Jennifer Jones Books

In a Dark ,Dark House
The story is about a house where no one has gone before.

There is a scary noise In the Dark ,Dark house.

In the Dark, Dark House interests me because it's like a mystery.

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Our narrator, a boy of 4 or 5, tells us about his encounter in a spooky house. The first two-page spread is typical of the whole book: a full-page picture on the right shows the boy walking down a country road at night; the left-hand page inserts pictures for many of the simple [nouns] being used, and reads -- "The [sun] went down. The [stars] came out. The [clock] struck ten. And I went walking under a dark, dark [moon]."

The story shows the boy entering a room in a scary house and finding a monster there. The story is 11 pages of a few lines each, and is followed by four pages of flash cards (six on each page) which are mainly nouns contained in the story, with a picture on one side and the word opposite.

Our toddler loves the feeling of participating in the reading, enjoys the funny story, and likes to point at or say the flash words. This is fun reading prep material that your preschooler might enjoy too, though not if they have monster issues!

Others in the series, sans monsters, are Otto the Cat, Silly Willy and Don't Wake the Baby.

I purchased this book for my son, he was 3 at the time, I never thought i would be reading it over and over this many times.I have read this to him so many times, that I am going to buy another copy, the one i have is so worn from hours of enjoyment, it is falling apart. My son is almost 5 now, and is starting to reconize the words now. He knows the book so well, that he sometimes tries to read it to me!He loves the ending where the monster is in the trunk, and i have to sometimes read just the ending over and over.Thank you for such a great childrens book, it is helping him with his pre-school reading!

i found this to be a wonderful book beautifully written by the author, but there is one thing that is sadly lacking in the book, thats miss jones refusal to speak to the author, i have a question that i'm burning to know "why did she get involved with david selznick? was it love or merely her burning ambition?" throughout the book you never get a feeling of true love between the two, it was as though they were both using each other, but other than that question the book is informative and a great read- zero boring parts!

I have to say that this book is a many-splendored thing. Finally, a bio on Jennifer Jones!

I remember the very first time I ever laid eyes on Jennifer Jones. I was probably around 8 or 9 years old and it was the NBC broadcast premiere of The Towering Inferno. I started watching it in mid film and saw this white claded woman running through a smoke filled hallway and banging on the door.

Needless to say, Jones was one of the few people who actually acted in the disaster epic and I was a Jennifer Jones fan from that day on.

Portrait of Jennifer is a biography on Jennifer Jones, the only other bio I know of is called Star Crossed, a book on Jones and her erstwhile husband Robert Walker. But this book concentrates solely on Ms Jones herself. This is a shame. It seems of all of the stars of yesteryear, Jennifer Jones is often the most overlooked and ignored. When the New York Rockette had their first Black performer, also named Jennifer Jones, nobody made the connection. It is a shame, but this book remedied that and gave Jennifer Jones the recognition she deserves in writing.

The author originally contacted Jennifer Jones for her participation in the book, which the former actress respectfully declined. Thus the book is mostly from hearsay and second hand accounts....but however, the author still managed to paint a fascinating portrait of the actress.

Born Phylis Isley, the book traced Jones' vaudeville childhood, to her marriage to Robert Walker. She was then discovered by David O. Selznick, which lead to her Oscar winning performance in The Song of Bernadette. She and Robert Walker became the star couple in Hollywood...which ended with her marriage to Selznick and her divorce from Robert Walker. Robert Walker's life was pratically destroyed after Jennifer divorced him and ironically, it seems Jennifer's promising film career was stunted (albeit unintentionally) by Selznick, who was so obsessed with her that he limited her roles mostly to romantic leads.

The bio also went onto Selznick's death, Jones' suicide attempts, her marriage to her Norton Simon, and a comeback to the movies which was aborted with the tragic suicide of her daughter.

There are also some background info on her various movies, and fans of "The Towering Inferno" may be interested in some tidbits in the book, such as Jones provided the material for the gown she wore in the film (white silk that costed around a hundred bucks a yard...and I am talking about 1970 dollars!).

In any case, after reading the book, Jennifer Jones came across as most of her onscreen roles: a seemingly timid and frail woman who possesses a high degree of strength and independence.

I hope that she realize she still has fans out there, and I wouldn't mind seeing her in a movie again.

I was named after Jennifer Jones, so I naturally had curiosity about her life. When I found a copy of this book, I bought it and read it in a matter of a few days. Jennifer Jones was a much more fascinating person than I had anticipated. Although I found the book to be a little murky on presenting a time/context of which events occur (particularly in relation to her first husband, Robert Walker), the book is overall very interesting and gives the reader an enthralling portrait of this great actress.

This book has all sorts of information that will help any group of people working together get along better because of a greater understanding of different kinds of people.

A colorful introductory textbook on organizational behavior that integrates concepts, theories, and research findings to examine individuals in organizations, groups and organizational processes, and inter-group relations and the organizational context. Case studies illuminate concepts and provide managerial implications. There is a diversity of heuristic features, some integrated into the text and some at the end of each chapter or part.

Great book. Must have it, if you are studying Organizational Behaviors (OB).

Also, this book is well known to many of top ranked universities in Graduate Programs (MBA) and No. of copies this books have been sold are in few hundred thousands !!! (@ 380,000 copies) justifies it's strength and quality of knowledge as well.

This book was required for an MBA class. It is more suited for undergraduates. It does not encourage deeper thinking or analysis appropriate for the graduate level.

The book is strong in theoretical understanding but weak in management applications. It is nice to be able to list the names of motivation theories, for example, but the authors seem uanble to provide criteria one might want to consider for policy decisions. I wonder if this book is by and for academics who have no real life work experience but need to publish or perish.

End of chapter supplementary articles are only from the New York Times. Although the book's introductory material lets us know how wonderful this is, a greater variety of source material would enhance the overall effectiveness. After all, the book does speak of diversity.

To its credit, the book is reasonably readable and does not overwhelm us with too much esoteric academic speak.

Atkins may be ok for some people but I have talked to a lot of people who have had ill effects from this diet, me being one of them.
I was on the diet for 7 days doing the induction phase. For 4 days prior I had difficulty sleeping, muscle cramps and disturbances in my vision. I also suffered from heart palpatations. Something I had never experienced before. And then came the headaches. I am not prone to headaches and had not had one in I don't know how long, but for three days straight on this diet I had headaches.

On day seven I woke up groggy and "foggy brained" this is all supposed to be a so called normal reaction to the diet while you are weening yourself off of carbohydrates and transforming your body into a fat burning machine. I was ill the entire day and could not get up the energy to do anything. I started having other problems too. I decided then and there I was going off this diet. I went to the store and got some whole grain bread and ate it with a salad. Within two hours the fogginess was gone, headache was gone and I felt better.

I don't care what anyone says, this diet is dangerous for some people. If you do the diet and start feeling ill you should stop it right away. Personally I wouldn't even go on it in the first place. There are no long term studies on this diet and it is frightening to think of what you could be doing to you body. When you stop to think about it how normal is it to say eat all the fat, cheese, meat, butter you want but cut down on the vegetables. I know...I know...when you move up the phases in the Atkins diet you get more vegetables, nuts, dairy, etc. But what damage are you doing to your body in the meantime?

I would think a lot before starting this diet.

I had always heard mixed reviews of Dr. Atkins' diet plan. Well, after reading this book and deciding to give it a try, I am healthier than I have been in years. The book does a nice job explaining the science behind the diet, explaining the steps to successful short-term and long-term diet, and has some great recipes.

I initially read and practice his work years ago and lost 65 pounds AND kept it off ever since. Low carb is bringing us back to the basics of food, replacing the fast food and processed food of our generation.

It is too bad he didn't live to see the Low Carb Craze which he started from her personal beliefs.

Low Carb works and is healthy!

Merna

Pocket of Pearls: A 30-day pocket workbook to start hearing a softer voice inside of you!

I lost all of the weight I needed to on this diet-and then some! It is a healthy diet. You do eat veggies, even fruit eventually. I think that people should educate themselves before saying negative things about anything! If you don't want to eat like this, okay. Don't. Your life is your own. But hey, the diet does work for those interested. ;-)

I am the author of a new book entitled GENOCIDE;HOW YOUR DOCTOR'S DIETARY IGNORANCE WILL KILL YOU. I am a family physician with over ten years experience introducing a low carbohydrate, more fat, more cholesterol, more protein diet into my patient's lives. Through this dietary approach I have cured type 2 diabetics, treated people with high blood pressure with little or no need for meds, seen tons of weight lost and the list goes on and on.
Atkin's book is easily one of the best books ever written on low carb dieting. The three books I recommend my patients read are Atkins, Protein Power, and of course my own :-)

Unfortunately most physicians will never read this book and if they do they will dismiss it as an opinion, not based in fact. For some reason, the scientific method is not followed in dietary clinical trials. The scientific method should be: I have an idea (theory, supposition, opinion, hypothesis whatever you want to call it), I perform an experiment to either prove or disprove my idea; if I prove my theory-great-look how smart I am. But if the results do not prove my idea, I am supposed to re-evaluate my initial idea, not call the experiment flawed or the results inconclusive.
The reason the dietary clinical trials appear contradictory is because the researchers in these trials start off with a conclusion--not an idea-- perform an experiment, and when the results of the experiment do not support what the researchers already 'think' they know; they now call the experimental design flawed or the results inconclusive, which is generally not the case.

I have literally treated thousands upon thousands of my patients with low carb diets over the last decade. I love when the labs come back with higher HDLs, lower triglycerides and normal blood sugars. I love teasing my patients and ask if they are eating more fat and cholesterol. When they say yes, I ask them "Well, if you are eating more fat and cholesterol, then why did your fat level drop and why did your HDL rise, and why did you lose weight?" I always get a smile back, because my patients know what I am getting at. And what I'm getting at is the fact--and I mean FACT, that low cholesterol, low fat diets DO NOT WORK to any degree to help people stay off or reduce their medications.
This book should be required reading in all medical and undergraduate colleges. If physicians actually understood the correct way to tell their patients to eat--many disease processes would become extinct--instead of the human race.

Allow me to end my post with the three biggest dietary myths in America;
MYTH # 1
Eating fat makes us fat. FALSE. The truth is that eating fat does not make us fat, unless we're eating too many carbohydrates along with that fat.
MYTH #2
Eating cholesterol containing foods causes heart disease. FALSE. There has never been any study which has shown, convincingly, that eating cholesterol containing foods causes heart disease.
MYTH #3
Probably the biggest dietary myth out there is that the calorie actually means something in human nutrition. FALSE. The calorie means nothing in human nutrition.

Atkins was a true pioneer in the correct way to eat.
Genocide: How Your Doctor's Dietary Ignorance Will Kill You!!!!

excellent book, well written; the author is a brilliant and well respected art historian

I bought Body Art: Peforming the Subject while doing a research paper for an undergrad course on Contemporary Art History. Amelia Jones' book brings a series of critically incisive contributions to current performance art and body art theoretical debates. Her use of phenomenologigal theory (Merleau-Ponty)is admirable amidst an American academia with a tendency to be over-run by fashionable perspectivisms oblivious to their own roots and histories. Yet, Jones' ambitious work is under-cut by a jargon-ridden prose that sometimes appears to go nowhere, especially when discussing Lacanian psychoanalysis and concepts such as the body, the self, the subject and the other. For example, while trying to argue for an anti-Cartesian view of the subject, Jones insists in mantaining the grammatical dichotomy of "body/self". Instead of pushing Derrida's supplement theory to its limits, Jones seems to have a step in and a step out of the normative and dangerous dichotomies that have plagued Western thought since Descartes.

Still, Amelia Jones' Body Art is a necessary book if one is interested in taking a peek at body and performance art debates. While it does not compare favorably to Schneider's rigourous and well-written dialogue with postmodern and performance theories nor to Goldberg's more traditional yet fascinating take on performance art, Body Art: Performing the Subject remains as an intelligent contribution to the history of performance and body art.

BODY ART/PERFORMING THE SUBJECT offers an excellent critique of a fascinating phenomenon in contemporary art: the artist's voluntary use of her/his body in art. In this superb and much-needed book, Amelia Jones defines body art "as a set of performative practices that, through such intersubjective engagement, instantiate the dislocation or decentering of the Cartesian subject of modernism." Anti-formalist intersubjectivity and poststructuralist criticism against the Cartesian mind/body split are the two theoretical angles from which Jones examines body art pieces from the 1960s to the 1990s. She argues that body art performances, enacted against the grain of normative subject, exposes the logic of exclusion assumed by the modernist art history and criticism.

With this rigorous, incisive, and politically informed thesis, Jones develops a stunning series of analytical re-readings: from the action painting of Jackson Pollock--filmed by Hans Namuth; the erotic/violent/contemplative body sculpture of Vito Acconci; the feminist performances of Hannah Wilke, who marks sexuality, vitality, and mortality with equal measure of intelligence, humor, and courage; to the intersection of body and technology as exemplified by the works of Gary Hill, James Luna, Orlan, Bob Flanagan/Sheree Rose, Maureen Connor, Laurie Anderson, Lyle Ashton Harris, and Laura Aguilar. Other artists covered extensively in Body Art include Chris Burden, Yves Klein, Carolee Schneemann, Yayoi Kusama, Lynda Benglis, Marina Abramovic and Ulay, Adrian Piper, and Niki de Saint Phalle. The depth and breadth of Jones's theoretical references that particularize her portraits of these artists makes for the reading of this book a difficult but stimulating pleasure.

Provocatively argued and elegantly expressed, Body Art/Performing the Subject is a must-read for those interested in the debates over embodiment, subjectivity, performance, feminism, and theories of identity. The intensity of Jones's writing is the heat--and the cool--of a philosophical motion.

The main problem with this book is the confusion attending Jones' inadequate construction/theorization of her basic concepts, such as, "the self" "the other" "the subject" "sexuality," "narcissism." Among many glaring problems is the total absence of any engagement or theorization of the unconscious, any true dialogue or understanding of psychoanalysis, particularly Lacanian, even though she depends so heavily on concepts derived from psychoanalysis. What is the subject? Is it the ego? The ego + body? The "social self?" The "subject" has in fact a very precise meaning in Lacanian theory--the subject of the signifier, which also, is utterly absent from this book. There is no conception of the signifier--because she tends to lump anything to do with "form" into the straw man of "Greenbergian Mondernist formalism." The result is that Jones is often trapped in a binary--there is no third term, no theory of desire and no Other--except that which was theorized at one time by Merleau-Ponty, evidently, though, it is nowhere in THIS text. There is a valiant attempt to get out of the spheric binary, but there is nothing there to help construct it, besides the incessant footnoting and referencing of "French philosophy" and "French poststructuralist theory," which is just a way of deferring the process, not entering into it. The "radical" structure she talks about so much is just not part of the production of her text, her process, her methodology. She remains totally at the level of the University Professor talking about people who somewhere else have broken down the borders she seems to want to cross, butdoesn't seem to know how herself.

What is sexuality? How can you speak about sexuality without a concept of the unconscious? In a footnote, Jones disregards Lacan's formulas of sexual difference--allegedly because of his "misogyny," though one could also argue that any true "engagement" and understanding of Lacanian theory would be both too disruptive and too complex and problematic for her book, for the models she wants to work with. But her superficial and clumsy reading of Lacan is the same as every other "philosopher" she quotes.

My quesion is: is "Lacan" and "psychoanalysis," perhaps even "the phallus", the truly repressed and excluded middle of Jones's own form of postmodernism? As Modernism represses the potential for its own disruption and dispersal--where is it in Jones work? I think its in the highly UNtheorized relation to analysis and anaytic concepts. Perhaps she does not wish to deal with the "phallus" precisely because she is so identified with it?

The simultaneous "visible and invisible" quality of her problematic relation to psychoanalytic concepts (particularly, but not only those of Lacan), is epitomized right at the beginning by her choice of Schneeman pulling a scroll out of her vagina. It doesn't take a genius (or Merleau-Ponty, or any "French poststructuralist philosopher") to understand she's constructing not a penis, but a phallus, veiled in the form of a text (a book on Body Art?)(or vice versa? What is the relationship between the phallus, writing, and a hole?). The iconic power of this image speaks to the "subject position" of Jones herself, I believe, and it is precisely this position which goes unacknowledged and unrecognized in all her conscious representations of herself. Not that there's necessarily anything wrong with that, given the ironic (or is it?) work of Schneeman. Whatever the case, Jones misses an opportunity to TRULY implicate herself in her writing.

This is just a very tedious and tiresome book-typical for academe, and typical that Jones herself is utterly blind to HER positioning in the University, of which she is so obviously a product.

The body we inhabit is a contested space, one which artists have beenspeaking of and from for a long time. My own hyper recognition of theproblematics of speaking from the body came in the early 70's whenconfronted by the naked body of Vito Acconci in a hallway at the artschool I was attending. I did not know who he was, only that he was infront of me pulling hairs from his chest... This confrontation wasanything but academic. I was freaked and equally intrigued. Far fromrunning away from or theorizing on what was happening, I entered intoa space of what Roland Barthes calls "twice fascinated", onebody in visceral relationship feeling attraction, repulsion, slips ofidentification etc., another body in simultaneous psychologicalassessment and witnessing of the event. Both bodies were mine...notsplit, rather simultaneous. As I look back at my own production of thepast 30 years I see myself consistently in struggle to express thissimultaneity. The pitfalls have not only been the Cartesianimperatives imbedded within culture, but my own, historically seatedwithin my body.Reading Amelia Jones' book reminds me of the stressesand tensions which are inevitable when re-aligning our ideationalcritiques to mirror our corporeal experiences. It is not an easyposition given that definitions of body, self, other are not fixed. Ihighly recommend this book to all who are committed to reshaping ourtired dualism of nature/culture while aware of our inherentcollusions. It is refreshing to read a writing which is not afraid toslip as it intends to slide.

These books are set up well. Very well organized and easy to learn from. Do wish it had one list of all the words to go from. The accompanying CD is almost worthless - very basic games/activites & always the same - lucky for me our teacher made the test straight from it, however! Our "sister" class - same material, different teacher - didn't have it so lucky. They all said the CD was useless.
There is a website (look up Delmar Learning) that is a tad more helpful than the CD.

I have really enjoyed using this text. It is easy to read and is careful to fully explain both the definitions, the pronounciation, and provide a descption of the most common ailments for each body system studied. It is definetly a keeper both for my class now and for future reference.

this is not a paperback book like it says it is all you get is an acess code. Tried two times to get the actual book sent to me for a college class that had already started..I never was able to get an actual book for the class and amazon had to refund my money

This is a huge, in-depth book. I originally got it for a medical transcription course, but I find that I refer to it quite often for my anatomy & physiology classes. There are tons of full-color pictures, lists of abbreviations. The first 4 chapters are general terminology, which is very helpful, which is followed by 20 chapters on different systems of the body and fields of practice. I love this book and will use it throughout my nursing schooling, and probably even past that.

This book, is useful... but has many many flaws. In the back there are practice pages, and many of them have typos and inaccurate information. The book contains many typos that are cumbersome if one is just learning. The CD was useful, and has many fun games to help one with the terminology. I would say the CD was much more helpful than the actual book. Despite the fact, I still would not recommend this book.

This is the only way to go as far as I'm concerned. Got a couple of these and made friends at school by giving them away! Great price and in great condition.

Colleges kill you for their books...what's America come to???

I bought the book online got to class and found that chapter 17 and 18 were missing and had to be requested seperate-THIS SUCKS!I am low income and was thrilled I could buy the book for $28 and now I have to pay extra to xerox-double sucks!

good book

An excellent textbook that helps global as well as analytical learners by providing both written information as well as a wealth of charts and pictures.

I used this for my General Psychology Class. It was probably one of the first textbooks I used that I could understand, being that I learn by looking at pictures rather than reading. It helped me. It covers Psychology generally and doesn't focus on any one disorder in particular, so there are a lot of disorders listed and a good amount of information on each, but they are not explored in depth, you'd need a textbook or book especially for say Depression, in order to get the most information on it. But it does a good job for what it is.

I hope this review helped you. :)

A terrific general psych book for the beginning of my psychology study. Very general, good intro into basic study. Easy to study from.

I was told there was over night shipping on this book which I requested. When it did not show up the next day I checked with the shipping company and they said it was sent 2nd day air. I phone Amazon and they confirmed there was no over night shipping. If I knew there was no over night shipping from Amazon I would have purchased it from another source because I needed it the next day.

Used this book for a class. It is well organized and has plenty of thought-provoking exercizes. It presented ethics and morals as fluctuating things, based on the times and location - I don't agree with that stand. However, the book was good. The online material is awsome - good chapter notes, practice tests, and glossary.

The book was in very good condition and arrived just in time before classes began. Shipping was fast and the book was exactly what I needed.

I used this text while teaching an Introduction to Management class to undergraduates at SUNY. It is comprehensive, well produced, up-to-date and has a lot of engaging real world examples. However, it's very expensive.

Strengths:

- Business Week excerpts at the end of each chapter allow students to examine real companies and real managers
- Case problems are pitched at the right level - short, but with enough content to make the students think
- DVD has some excellent content, especially on the entrepreneurship chapter. Many "Hot Seat" segments depict provocative scenarios such as sexual harassment that engage students and stimulate discussion.
- Case materials are integrated into the text instead of being presented in "boxes" that disturb the chapter flow.
- Good material on women in management.
- Well produced
- Comprehensive: the only material I added was on problem-solving and analysis skills, and some extra depth in business strategy.

Could be better:

- The book lumps business strategy under "planning", which understates its importance. The boring material on business planning gets more space than the interesting topic of competitive strategy. The business strategy material focuses on SWOT analysis and (briefly) Porter's Five Forces model. I would have liked to see some material on the resource-based view - such as core competencies - which is intuitive enough for undergraduates.
- The online test material is mostly multiple choice/ fill in the missing word, and in my view tests facts more than management concepts. I found this entirely inadequate and used none of it. I ended up writing a lot of short answer questions.
- The authors use a strange selection of tools in the section on psychology. There is no mention of Myers-Briggs or Belbin, which are widely used in the real business world.
- The text is very expensive. I felt guilty asking some students to pay this much.

This story set in the late 1800's was descriptive and fast moving, drawing the reader into the locations, the times and the peoples. The historical interaction between the Mormon valley dwellers and the gentile miners was an absorbing novel from the first page. I can't wait for the author's next volume to continue the journey. Gray Jones knows his history and delivers his stories in a captivating manner that draws the reader into share the adventure. Dakota Wind Texas Descent

Love inspirational romances? Then you will certainly enjoy this book. All the characters are fools for and in love. Karen Ball's "Jericho's Walls" deals with ferrets, cats and love the second time around. "Cat in the Piano" by Jennifer Brooks illustrates that simple assignments can turn into tangled but enchanting webs. "Fool Me Twice" by Annie Jones proves that second chances are sometimes deserving. All the stories combine love and Christian faith. Each story is well-written, but my favorite is "Fool Me Twice." (I have a thing for cowboys!) If you like this book, you will also enjoy the following: I Do; Getaways; Only You; and Spring's Memory.