Building on the Consortium's Rule of Four: Each function is represented symbolically, numerically, graphically, and verbally where appropriate. </ul>
Customer Reviews:
from a student..........2007-06-25
I did appreciate the applications approach, but I felt like with almost every lesson that there were not nearly enough practice problems. A formula would be introduced with only two practice problems, only one of which is in the back of the book (of course). In my study groups, we would work those same two problems a few times and feel confident, then bomb the exam. If I remember correctly, I believe you can order an extra workbook in this series. I would recommend this text IN ADDITION to a workbook.
The biggest problem that I saw with my department adopting this textbook is that the instructors really do not teach the applications approach. I would go home to study and find that the text did not follow at all what we were covering in class. The innovative approach of the textbook was thereby lost as we flipped back and forth between the chapters trying to cobble together problems to match lectures.
Wonderful precalculus deep inside the functions and modeling.......2006-05-10
I really have difficulties to understand some reviewers given one star for such a wonderfull book. If you read this book before Uni, you will have a stable ground for calculus.
All frequently used functions and their practical usage as modelling tools are lucidly explained. I finally know what hyperbolic functions are, I finally know how the path from given data to an appropriate model. I finally know how can I practically sketch seemingly complex but simple functions.
It's strength based on model oriented approach to functions. This has pratical value for all candidate engineers...
Without any doubt I'll give five stars to acknowledge the authors.
Incomplete, discouraging, Unhelpfull book that only hinders the learning process.......2006-04-27
This is probably the most incoplete, inarticulate book I've ever used so far in my 3 years in college. It fails to COMPLETELY explain ALL THE MANY concepts you will ,sort-of ummmm, need to pass the class,tests or even complete the problems within the book. Expect to buy at least one other pre-calc text to clearly explain EVERYTHING this book consistently DOESN'T. This book is not a student-friendly one, its more of an EXPERT MATHEMETICIAN-FRIENDLY text book, written for people who already have lots of experience with pre-calculous. First time precalculous students should not actually expect to learn from this book or be able to count on this book as a reliable source to turn to during homework assignments or study sessions... As this book consistently fails to articulate even the most simple of precalculous concepts. If you don't beleive mine along with most other negative ratings of this book, go ahead and compare this book to almost any other precalc text book for yourself. You'll quickly see that EVEN THOUGH YOU'VE PAID A GENEROUS AMOUNT OF MONEY FOR THIS BOOK TO TEACH YOU, this book FAILS TO PERFORM EVERY SINGLE STEP OF THE WAY, PARTICULARLY when you need it to CLEARLY EXPLAIN SOMETHING TO YOU most. REALLY THIS BOOK ONLY MAKES IT HARDER TO UNDERSTAND ANYTHING IT ATTEMPTS TO EXPLAIN. My recommendation is that you buy "THE COMPLETE IDIOTS GUIDE TO PRECALCULOUS" by W. Michael Kelly, an author who thouroughly prooves his TEACHING SKILLS, COMPETENCE and ABILITY TO SUCCESFULLY ARTICULATE concepts so students can actually get some learning out of the time they spend reading his CLEAR, HELPFULL EXPLENATIONS that will actually help you in precalculous.
A travesty for the money.......2006-01-19
The only reason I give it two stars is that the word problems and models are interesting and realistic. The student solutions manual is a rip-off because it does not model each type of problem, nor does it lend itself to greater understanding and clarification. I usually get straight "A's" in math courses because I pour all effort necessary into homework and understanding. I just find myself being frustrated every time I open this book. The examples in each chapter just give me a headache. It is assuming and poorly written. Colleges that require this book for courses in pre-calc and trig should think twice.
An Incomplete Calculus Preparation.......2005-11-28
This book expects a lot out of students, thereby requiring instructors to work even harder at presenting the material in a meaningful and understandable way. Unless students have previously had precalculus (including trigonometry), or had a thorough preparation in algebra, this text will be highly confusing and discouraging to most of them. It is an inadequate preparation for calculus at best, as it completely omits many key concepts that will be necessary for the study of calculus. This is a well written book for mathematicians, but not for students just grappling to learn this material. Unfortunately, there are those who are involved with the "Calculus Reform" that believe this "Applied Approach" is the best approach. If people really wants to learn about applied mathematics, they need not look any further than physics!
Average customer rating:
- "As what my heart still sees, thou canst not spy?"
|
Sir Philip Sidney: The Major Works (Oxford World's Classics)
Philip Sidney
Manufacturer: Oxford University Press, USA
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- The Faerie Queene (Penguin Classics)
- The Countess of Pembroke's Arcadia : The Old Arcadia (Oxford World's Classics)
- The Poems of Lady Mary Wroth
- The Complete Poems (Penguin Classics)
- The Complete Poems (Penguin Classics)
ASIN: 0192840800 |
Book Description
This authoritative edition was originally published in the acclaimed Oxford Authors series under the general editorship of Frank Kermode. It brings together a unique combination of Sidney's poetry and prose - all the major writing, complemented by letters and elegies - to give the essence of his work and thinking. Born in 1554, Sir Philip Sidney was hailed as the perfect Renaissance patron, soldier, lover, and courtier, but it was only after his untimely death at the age of 31 that his literary accomplishments were truly recognized. This collection ranges more widely through Sidney's works than any previous volume and includes substantial parts of both versions of the Arcadia, The Defence of Poesy and the whole of the sonnet sequence Astrophil and Stella. Supplementary texts, such as his letters and the numerous elegies which appeared after his death, help to illustrate the whole spectrum of his achievements, and the admiration he inspired in his contemporaries.
Customer Reviews:
"As what my heart still sees, thou canst not spy?".......2004-03-10
This review relates to the volume: -Sir Philip Sidney: Major
Works-. Edited with an Introduction and Notes by Katherine
Duncan-Jones. Oxford World's Classics. 2002. 416 pp.
This volume contains the works: A dialogue between two
shepherds...Wilton/ Two Songs for an Accession Day Tilt/
Philisides, the shepherd good and true/ Sing, neighbours,
sing/ The Lady of the May/ Certain Sonnets (32 sonnets)/
The lad Philisides/ The Old Arcadia (Complete)--Four
Eclogues, as well as, "What tongue can her perfections tell",
and "Since nature's works be good"/Lamon's Tale/Astrophil
and Stella (Complete, a sequence of 108 sonnets with
11 numbered songs interspersed!)/ The Defense of Poesy/
4 poems from -The New Arcadia-/ Sidney's poetic versions
of Psalms 6, 13, 23, 29, 38/ Letters (15)/ and 4 Appendices
(Henry Goldwell, "Shows Performed, 1581"/ Edmund Molyneux,
"A historical remembrance of the Sidneys"/Anon., "The
manner of Sir Philip Sidney's Death"/ Three elegies on
Sidney from -The Phoenix Nest-, 1593/ Extract from Fulke
Greville, 16 October 1586)/ and excellent Notes to the
works from pp. 332 - 408.
Sir Philip Sidney was born on 30 November 1554 and died on
17 October 1586, from complications of a battle wound, at the
age of 31.
Perhaps the two best insights into Sidney are supplied by
Katherine Duncan-Jones in her "Introduction" -- the first
is a quote by the modern critic, Theodore Spencer, who
said: "Once the poet has set himself the task of writing
an amorous complaint, that deep melancholy which lay
beneath the surface of glamour of Elizabethan existence,
and which was so characteristic of Sidney himself, begins
to fill the conventional form with more than a conventional
weight. It surges through the magical adagio of the lines;
they have the depth of reverberation, like the sound of
gongs beaten under water, which is sometimes characteristic
of Sidney as of no other Elizabethan, not even Shakespeare."
["Introduction," p. xi]. The other quote follows some
critical introduction by the editor herself: "Tellingly,
Sidney's own persona, Philisides, is described on his first
appearance as diabled by unhappiness: "Another young shepherd
named Philisides...had all this time lain upon the ground
at the foot of a cypress tree, leaning upon his elbow, with
so deep a melancholy that his senses carried to his mind no
delight from any of their objects."
But these poems rarely dwell in melancholy. The slight
hindrance, sometimes, is Sidney's versification itself.
The reader may find it slightly stilted and a bit too
poetically "artificial" to meet the rhythm or the rhyme.
However, the glories far outweigh the slights. A further
help to understanding Sidney might come from applying
deeper SYMBOLISM and interpretation to his works, in
names and themes. There is this left to end:
Love makes the earth water to drink,
Love to earth makes water sink;
And if dumb things [without speech] be so witty
Shall a heavenly grace want pity?
[from: -Astrophil and Stella-.]
-- Robert Kilgore.
Average customer rating:
- Ian Myles Slater on: Multiple Identities and Versions
- A monument of dullness?
|
The Countess of Pembroke's Arcadia : The Old Arcadia (Oxford World's Classics)
Philip Sidney
Manufacturer: Oxford University Press, USA
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Similar Items:
- An Anthology of Elizabethan Prose Fiction (Oxford World's Classics)
- Sir Philip Sidney: The Major Works (Oxford World's Classics)
- The Faerie Queene (Penguin Classics)
- The Unfortunate Traveller and Other Works (Penguin Classics)
- The Yale Edition of the Shorter Poems of Edmund Spenser
ASIN: 019283956X |
Book Description
Philip Sidney was in his early twenties when he wrote his `Old' Arcadia for the amusement of his younger sister, the Countess of Pembroke. The book, which he called 'a trifle, and that triflingly handled', reflects their youthful vitality. The `Old' Arcadia tells a romantic story in a manner comparable to that of Shakespeare's early comedies. It is divided into five `Acts', and abounds in lively speeches, dialogues, and quasi-dramatic tableaux. Two young princes, Pyrocles and Musidorus, disguise themselves as an Amazon and a shepherd to gain access to the Arcadian Princesses, who have been taken into semi-imprisonment by their father to avoid the dangers foretold by an oracle. As a vehicle for Sidney's prophetic ideas about English versification, the `Old' Arcadia also includes over seventy poems in a wide variety of metres and genres. In clarity, symmetry, and coherence the `Old' version is greatly superior both to the ambitious but unfinished `New' Arcadia and the amalgamated, `composite' version, a hybrid monster which Sidney himself never envisaged.
Customer Reviews:
Ian Myles Slater on: Multiple Identities and Versions .......2004-10-05
"The Countess of Pembroke's Arcadia" is a book that has been in and out of fashion for about four centuries. It is a story of disguised princes, an impersonated princess, infatuated shepherds, and gender and identity confusions on a rather large scale, all set in a strikingly English version of ancient Greece. It was written in a mixture of prose and verse by the Elizabethan courtier, Sir Philip Sidney (1554-1586), beginning in 1579, supposedly to amuse his sister, Mary Herbert, Countess of Pembroke. (Hence the book's title; the Sidney family itself was recent upper-gentry rather than old nobility, but the received title may have been as much a selling point for the original publisher as personal snobbery.) It seems in fact to have been part of an ambitious project for elevating English, a second- or third-rate language in a Europe dominated by literature in Latin, French, Italian, and Spanish.
It was a key text for English society in the seventeenth century, and received a variety of political and cultural readings -- a long story in itself, involving King Charles I and John Milton, among others. Although Sidney had offered himself as a champion of Elizabeth's officially Calvinist Church, some Puritans tended to find both poetry and fiction at best a distraction, at worst a threat, and the "Arcadia" combined them; not to mention the erotic element. The resulting debate over the "Arcadia," transferred from theological-moral to aesthetic frames of reference, continues; for some critics, liking this book is itself a Bad Thing. Of course, there are those who simply don't like it; nothing appeals to every taste.
As originally published in 1590, it was a fragment, in two and a half books, breaking off in mid-story (Book III, Chapter 29), where the author left his revisions when he went to the Netherlands, and his death fighting the Spanish, in a self-assumed role as the Protestant Knight-Errant. (There is an on-line version of this text, in the original spelling, transcribed by Richard Bear, at Renascence Editions.) Its publication came near the beginning of several decades of staggering importance in English literature, which included Christopher Marlowe's major works, and those of Shakespeare, Spenser, Ben Jonson, and John Donne, among others.
The 1593 edition, in five books, was more complete, with a conclusion presented as being drawn from an earlier draft, edited to conform to Sidney's alterations. This was undoubtedly true, for, even if no other evidence had survived, the handling of these texts gave rise to a dispute between the Countess and one of her fellow editors, and the additions did not quite join with the previously printed section, leaving plot-lines dangling. (This version, likewise in Elizabethan spelling, is available as an e-book from Kessinger; in that edition, the gap is on page 453.) Later printings included one or another (or both) of two more-or-less authorized bridge passages, linking up the unfinished original part of Sidney's revised and expanded narrative to the old conclusion. (There was a 1983 facsimile edition of the 1598 printing, from Scholars' Facsimiles and Reprints, apparently still available.) The original "old" version was later assumed to be lost, with Sidney's manuscripts.
This 1593 version of the work has been edited twice in recent years. First, by Maurice Evans, as "The Countess of Pembroke's Arcadia," now in the Penguin Classics series (included 1987; originally for the Penguin English Library, 1977), for the general reader, complete with the longer of the two "bridge" sections, and useful, but limited, notes. Second, by Victor Skretkowicz, as "The Countess of Pembroke's Arcadia (The New Arcadia)," a critical edition from Oxford University Press (1987), more useful for scholars and students, but probably less attractive to others. The Penguin version is probably the more widely read of the two, and, having read and referred to it for over twenty-five years, I think that it will serve the interested reader well for most purposes. (Beyond the great advantage of being in print....)
Besides the semi-offical bridge passages, other hands offered supplements and sequels to the 1593 version, some of which have recently come in for new attention. The series "Women Writers in English 1350-1850" includes "A Continuation of Sir Philip Sidney's *Arcadia*" by Anna Weamys, edited by Patrick Colborn Cullen (1994); this represents a mid-seventeenth-century Royalist reading. An interesting critical approach is offered by Elizabeth A. Spiller in "Speaking for the Dead: King Charles, Anna Weamys, and the Commemorations of Sir Philip Sidney's Arcadia," available on-line.
The book's popularity faded in the eighteenth and nineteenth centuries, particularly with the rise of the modern novel as a preferred type of narrative fiction. Although it still had some readers and admirers, the romantic essayist and critic William Hazlitt called it "one of the great monuments of the abuse of intellectual power." Hazlitt's antipathy was in part a legitimate reaction to types of prose and verse he found overblown, in part a sign of a chronological cultural gap; the temporal equivalent of despising foreign literatures as being, well, so foreign.
Sidney was one of the key figures of the "English Renaissance" -- the (by European standards) delayed flowering of literature in England in the 1580s and 1590s (and several decades thereafter), most of which he didn't live to see, but which he promoted by propaganda and example. An aspect of the "new learning" of the Renaissance which doesn't get a lot of emphasis in standard textbooks was the popularity of the late (Hellenistic and Roman) romance in classical Greek; novels of love and adventure, often involving shepherds, disguised nobles, and lost princesses (or at least missing heiresses). The most widely read example of this genre in the nineteenth and twentieth centuries was the brief "Daphnis and Chloe" of Longus, but in earlier times there were equal or greater favorites; for example, the long and complex adventure story, "Aethiopica" by Heliodorus (first English translation by Thomas Underdowne, 1587). Their Renaissance vogue produced a series of imitations across Europe, most notably Jacopo Sannazaro's "Arcadia" (1502) and Jorge de Montemayor's "La Diana" (1558?). These were themselves international sensations; Sidney was trying to bring English literature into the (for him) modern age, just as, say, Coleridge, was trying to do in his day -- or Hazlitt, for that matter.
Maybe Sidney's example had nothing to do with the appearance of Spenser or Shakespeare as major poets; but Spenser certainly didn't think so, and some of Shakespeare's plays show every sign of being aimed at an audience that had enjoyed and absorbed the "Arcadia" and its various lesser imitators.
Beginning in 1909, the situation was complicated by the rediscovery (by Bertram Dobell) of manuscript copies of what came to be known to scholars as the "Old Arcadia" -- the complete first version, very differently arranged, with some different characterizations of the protagonists. It was not actually "lost," just ignored. This shorter, simpler, "unpublished" work, although not printed, turns out to have had a fair circulation among the Elizabethan elite, in a sort of ruling-class *samizdat*. First printed in 1926, as part of a multi-volume edition of Sidney's works, it was acclaimed by some critics -- including its editor, Albert Feuillerat -- as the true, preferred, version. Sidney's extensive revisions were dismissed as an abandoned experiment in unfortunate elaboration, and the 1593 edition as a sad botch, a pieced-together work without artistic merit.
Others -- notably C.S. Lewis -- championed the 1593 "New" Arcadia as that closest to the author's considered intent, and a work of actual historical importance. In this view, Sidney's most radical change -- opening in the middle of the action, and using his original first part as an inset story, or "flashback" -- was a serious attempt at classicism, modeled on Homer, Virgil, and Heliodorus, not a product of muddled thinking. Editors of anthologies and volumes of "selected works" have often resorted to providing selections from both redactions.
The "Old Arcadia" was critically re-edited by Jean Robertson for Oxford University Press in 1973 as "The Countess of Pembroke's Arcadia (The Old Arcadia)," and, again, in a popular edition, edited by Katherine Duncan-Jones for the World's Classics (Oxford University Press, 1985; with new bibliography, 1994); for some reason, this out-of-print edition currently appears on Amazon with an image of a volume of Jonathan Swift(!).
The Duncan-Jones text was reprinted in 1999 in the re-designed Oxford World's Classics series, and this version is in print (for now). The cover title of this edition is simply "The Old Arcadia," but Amazon, following the publisher's own web site, lists it as "The Countess of Pembroke's Arcadia: The Old Arcadia" (and variations). Both are, of course, legitimate, but this is a little confusing.
The [Oxford] World's Classics "Old Arcadia" is a good companion to the Penguin "New Arcadia" -- and I am not going to take sides on which of Sidney's versions is "better."
A monument of dullness?.......2000-08-24
T.S. Eliot labelled Sidney's Arcadia as a "monument of dullness," and about 100 pages into the book, I felt inclined to agree with his assessment. Sidney was a poet first and foremost, and even he admitted to his sister, the Countess of Pembroke, that this particular work was but "a trifle."
Yet, surprisingly, I found myself getting captivated by the plot of two princes disguised as shepherds to win the girls of their dreams (in the process, of course, they also win girls -- and guys -- of their nightmares). The somewhat stilted (even by Renaissance standards) language makes it difficult to plod through at times, but the plot is interesting and keeps your attention -- and that's ultimately what counts.
Re: this edition, it is one of the few good editions of the original "Old" Arcadia around. Sidney revised the work during his lifetime and his friend and biographer, Fulke Greville, later published a bizarre composite of the old and revised versions that for centuries stood as the definitive "Arcadia". K. Duncan-Jones provides a clean text with useful scholarly apparatus. One caveat: in my edition, pp. 297-306 were *missing*, mistakenly replaced by a double-printed pp. 307-316. This is an annoyance for someone who is reading the book as a scholar, which I believe represents the majority readership of the book, as I can't imagine casual readers picking it up for bedstand reading!
All in all, a fun work and better than the first act leads one to believe!
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The Self in Time: Developmental Perspectives
Manufacturer: LEA, Inc.
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ASIN: 0805834559 |
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Human reasoning is marked by an ability to remember one's personal past and to imagine one's future. Together these capacities rely on the notion of a temporally extended self or the self in time. Recent evidence suggests that it is during the preschool period that children first construct this form of self. By about four years of age, children can remember events from their pasts and reconstruct a personal narrative integrating these events. They know that past events in which they participated affect present circumstances. They can also imagine the future and make decisions designed to bring about desirable future events even in the face of competing immediate gratification. This book brings together the leading researchers on these issues and for the first time in literature, illustrates how a unified approach based on the idea of a temporally extended self can integrate these topics.
Average customer rating:
- keeps your thinking brain active
|
Functions Modeling Change: A Preparation for Calculus, Preliminary Edition
Eric Connally , Andrew M. Gleason , Philip Cheifetz , William Mueller , Pat Shure , Karen R. Thrash , Deborah Hughes-Hallett , Frank Avenoso , Jo Ellen Hillyer , Andrew Pasquale , Carl Swenson , and Katherine Yoshiwara
Manufacturer: Wiley
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- Functions Modeling Change: A Preparation for Calculus
ASIN: 047131787X |
Book Description
The central theme of this book and course is functions as models of change. The authors emphasize that functions can be grouped into families and that functions can be used as models for real-world behavior. Because linear, exponential, power, and periodic functions are more frequently used to model physical phenomena, they are introduced before polynomial and rational functions. Once introduced, a family of functions is compared and contrasted with other families of functions.
Customer Reviews:
keeps your thinking brain active.......2000-05-20
This book is very challenging. As you go from the first page to the last you see it gets more difficult. A must for all beginners in Calculus.
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Disciplining Music: Musicology and Its Canons
Manufacturer: University Of Chicago Press
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- Write All These Down: Essays on Music
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ASIN: 0226043703 |
Book Description
Provocative and timely, Disciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons--rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays tug and push at the very boundaries of these traditional division within the study of music.
"Fortunately, in a blaze of good-humored . . . scholarship, [this] book helps brains unaccustomed to thinking about the future without jeopardizing the past imagine the wonder classical-music life might become if it embraced all people and all musics."--Laurence Vittes, Los Angeles Reader
"These essays will force us to rethink our position on many issues. . . [and] advance musicology into the twenty-first century."--Giulio Ongaro, American Music Teacher
With essays by Katherine Bergeron, Philip V. Bohlman, Richard Cohn and Douglas Dempster, Philip Gossett, Robert P. Morgan, Bruno Nettl, Don Michael Randel, Ruth A. Solie, and Gary Tomlinson.
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Sir Philip Sidney (The Oxford Authors)
Philip Sidney
Manufacturer: Oxford University Press, USA
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- The Yale Edition of the Shorter Poems of Edmund Spenser
ASIN: 0192820249 |
Book Description
This volume of selections from the writings of Sir Philip Sidney includes the whole of his sonnet sequence Astrophil and Stella, his Defence of Poesy, his Certain Sonnets, and substantial parts of both versions of the Arcadia. A selection of letters helps to create a complete picture of Sidney the man, and a generous assemblage of supplementary texts illustrates his inventiveness as a royal entertainer and describes the literary cult that grew up around him after his sudden death in 1586.
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- A wonderful gift for an older sibling
- ICK!
- I LOVE THIS BOOK!!!!!
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Rosie & the Mole: The Story of a Bris
Judy Silverman , and Philip L. Sherman
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Book Description
Rosie is jealous of all the fuss everyone is making over her new baby brother. He is getting a Naming Ceremony and a Bris - while all she received as a baby was a Naming Ceremony. When Rosie hears that the "Moel" is coming, she thinks that a real live mole is coming to do the Bris. She goes from jealous sibling to protective big sister and learns a great deal about a Bris, and what being a big sister means.
Includes: Introduction for Parents which reviews the rules and customs of a Bris... a special Big Brother/Big Sister Certificate and a list of common Hebrew names for boys and girls and their English language equivalents.
Customer Reviews:
A wonderful gift for an older sibling.......2003-10-14
Rosie and the Mole is a wonderful gift for an older sibling who is celebrating the arrival of a baby brother. The brit milah is an often confusing celebration for adults, and even more so for children. This gentle story with some really sweet humor will make an older sibling feel special and included in the celebration. Highly recommended!
ICK!.......2002-09-07
This book glorifies the unnescessary and cruel practice of genital cutting. Not suitable for children.
I LOVE THIS BOOK!!!!!.......2001-05-20
Jewish books are cool but when I read this one it was one of my favorites. Its a great book for kids under the ages of 10. Judy Silverman is my librarian at Temple Shalom, my sunday/hebrew school. I hope she sees her first 5 star review sometime!
Average customer rating:
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Poems: 1667 (Scholars' Facsimiles & Reprints)
Katherine Philips , and Travis Dupriest
Manufacturer: Scholars' Facsimiles & Reprints
ProductGroup: Book
Binding: Hardcover
British
| World Literature
| Literature & Fiction
| Subjects
| Books
| 18th Century
| 19th Century
| 20th Century
| Classics
| Contemporary
| General
| Historical
| Humor
| Letters & Correspondence
| Middle
| Old
| Poetry
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| Shakespeare
| Short Stories
General
| Poetry
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British & Irish
| Single Authors
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ASIN: 0820114626 |
Authors:
- Phillips, Caryl
- Phipps, Wanda
- Piazza, Tom
- Pierce, Tamora
- Piercy, Marge
- Pike, Christopher
- Pinsky, Robert
- Pinter, Harold
- Piper, H. Beam
- Pirandello, Luigi
Authors
Authors
