[A498.Ebook] PDF Ebook Cthulhu Tales Omnibus: Delirium, by Mark Waid, Keith Giffen, Steve Niles, Michael Alan Nelson, William Mesner-Loebs, Glen Cadigan, Todd Le

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A wide-ranging anthology based on the horror universe of H.P. Lovecraft by today’s top talent!

Lovecraft lives! All new original tales of twisted darkness and the macabre based on Lovecraft’s Cthulhu mythology. Featuring some of today’s hottest talents, including comic book superstars Mark Waid, Keith Giffen, Steve Niles, William Messner-Loebs, and Michael Alan Nelson, screenwriters John Rogers (Leverage), Andrew Cosby (Eureka), Johanna Stokes (Eureka), and Henry Alonso Meyers (Chuck), and webcomics sensation Kevin Church among others. With grab-you-by-the-tentacles art by Chee (TRANSFORMERS), Ben Roman (THE CRYPTICS), Shane Oakley (CHANNEL EVIL), Andrew Ritchie (NECRONOMICON), Andy Kuhn (FIREBREATHER), Lee Carter (THE DARKNESS), Filip Sablik (ARTIFACTS), Chris Lie (DRAFTED) and Joe Abraham (HERO SQUARED). Don’t miss this primal journey into a dark arena of horror. Featuring a cover from 100 BULLETS cover artist Dave Johnson!

• Sales Rank: #659827 in Books
• Brand: Brand: BOOM Studios
• Published on: 2011-09-06
• Released on: 2011-09-06
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .60" w x 7.00" l, 1.01 pounds
• Binding: Paperback
• 224 pages

Features

• Used Book in Good Condition

About the Author
Mark Waid, Alabama native and current Los Angeles resident, has written stories for every major comic book publisher, and his seminal graphic novel, KINGDOM COME, for DC Comics, is one of the best-selling graphic novels of all time. For BOOM! Studios, he has written bestselling graphic novels POTTER’S FIELD, INCORRUPTIBLE and the multiple Eisner and Harvey Award-nominated IRREDEEMABLE. Michael Alan Nelson is the author of the critically acclaimed comic HEXED as well as FALL OF CTHULHU from BOOM! Studios. He is a winner of the 2004 New Times 55 Fiction contest for his short-story “The Conspirators” and is currently working on several projects for BOOM! Studios including the smash-hit series THE CALLING. He lives in Los Angeles. Keith Giffen has 30 years experience in the business writing LEGION OF SUPER-HEROES and JUSTICE LEAGUE INTERNATIONAL, as well as creating fan-favorite characters like Lobo, Trencher, and Ambush Bug.

Most helpful customer reviews

9 of 9 people found the following review helpful.
In with a bang, out with a whimper
By Stantz
Cthulhu Tales Omnibus collects several of the first issues of Cthulhu Tales into one big volume (I think the other Cthulhu Tales non-omnibus volumes only have 2 or 3 issues).

The three stars is for the art and creativity. It's a lot of fun to experience Cthulhu in a variety of different settings, from the ultra serious to tongue in cheek, like an elementary school rendition of the King in Yellow.

What kills me, however, is that without fail, every single one of these stories begins with a bang, and trickles off with a whimper. Literally, every single story sets up this great premise, and then fizzles out into a non-ending. OK, sure, LOTS of Lovecraft end with a character simply going mad, but most of the time, it's a final revelation that sends the narrator over the edge. Here, it's like the author was writing the story, realized he only had one page left, and then simply ended it with a two or three panel quick fix. It really sucks, because ANY attempt to come up with a proper ending would be extremely welcome - there are a few that come close, but barely.

Anyway, I'm not one of these purists complaining about a lack of Lovecraft style - I love delving into all worlds Cthulhu, humorous or morose. BUT PLEASE PLEASE PLEASE try to write future stories with actual endings!!!

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Cthulhu Tales Omnibus: Delirium, by Mark Waid, Keith Giffen, Steve Niles, Michael Alan Nelson, William Mesner-Loebs, Glen Cadigan, Todd Le PDF

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[C583.Ebook] Fee Download The Routledge Intermediate Persian Course: Farsi Shirin Ast, Book Two, by Dominic Parviz Brookshaw, Pouneh Shabani-Jadidi

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The Routledge Intermediate Persian Course: Farsi Shirin Ast, Book Two, by Dominic Parviz Brookshaw, Pouneh Shabani-Jadidi

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The Routledge Intermediate Persian Course: Farsi Shirin Ast, Book Two is the first intermediate level Persian textbook, written specifically for English-speaking university students, that makes use of up-to-date pedagogical techniques, and stresses the importance of communicative competence.

The diversity of the texts in this textbook helps to familiarize students with a range of literary genres, and provides them with the necessary building blocks to continue reading on their own.

One of the distinctive features of this book is its content-based and task-based approach to learning the language; all the material provided has been carefully selected to support and enhance a student-centred class environment.

As with The Routledge Introductory Persian Course, all the texts in this volume are available online in the form of audio files. These texts are recorded by native speakers and available for instructors and students to download freely at http://www.routledge.com/books/details/9780415691376/.

The Routledge Intermediate Persian Course: Farsi Shirin Ast, Book Two follows on where the first textbook ends and is ideal for all intermediate learners of Persian in their second year of study.

• Sales Rank: #1355560 in Books
• Published on: 2012-08-06
• Released on: 2012-06-14
• Original language: English
• Number of items: 1
• Dimensions: 9.69" h x .53" w x 7.44" l, .0 pounds
• Binding: Paperback
• 232 pages

Review

"This is a comprehensive text book for teaching intermediate Persian. It covers crucial material, provides an excellent range of drills and exercises, and exposes students to a wide range of textual examples." - Nasrin Rahimieh, University of California, Irvine, USA

"The Routledge Intermediate Persian Course offers an alternative model that combines elements of both established and new approaches to language teaching within a set of solidly innovative pedagogic premises.” - Ahmad Karimi-Hakkak, University of Maryland, USA

About the Author

Dominic Parviz Brookshaw is Assistant Professor of Comparative Literature and Persian Literature at Stanford University, USA.

Pouneh Shabani Jadidi is Faculty Lecturer and Coordinator of the Persian Language Program at McGill University, Canada.

Most helpful customer reviews

2 of 2 people found the following review helpful.
I am disappointed with this book
By Lyublyana Stoyanova
Honestly, I am disappointed with this book. The best way to describe it is unbalanced. Before purchasing it, I had good knowledge of Persian grammar, and from this point of view the book is really easy for me, with very few useful grammar drills to practice what I already knew. At the same time, the book is heavy on vocabulary, but the majority of new words are not in the glossary which also lacks phonetics. I basically spend hours in looking up words in the dictionary. Another downside to this book is the lack of text to give context to the vocabulary. I am giving three stars only because I consider this textbook useful for building on vocabulary, that is if I have patience to go past lesson two.

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The Routledge Intermediate Persian Course: Farsi Shirin Ast, Book Two, by Dominic Parviz Brookshaw, Pouneh Shabani-Jadidi PDF

The Routledge Intermediate Persian Course: Farsi Shirin Ast, Book Two, by Dominic Parviz Brookshaw, Pouneh Shabani-Jadidi PDF

[H989.Ebook] Download Ebook The Book of 101 Opera Librettos: Complete Original Language Texts with English TranslationsFrom Black Dog & Leventhal Publishers

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The most comprehensive one-volume collection of unabridged opera lyrics ever published. It features virtually all of the operas that are being performed in the foremost opera houses and concert halls today. The text is presented in its original language as well as in an English translation. To enrich the experience, a short synopsis precedes each libretto. 101 Opera Librettos is indispensable for opera lovers and everyone curious about the literary richness of the worlds most beloved vocal musical performances.

• Sales Rank: #553868 in Books
• Published on: 1996-01-10
• Ingredients: Example Ingredients
• Original language: French
• Number of items: 1
• Dimensions: 11.10" h x 2.74" w x 8.92" l,
• Binding: Hardcover
• 1474 pages

Amazon.com Review
You're never going to haul this book to the opera house, it is true, but, on the other hand, you'll probably never again have to fret over where to find a libretto for most standard repertory operas. This massive, 1,474-page (plus endpapers) volume, which could readily double as a doorstop or a booster seat at the theater, contains all the words, in their original languages (for the most part) and in English, of 101 out-of-copyright operas. The selections run the gamut from Ludwig van Beethoven's Fidelio through Carl Maria von Weber's Euryanthe, with scores of stories in between. In addition to the word-for-word libretti, a brief précis of each plot is also provided.

There are some puzzling omissions--Mozart's Così fan tutte and Abduction from the Seraglio--and puzzling inclusions as well: Paderewski's Manru and Horatio Parker's Mona are not considered standard operas by any authority that readily springs to mind. Borodin's Prince Igor is, incomprehensibly, given in Italian and English (the Russian people improbably sing, "Ad Igor, signor nostro, vittoria"), as are Mussorgsky's Boris Godunov and Tchaikovsky's Evgeny Onegin. There are also some annoying little errors that could have been avoided with more careful proofreading ("Madam Butterfly"?), and the paper used is disappointingly cheap. Still, with these caveats in mind, The Book of 101 Opera Librettos is a very useful book for the money, a one-stop shop for many of the operas you're likely to encounter. Just be sure to read the libretto before you leave for the opera house.

Language Notes
Text: English, French, German, Italian

About the Author
A multiple GRAMMY® nominee, pianist Allison Brewster Franzetti has received international acclaim from critics and audiences alike for her stunning virtuosity and musicality, both as a soloist and chamber musician. Born in New York City, she received her Bachelor of Music degree from the Manhattan School of Music and her Master of Music degree from the Juilliard School. She has won first prizes from the Paderewski Foundation and the Piano Teachers Congress of New York as well as awards from the Kosciuszko Foundation and the Denver Symphony Orchestra. She was the recipient of two HEART (History, Education, Arts – Reaching Thousands) Grants from the Union County Board of Chosen Freeholders and the Starr Foundation, and was appointed Concert Artist in Piano and Chamber Music at Kean University in 2001. She was elected to the honor society Phi Kappa Phi in 2002. Kean University bestowed its first Graduate Commencement Performing Artist Award on her in 2003. An accomplished accompanist and chamber musician, Allison Brewster Franzetti has collaborated with some of the finest performers and composers in the world, including Sir James Galway, John Corigliano, Stephen Paulus, Lowell Liebermann, Ransom Wilson, Eugenia Zukerman, Julius Baker, Robert White, and members of major American and international symphony orchestras. She has performed at Carnegie Hall, Lincoln Center, festivals in the United States, Mexico and Europe, and on radio and television.

Most helpful customer reviews

72 of 77 people found the following review helpful.
big book big disappointment
By voicebox
I am a voice teacher,a member of the National Association of Teachers of Singing, and a professional musician. I received this book as a gift. It looks expensive, (and unfortunately is) but cheaply printed on flimsy and cheap paper. Don't try to do any quick researching, or you'll rip it to shreds. And these are NOT word for word translations! They are the transcriptions for the English versions of the opera written to somewhat suit the music which was written for the original language. They would not be what is up on the supertitles at a live opera performance. And some operas have omissions, like some missing dialogue and lyrics from the original language and hence from the English. Take heed of the editorial review, because it does have strange inclusions, glaring exclusions, and goof ups like incorrect original languages. Only get this book if you are a student, and can't get or do your own better translations. If you want a really useful book, and you are an opera lover, but not as knowledgeable as you'd like to be, get the latest edition of the New Grove Book of Operas. Or even Kobbes. Or 101 opera stories. Skip this one. Save your money.

33 of 33 people found the following review helpful.
A collection of reprinted turn-of-the-century librettos
By Christopher Hapka
The pros and cons of this book are both the natural result of what it really is: a collection of reprinted, out-of-copyright libretti from the 1900s and 1910s. These are the libretti you would have seen for sale if you'd attended the Met a hundred years or so ago, newly typeset but otherwise unchanged.

This is good in that it lets us get 100 libretti cheap; there's no way the publishers would have been able to afford new translations of everything.

On the other hand, this means that the selection is a bit odd. In general, only librettos from 1921 and before are going to be out of copyright, which explains why operas (like "Turandot") composed after that date can't be included. This also explains why operas such as "Cosi fan tutte", which was rarely if ever performed in most American opera houses, are absent--Cosi didn't really enter the American repertory until the 1950s Met production.

In addition, the book can only present the versions of the operas as they were performed at American houses at that time. This means that the book omits materially traditionally cut by whatever house they got the libretto from (most likely the Met). If that house performed a Russian opera in Italian translation, you'll get an Italian and English libretto in this book as well. And the English translations themselves are generally fairly archaic and flowery, as was the style in American opera houses at the time.

So if your needs are the same as an early 20th century opera attendee--getting a general idea of the story or a more-or-less accurate copy of the original-language libretto--then this is a good value. I find it a very useful resource just because it is so comprehensive. But if you're looking for a deep understanding of an individual libretto, or a quality modern English translation, you'll need to look elsewhere.

40 of 42 people found the following review helpful.
GREAT, BUT WITH SPELLING MISTAKES AND LIBERAL TRANSLATIONS
By A Customer
Opera is a unique and splendid art form. It combines glorious singing by soloists and ensembles, dramatic or comic acting, spectacular scenes on indoor and outdoor stages, light effects and vibrant music. All these effects depend on the lyrics contained in librettos as a paramount foundation stone. Popular and great composers paid a lot of attention to the libretto or "parola scenica" (scenic word) as Verdi defined it. Puccini struggled in search of suitable subjects for opera. Once he found them, he had stormy relationships with his librettists on lyrics, for him to get inspired and compose immortal melodies. Verdi had problems with librettists apart from censors, in his quest at compressing the action on stage for maximum dramatic effect. When he found a poetic genius (Arrigo Boito) to write for him, he dished out "Otello", a masterpiece of condensed poetry and music, which would have made Shakespeare proud of the opera based on his play. Wisely, Wagner went a stage further and wrote his own lyrics. This book under review is an innovative, monster compilation of famous and popular opera librettos, which will delight and inform operagoers. What is also very handy in the book is a faithful description (in the original language and English) of what goes on the stage. Of course, the book is heavy and thank goodness that it is a single volume, although the pages are thin paper. Otherwise, with more robust paper, there would have been the need of several volumes!
That said, reflecting on the importance of a libretto as foundation stone, I went about checking the accurate spelling of the Italian librettos (my mother-tongue) and how faithful the corresponding English translations were. On the book dust jacket, the editors wrote "COMPLETE ORIGINAL LANGUAGE TEXTS WITH ENGLISH TRANSLATIONS". I found a myriad of spelling mistakes in the Italian texts to make fire ants look like frightened and depleted hordes! As an example, in Luisa Miller (Verdi), Act II and Scene IV, the first 50 singing lines between Walter and Wurm have 18 spelling mistakes of the Italian language. Misspellings and absence of consonants and vowels, missing words and attachment of prepositions to words. It is a real bedlam! There is a claim that the English translations are full. Surely, they are full of sentences that do not correspond to the Italian ones. At times, the meaning conveyed sounds very poetic but is not faithful to the original intention. As an example, in Tosca (Puccini), Act III, Mario Cavaradossi, reminiscing one night of love with Tosca, sings "...mi cadea fra le braccia"(she fell in my arms) translated as "In her soft arms she clasped me" and "le belle forme disciogliea dai veli" (beautiful forms she disclosed from the veils) translated as "A thing of beauty, of matchless symmetry in form and feature!". This is very liberal translation, poetry within poetry!! I may accept the poetic versions in English but a very useful book of complete opera librettos with glaring spelling mistakes is inexcusable. Great pity, because the editors only needed to do a thorough spelling check of the Italian and all other original language librettos. Then, the book would have deserved 5 stars. There is still time and opportunity for the editors to do it. Their effort in producing a great book deserves more accolades than they received from readers so far.

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The Book of 101 Opera Librettos: Complete Original Language Texts with English TranslationsFrom Black Dog & Leventhal Publishers PDF

The Book of 101 Opera Librettos: Complete Original Language Texts with English TranslationsFrom Black Dog & Leventhal Publishers PDF

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• Sales Rank: #4435324 in Books
• Published on: 2015-12-07
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 1.10" w x 6.50" l, .0 pounds
• Binding: Hardcover
• 398 pages

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[O498.Ebook] Get Free Ebook Pricing Derivative Securities: An Interactive, Dynamic Environment with Maple V and Matlab, by Eliezer Z. Prisman

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Pricing derivatives theory comes alive in this self-contained interactive experience in financial pricing. The no-arbitrage perspective in a one-period state-preference model drives the book, and the Maple® and Matlab® programs help readers visualize payoffs and respond to various constraints and conditions. With clear explanations and lavish illustrations, Pricing Derivative Securities: An Interactive, Dynamic Environment with Maple V and Matlab teaches the core theoretical concepts so often disguised behind difficult terms and institutional details.
Readers can experiment with the electronic packages forever, using the book and its solutions manual as a tutorial that can help solve problems of increasing complexity.

Key Features
* Enclosed CD-ROM includes the student version of Maple V; it provides an interactive, dynamic and friendly environment allowing students to learn through hands on experience
* Enhances learning by altering the commands in the on-line files, varying them at will, in order to experiment with applications of the concepts and different (reader-generated) examples, in addition to the ones already in the prepared file
* Provides both the framework and the tools, based on the no free lunch concept, by which readers can analyze and appreciate different scenarios, including those that are not covered in the book, related to derivative securities
* Basic concepts of stochastic calculus are enriched with demonstrations using animation, simulation and three-dimensional graphs thereby overcoming mathematical complexity
* The MATLAB® Graphic User Interface provides the ability to bring to life on the screen the theoretical material of the chapters

• Sales Rank: #4769519 in Books
• Published on: 2000-09-28
• Original language: English
• Number of items: 1
• Dimensions: 1.54" h x 6.30" w x 9.27" l,
• Binding: Hardcover
• 756 pages

Review
Prepublication Praise
"This treatment of derivative pricing will make a fine textbook for a masters-level finance course, or a reference work for practitioners. Prisman's novel presentation combines software, algorithms, and analytical modeling, emphasizing visualization of the pricing. This book makes it possible to develop both a solid conceptual foundation for derivatives modeling as well as a working knowledge suitable for numerical implementation."
--DARRELL DUFFIE, Stanford University, California
"By using two of the software packages most widely used in industry, Professor Prisman's book should prove to be of great value to both students and practitioners."
--PETER CARR, Principal, Banc of America Securities, New York

From the Back Cover
Pricing derivatives theory comes alive in this self-contained interactive experience in financial pricing. The no-arbitrage perspective in a one-period state-preference model drives the book, and the Maple and Matlab programs help readers visualize payoffs and respond to various constraints and conditions. With clear explanations and lavish illustrations, Pricing Derivative Securities: An Interactive, Dynamic Environment with Maple V and Matlab teaches the core theoretical concepts so often disguised behind difficult terms and institutional details.
Readers can experiment with the electronic packages forever, using the book and its solutions manual as a tutorial that can help solve problems of increasing complexity.
Prepublication Praise
"This treatment of derivative pricing will make a fine textbook for a masters-level finance course, or a reference work for practitioners. Prisman's novel presentation combines software, algorithms, and analytical modeling, emphasizing visualization of the pricing. This book makes it possible to develop both a solid conceptual foundation for derivatives modeling as well as a working knowledge suitable for numerical implementation."
—Darrell Duffie, STANFORD UNIVERSITY, CALIFORNIA
"By using two of the software packages most widely used in industry, Professor Prisman's book should prove to be of great value to both students and practitioners."
—:Peter Carr, Principal, BANC OF AMERICA SECURITIES, NEW YORK

About the Author
Eliezer Z. Prisman holds the Nigel Martin Chair in Finance and is the Director of the Financial Engineering collaborative diploma at the Schulich School of Business, York University, Toronto. He received a BA in Economics and Statistics from the Hebrew University of Jerusalem, and an M.Sc. and D.Sc. in Operations Research from the Technion Institute of Technology, Israel. Professor Prisman has held positions as Assistant Professor of Management Science at Georgia Institute of Technology, Assistant Professor of Finance at Arizona State University and Senior Lecturer in Economics at Bar Ilan University. His research area includes optimization and its use in Finance and Financial Engineering, arbitrage pricing in markets with taxes and transaction costs, financial innovation and the use of symbolic computation in financial engineering for commercial, mathematical and academic purposes. Professor Prisman has published numerous papers in journals such as The Journal of Economic Theory, Mathematical Programming, Journal of Financial and Quantitative Analysis, The Journal of Finance, Journal of Banking and Finance and Management Science.

Most helpful customer reviews

42 of 45 people found the following review helpful.
Pricing Derivative Securities if You Can't Program at All
By Jennifer L. Voitle
Based on the title and description of this book, I bought it hoping to learn more about developing financial tools, specifically interest rate models, in Matlab. After working through most of the book, I have concluded that the use of the name "Matlab" in the title is misleading: it only means that Maple, the main tool of the book, may be accessed via the kernel of Matlab.
The book appears to be targeted primarily at undergraduates and MBA students, not practitioners in the field. Such an audience may have little interest (or need) in learning to develop code or the intricacies of the underlying mechanics of financial models, and for them, the book would no doubt be very helpful. The software that comes with the book includes a stripped down version of Maple, (which is nice, since you can't really use the book without it), and author-developed analytical tools. These tools support the goals of learning through the ability to quickly vary inputs and see the impact on the output, but as they are more or less a black-box, do not add much to one's independent ability to model new financial objects or extend existing ones.
The book includes the de rigueur definitions of typical financial instruments and explanations that facilitate understanding of these instruments (such as how to read and understand option data in newspapers, the mechanics of currency swaps and so on), but one really has to follow along with the Maple commands page by page to derive benefit. The fixed income section is very skimpy. It seems like the book is best suited as an extended set of lecture notes.
I like the book but would not recommend it to practioners looking for insight on tool development or to extend knowledge of cutting edge interest rate models (as these are not covered here). I would recommend it for newcomers to the field having mathematical or quantitative backgrounds who want a reasonably good introduction to financial instruments. It would also be useful as a companion text in master's programs in financial engineering or financial mathematics. Derivatives and Maple with training wheels.

5 of 6 people found the following review helpful.
Pricing Derivative Securities
By A Customer
For when life throws you that derivative that you just can't look up in some book...
This book provides the building blocks on both the practical and theoretical levels that one needs to price derivatives. The book provides an essential combination of three things: 1) clear explanations and examples of fundamental concepts, 2) a hands on approach to software and pricing algorithms, and 3) emphasis on graphic visualization in understanding the behavior of derivatives in general. While clearly a textbook for a Master's level course, from the point of view of a practitioner, this book has also become my first reference source at the office for those times when I can't just look up the answer, and have to resort to first principles.

6 of 8 people found the following review helpful.
Not sure who this book is for
By Amazon Customer
This book is far too advanced for undergrads or even MBA students. It's not really an introductory book on derivative pricing, but is an excellent supplementary book to, say, Hull's text ("Options, Futures, and Other Derivatives").

This text provides a solid foundation for considering any derivative security in a no-arbitrage market. It then goes on to cover the Black-Scholes model and derivative pricing based on the price distribution of the underlying.

Here's an anicdote from my experience: I wanted to learn the fundamentals of a (Cox-Ross-Rubenstein) binomial pricing model. I opened up the Prisman book and was thoroughly confused with what I understood to be a pretty simple model. The text referenced previous chapters, which referenced previous chapters - you get the picture. It was very unreadable. I then opened up a Hull text and in 3 pages I had a full and sound understanding of a simple binomial model. (-1 star)

I agree with a previous review that "Matlab" has no place in the book's description, let alone in the title. I am a long time Matlab user. There is no Matlab code in this book, no Matlab CD, and the Maple CD that's included cannot be used with an existing Matlab license! (-1 star)

I have also come across a few serious typos in equations that make this text a subpar publication. (-1 star)

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Compatibility:
BlackBerry® OS 4.1 or Higher / iPhone/iPod Touch 2.0 or Higher /Palm OS 3.5 or higher / Palm Pre Classic / Symbian S60, 3rd edition (Nokia) / Windows Mobile™ Pocket PC (all versions) / Windows Mobile Smartphone / Windows 98SE/2000/ME/XP/Vista/Tablet PC

• Sales Rank: #150758 in Books
• Brand: Brand: Lippincott Williams Wilkins
• Published on: 1998-10-28
• Original language: English
• Number of items: 1
• Dimensions: 10.26" h x 1.31" w x 7.32" l, 3.80 pounds
• Binding: Hardcover
• 687 pages

Features

• Used Book in Good Condition

Most helpful customer reviews

5 of 5 people found the following review helpful.
All must a classic in orthopaedics...maybe the real one...
By Rogelio Arce B.
Iam an orthopedist from Costa Rica and have read this book several times, I think it is a must have for the junion surgeon and a happy friend for the senior surgeon, maybe the first book a resident has to have, and enjoy every night at hospital, while one ask oneself "What amI doing here...", Dr. Salter was a Genious of the orthopedics .

4 of 4 people found the following review helpful.
The best for the begginer
By jose luis prieto rodriguez
Before i begin with my residence in orthopedia, i had very few knowledge of the speciality, trying to learn the most i go for the classics but that was harder, when i found the Dr Salter's book i really understand the purposes of the speciality,the tecnical words, the skills that i need and i loved.If you need a real book that explains in the best manner what the orthopedia is , the best choice is that textbook.

4 of 4 people found the following review helpful.
A very good textbook
By Melissa Audry
I never found a textbook so humble and encourage the readers to really understand the content like this one. It's easy to read and contains many great graphics (all in black and white color). Dr. Salter made a very good approach to the readers and explains all the basic things we need to know about orthopedics.

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