Analyzing a range of ideas from biological; evolutionary and anthropological theories to a variety of feminist; psychoanalytic; poststructuralist and constructivist discourses; this book provides a comprehensive introduction to the problematics of gender and power in architectural and urban design. Topics range from conceptions of postulated matriarchal architecture in Old Europe to contemporary technologies of control; from the mechanisms of gaze to architectural performatives; from the under-representation of women in the planning profession to the integration of gender issues to the curriculum. The particular strengths of the book lie in its inclusiveness and critical analysis. It is not a partisan defence of feminism or any other theory; but a critical introduction to the issues relating to gender. Moreover; the conclusions reach beyond a narrow gender studies perspective to social and ethical considerations that are unavoidable in any responsible architectural or urbanistic practice. With its broad range and balanced analysis of different theories; the book is suitable as an overview of gender studies in architecture and useful for any designer who is concerned with the social effects of the built environment.
#1114480 in eBooks 2014-04-08 2014-04-08File Name: B00JKF0OS4
Review
13 of 15 people found the following review helpful. Polite Applause; but No "Bravo"By Christopher C. TewLeinbergers film score guide is probably not intended for serious musicians. This guide spends rather too much space on the films plot and production history; the actors and director; and not nearly enough on actual musical analysis. To be fair; the analysis is generally good and to the point (my only qualm being that Leinberger seems to say that changing the tempo of an ostinato results in a new and different ostinato); theres just not enough of it in enough depth.Almost all of the analysis falls within one chapter. Leinberger could easily have done musical analyses of all three Man with No Name films had he skipped the background information that is bettered covered by Christopher Frayling; among others. Perhaps he was overly constrained by the series format and his editors intentions.The musical samples are well printed and cover most of the text points; but all are presented as melodic lines without any of the supporting harmony or percussion rhythms - even though Leinberger does discuss Morricones use of modal harmony and novel percussion effects. There are no details of the percussion instruments used. More information about the recording sessions and matters of timing would also have been helpful.I had already done a more thorough analysis of this music in my head; and all I really expected from this guide were the musical samples to confirm what I thought I heard. Musicians will not find much else here that they havent already figured out themselves by listening. I recommend this guide mostly to non-musicians who want a complete library on the films of Sergio Leone or the music of Ennio Morricone.15 of 20 people found the following review helpful. This book is terribly writtenBy J. CalahanThe previous review nailed on the head Leinbergers lack of in-depth focus on the score itself; despite being touted as just that; and so my comments will rather focus on the writing of the book; which is just plain awful.In general; the book relies too much on repetition. Leinberger has no sense of how to develop an argument; he divides chapters into smaller sub-sections; never caring whether or not there is a logic to the order of chapters; and often repeating statements or ideas within these arbitrary sections. Chapters 2 and 4 in particular; "Morricones Technique of Film Scoring" and "The Music and Its Context;" contain sections that are almost identical.The writing itself is even worse. The structure of the book gives Leinberger ample room for commentary on the historical and cultural contexts surrounding the film; filmmakers and score; yet his analysis is rarely insightful and too often full of fan-style appreciation. He never fails to include telling adjectives such as "skillful;" "bold;" "imaginative;" "innovative;" and the like; avoiding objectivity in moments where he reflects critically on Morricones influence and reception. Instead of drawing larger conclusions from the presence of diverse musical elements within Morricones score (popular music; electronically-amplified instruments; human voices; minimalism; musique concrete; etc); he merely mentions their presence within the score (many times over; in fact); expecting us to be struck by their importance merely thru his simple act of observation. Often; he combines these faults; writing sentences like "Although minimalism was used in later film scores...such a device was still quite rare in the 1960s and is evidence of Morricones inclusion of modern elements in his film music." No commentary on where Morricone might have encountered minimalism; how it affected portions of the score in which it appears; or how it might work in juxtaposition to other stylistic elements contained within the score. Please. A particularly choice example arises over a quotation by critic Laurence MacDonald; who calls Morricone a "musical chameleon." Our esteemed authors analysis? "MacDonalds comparison of Morricone and [Jerry] Goldsmith with a chameleon no doubt refers to that reptiles ability to change color; not necessarily to its ability to blend into the background." Huh? When has that expression ever meant the latter?In short; save for some factual information it wouldnt take long to find other places; Leinbergers book holds little of value. Its simply not worth anyones time to wade through the mediocre writing that borders on Freshman-comp bad. Youll find little good; much bad; and the rest painfully ugly in Leinbergers study.
