imperial:

“But we have the Adlon, our Grand Hotel on the Unter den Linden. La Divine stayed there, and immortalized it on screen.”

During those days, she would peer out the window, trying to find a reason for what was happening. What had become of her happy years? What had she been sentenced to, and why? She felt she was paying for the offenses of others: her parents, grandparents—every one of her ancestors throughout the centuries.

“I’m German, Hannah. I am a Strauss. Alma Strauss. Isn’t that enough, Hannah?” she said to me in German, and then in Spanish, and in English, and finally in French. As if someone were listening to her; as if to make her message entirely clear in each of the four languages she spoke fluently.

I had agreed to meet Leo that day to go take photographs. We would see each other every afternoon at Frau Falkenhorst’s caf� near Hackescher Markt. Whenever she spotted us, the owner would smile and call us “bandits.” We liked that. If either of us was later than expected, the first to arrive had to order a hot chocolate. Sometimes we’d arrange to meet at the caf� near the Alexanderplatz Station exit, which had shelves filled with sweets wrapped in silver paper. When he needed to see me urgently, Leo would wait for me at the newspaper kiosk near my home, allowing us to avoid running into any of our neighbors, who, despite also being our tenants, always shunned us.

In order not to disobey the adults, I bypassed the carpeted stairs, which were increasingly dusty, and took the elevator. It stopped at the third floor.

“Hello, Frau Hofmeister,” I said, smiling at her daughter, Gretel, who used to be my playmate. Gretel was sad, because not long before, she had lost her beautiful white puppy. I felt so sorry for her.

We were the same age, but I was much taller. She looked down, and Frau Hofmeister had the nerve to say to her, “Let’s take the stairs. When are they going to leave? They’re putting us all in such a difficult situation�.�.�.”

As if I wasn’t listening, as if it was only my shadow standing inside the elevator. As if I didn’t exist. That’s what she wanted: for me not to exist.

The Ditmars, Hartmanns, Brauers, and Schultzes lived in our building. We rented them their apartments. The building had belonged to Mama’s family since before she was born. They were the ones who should leave. They were not from here. We were. We were more German than they were.

The elevator door closed, it started to go down, and I could still see Gretel’s feet.

“Dirty people,” I heard.

Had I heard it right? What have we done for me to have to endure that? What crime had we committed? I was not dirty. I didn’t want people to think of me as dirty. I came out of the elevator and hid under the stairs so I wouldn’t meet them again. I saw them leave the building. Gretel’s head was still bowed. She glanced backward, looking for me, perhaps wanting to apologize, but her mother pushed her on.

“What are you staring at?” she shouted.

I ran back up the stairs noisily, in tears. Yes, crying with rage and impotence because I could not tell Frau Hofmeister that she was dirtier than I was. If we bothered her, she could leave the building; it was our building. I wanted to hit the walls, smash the valuable camera my father had given me. I entered our apartment, and Mama could not understand why I was so furious.

“Hannah! Hannah!” she called out to me, but I chose to ignore her.

I went into the cold bathroom, slammed the door, and turned on the shower. I was still crying; or rather, I wanted to stop crying but found it impossible. Fully clothed and wearing my shoes, I climbed into the perfectly white bathtub. Mama kept on calling to me and then finally left me in peace. All I could hear was the sound of the scalding water cascading onto me. I let it flow into my eyes until they burned; into my ears, my nose, my mouth.

I started to take off my clothes and shoes, which were heavier because of the water and my dirtiness. I soaped myself, smeared on Mama’s bath salts that irritated my skin, and rubbed myself with a white towel to get rid of every last trace of impurity. My skin was red, as red as if it was going to peel. I turned the water even hotter, until I couldn’t take it anymore. When I came out of the shower, I collapsed on the cold black-and-white tiles.

Fortunately, I had run out of tears. I dried myself, scrubbing hard at this skin I didn’t want and which, God willing, would start to slough off after all the heat I’d subjected it to. I examined every pore in front of the steamed-up mirror: face, hands, feet, ears—everything—to see if there was any trace of impurity left. I wanted to know who was the dirty one now.

I cowered in a corner, trembling, shrinking, feeling like a slab of meat and bone. This was my only hiding place. In the end, I knew that however much I washed, burned my skin, cut my hair, gouged out my eyes, turned deaf, however much I dressed or talked differently, or took on a different name, they would always see me as impure.

It might not have been a bad idea to knock at the distinguished Frau Hofmeister’s door to ask her to check that I didn’t have any tiny stain on my skin, that she didn’t have to keep Gretel away from me, that I wasn’t a bad influence on her child, who was as blond, perfect, and immaculate as me.

I went to my room and dressed all in white and pink, the purest colors I could find in my wardrobe. I went looking for Mama and hugged her, because I knew she understood me; even though she chose to stay at home and so didn’t have to face anyone. She had built a fortress in her room, which in turn was protected by the apartment’s thick columns, in a building made up of enormous stone blocks and double windows.

I had to be quick. Leo must have already been at the station, darting all over the place, trying to stay out of the way of people running to catch their trains.

At least I knew that he thought of me as being clean.

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12 of 12 people found the following review helpful.
"We were the rejected on every continent"
By Sara Andrea
Since a very early age I made my mission to read and watch everything related to the Holocaust. And yet I had never heard about the St. Louis and her rejected Jewish passengers until recently. How could that be?

The German Girl talks about a story that many tried to swept under the rug because it speaks of the shared guilt of those who did nothing. Cuba, the United States, Canada. They all rejected the refugees from the St. Louis. Many other countries denied visas to thousands, millions of men, women and children trying to escape prosecution and certain death. We let them die.

The beauty in Armando Lucas Correa's fascinating book is that we get to know the St. Louis' story through the eyes of young Hannah Rosenthal and, many years later, her great niece Anna. We walk through the streets of Nazi-dominated Berlin, we run around with her and her best friend Leo as they see the world they know and love crumble around them, we feel their fear. And we wonder who were the worst victims, those who died or those who were left behind.

The 937 passengers of the St. Louis could be just a number. In The German Girl they finally have a voice. Hannah is their voice. Her dreams are their dreams, her heartbreaks are their heartbreaks.

Make the journey with her. Wander along her childhood streets, sail to Cuba, live with her and her memories and ghosts. And get to know the German Girl and try not to cry. I dare you.

4 of 4 people found the following review helpful.
A Masterpiece!
By ChazM
For a first novel, the bar has been set very high. The author was clearly meticulous in his research and it manifests itself in a gem of an historical novel. I had heard of the journey of the MS St Louis before but knew few of the details. The author tells its tale eloquently through the eyes of four generations of Rosethals, a fictional family who fled Germany prior to the start of the war but after their destiny was clear. If you have an interest in German, American or Cuban history this is a must read.

7 of 8 people found the following review helpful.
A disappointment
By TeacherGirl
I really wanted to like this book. The reviews posted led me to think it would be worth the $13, and Holacaust/WWII fiction is one of my go-to genres. I also feel guilty leaving a critical review of any Holacaust story, as I don't want to diminish their importance. So I really, really wanted to like this book.
Sadly, that did not come to pass. It's clear the author has skill, and talent, as well as an appreciation for the language; that said, I'm not sure that's enough to pass as a good storyteller. Very little that was written here seemed as intense as it ought to have been; I felt no terror in 1939 Berlin, no uncertainty on board the St. Louis, no grief in Cuba. And even though there are five senses, the author seems particularly stuck in describing smells. Even the references to the Twin Towers and 9/11 - why so cagey? - which usually bring me to tears as I think about that day - left me unmoved. The characters felt very one-dimensional and I couldn't understand why references to Nazis, Jews, etc were so indirect. I was eager to learn more about this piece of history, the St. Louis' voyage to Cuba, which I had not heard of before, but three quarters of the way through I felt like I was still waiting for the story to start. Then, zoom, fast forward through Hannah's next 70 years. And the bit about The German Girl magazine - completely disposable, the story could have been written without it. Those wonderful reviews evoked more emotion than the actual book.
So, in the end - being content to read the reviews here, which shared most of the plot more clearly than the actual book, and Wikipedia, which filled in the factual bits, could have saved me $13.

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Characteristic classes are central to the modern study of the topology and geometry of manifolds. They were first introduced in topology, where, for instance, they could be used to define obstructions to the existence of certain fiber bundles. Characteristic classes were later defined (via the Chern-Weil theory) using connections on vector bundles, thus revealing their geometric side. In the late 1960s new theories arose that described still finer structures. Examples of the so-called secondary characteristic classes came from Chern-Simons invariants, Gelfand-Fuks cohomology, and the characteristic classes of flat bundles. The new techniques are particularly useful for the study of fiber bundles whose structure groups are not finite dimensional. The theory of characteristic classes of surface bundles is perhaps the most developed. Here the special geometry of surfaces allows one to connect this theory to the theory of moduli space of Riemann surfaces, i.e., Teichmuller theory. In this book Morita presents an introduction to the modern theories of characteristic classes.

• Sales Rank: #1487487 in Books
• Brand: Brand: American Mathematical Society
• Published on: 2001-05-01
• Original language: English
• Dimensions: 8.50" h x 5.50" w x .25" l, .0 pounds
• Binding: Paperback
• 185 pages

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• Used Book in Good Condition

Most helpful customer reviews

13 of 18 people found the following review helpful.
Fairly good reading
By Dr. Lee D. Carlson
The theory of characteristic classes goes back to the 1930's, and is a subject that is one of the most poorly motivated from a didactic point of view. The literature on the subject is vast, but there are few works that explain the theory in a way that is transparent and helpful to those who need to apply it, such as physicists in the areas of high energy physics and quantum field theory. Individuals who really desire an in-depth real understanding of characteristic classes, rather than a purely formal one, will find the road difficult. There does not seem to be anywhere in the literature a treatment of characteristic classes that gives genuine insight on why these objects work as well as they do for the jobs they are supposed to do. This book is no exception to this, but it does serve to introduce the reader to the theory of characteristic classes as it has been developed in the last few decades. The first chapter is an introduction to de Rham homotopy theory, and its purpose is to outline the approach of using differential forms rather than cohomology groups to study the homotopy type of a smooth manifold. After a brief overview of Postnikov decompositions, the author discusses the rational homotopy type of a topological space. This is a strategy that is based on ignoring torsion and viewing the homotopy group as being over the rational numbers. This makes computation of the homotopy type much easier. The rational spaces have fundamental groups that are Lie groups over the rationals and each higher homotopy group is a vector space over the rationals. This theory is basically due to D. Sullivan and his main results are proved in this chapter. The interesting part of this discussion is the construction of de Rham complexes over simplicial complexes instead of smooth manifolds. The author shows in detail how the rational cohomology can be computed for these types of objects. He then discusses the cohomology of groups in terms of Eilenberg-Maclane spaces, and defines what is called the Malcev completion of a finitely generated group. This is basically a rational nilpotent completion of the group, and is used in the chapter to give the connection between fundamental groups and differential forms.
In chapter 2, the author discusses characteristic classes over flat bundles. The author shows very effectively how the fundamental group of the base space of a flat bundle can introduce twist in the flat bundle. The Chern-Weil theory, which allows one to study the global structure of principal bundles with a given Lie group as a structure group, is reviewed in the first part of the chapter. The author also gives a very interesting characterization of flatness in terms of holonomy homomorphisms. Then after a brief overview of the cohomology of Lie algebras, he defines characteristic classes of flat product bundles. Since a given principal bundle may not be trivial, defining characteristic classes for a general flat principal bundle takes more work, which the author does nicely in what follows. The Chern-Simons theory, so important in physical applications, is then discussed as a specialization of the Chern-Weil theory. The author then returns to the consideration of characteristic classes of flat bundles via Gelfand-Fuks cohomology. This is the cohomology of the subcomplex of the continuous cochains of the smooth vector fields of a smooth manifold, and the author shows how it acts as a characteristic class for flat product bundles.
The author moves on to the characteristic classes of foliations in chapter 3. This is a topic very important to those who study dynamical systems, and the author gives a pretty good overview of how characteristic classes can measure the global properties of foliations. He reviews briefly what foliations are, and then defines the Godbillon-Vey characteristic class for a foliation of a smooth manifold. The author gives an example of foliation for the Lie group PSL(2, R), and shows the existence of a non-trivial Godbillon-Vey class for a collection of torsion-free discrete subgroups of this group. The Bott vanishing theorem is proved, and then the author shows how to relate the Gelfand-Fuks cohomology to the characteristic classes of foliations via the Weil algebra. Then the author gives a fascinating discussion on how to find "discontinuous invariants" induced by a real cohomology class. The discussion is very interesting given the disparity between real and integer cohomology classes. He then returns to the consideration of the characteristic classes of flat bundles where now the Lie group is replaced by a given closed smooth manifold.
In the last chapter of the book, the author discusses the characteristic classes of surface bundles, where the genus of the surface is greater than or equal to 2. String theorists will appreciate the discussion, as it goes into the mapping class group of surfaces, the Teichmuller modular group, and how they act on the homology group of surfaces. The author shows explicitly how to construct surface bundles with non-trivial characteristic classes, and gives a brief outline of the proof that these characteristic classes are algebraically independent.
The author ends the book with a discussion of future research problems for the interested reader, along with a short list of references.

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[C610.Ebook] Get Free Ebook Art Worlds, by Howard S. Becker

Get Free Ebook Art Worlds, by Howard S. Becker

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Art Worlds, by Howard S. Becker

Get Free Ebook Art Worlds, by Howard S. Becker

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This classic sociological examination of art as collective action explores the cooperative network of suppliers, performers, dealers, critics, and consumers who—along with the artist—"produce" a work of art. Howard S. Becker looks at the conventions essential to this operation and, prospectively, at the extent to which art is shaped by this collective activity. The book is thoroughly illustrated and updated with a new dialogue between Becker and eminent French sociologist Alain Pessin about the extended social system in which art is created, and with a new preface in which the author talks about his own process in creating this influential work.

• Sales Rank: #397910 in Books
• Published on: 2008-04-08
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.27 pounds
• Binding: Paperback
• 440 pages

About the Author
Howard S. Becker is author of many books including Telling About Society, Writing for Social Scientists, and Outsiders.

Most helpful customer reviews

4 of 4 people found the following review helpful.
The Real Story of How Creativity Happens
By Keith Sawyer
I agree with the existing reviews, and I want to add that this is an essential contribution to our understanding of creativity and the creative process, in all domains. The impact of this book goes far beyond the sociology of art. I read this book while I was writing the first edition (2006) of my creativity textbook, _Explaining Creativity: The Science of Human Innovation_, and it is a valuable counterpart to psychological theories of creativity, which tend to be overly focused on the solitary individual. The take-home message of Becker's book is that you cannot explain creativity only by explaining the creator. A full explanation requires that you analyze all sorts of things that are external to the creator--the materials being used, the support staff that must be hired, the conventions and norms shared by colleagues, the nature of the venues where work is displayed. Each chapter in Becker's book dives deep into an analysis of one of these extra-personal elements of what he calls the "art world." One of the last chapters, titled "What lasts," analyzes how a creator's body of work evolves AFTER THEY DIE--how certain works are preserved and displayed, while others sit in the warehouse or even get destroyed. This book radically shifts the explanation of creativity away from the individual and toward the social and cultural context. It is so well written and so well argued that everyone who reads it is convinced.

4 of 4 people found the following review helpful.
A Must-Have for Sociologists of Culture
By Amazon Customer
Becker's Art Worlds is a classic. Not only does he define "art world," which is critical for the study of the arts, but he covers so many topics of the arts (from creation, to sales, to networks, etc). This book is like the Bible of art worlds and can be applied in so many ways, beyond what most people consider "fine art." A serious must-have for anyone studying the arts in sociology.

1 of 1 people found the following review helpful.
Good sociology
By -Hewie Lewis
Readable and good scholarly work. Becker takes apart the art world to peer inside at all the moving parts. Definitely a must for sociologists studying culture.

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[V651.Ebook] Get Free Ebook The Music of Miles Davis: A Study & Analysis of Compositions & Solo Transcriptions from the Great Jazz Composer and Improvisor, by Lex Gie

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Get Free Ebook The Music of Miles Davis: A Study & Analysis of Compositions & Solo Transcriptions from the Great Jazz Composer and Improvisor, by Lex Gie

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(Jazz Instruction). A complete musical analysis of one of the greatest jazz masters of all time. This comprehensive text studies and analyzes the works, provides transcriptions of the solos, and much more. For all music enthusiasts. Songs covered include: All Blues * Four * Freddie Freeloader * My Funny Valentine * Nardis * So What * Solar * Stella by Starlight * Tune Up * and more!

• Sales Rank: #1501948 in Books
• Brand: Hal Leonard
• Published on: 2002-11-01
• Released on: 2005-01-01
• Original language: English
• Number of items: 1
• Dimensions: 12.00" h x .73" w x 9.00" l, 2.25 pounds
• Binding: Paperback
• 320 pages

Features

• 320 Pages
• A Study & Analysis Of Compositions & Solo Transcriptions From The Great Jazz Composer and Improvisor
• Includes 35 Songs
• Author: Lex Giel
• Dimensions 12 x 9

Most helpful customer reviews

1 of 1 people found the following review helpful.
Short and powerful analyses of some groundbreaking tunes
By P. Gleeson
I've gone back to this book many times over 10 years. My only gripe is there should have been a second volume--all of in a silent way, big fun and on the corner for instance. But the analyses are compact and clear.

2 of 3 people found the following review helpful.
great Miles insight
By grimbal
This was very helpful although some of miles actual complete solos would have been nice. Things such as Miles Stones *(The newer one) Wonderful stuff. Thank you so much

1 of 2 people found the following review helpful.
My bible
By Tio Diego
I highly recommend this book to any serious Jazz composer. Useful, practical and easy to understand. My bible from now on. I was looking for something like this for so long. Much better than most theretical Jazz books and way cheaper also.

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