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• Sales Rank: #2703797 in Books
• Published on: 2004
• Dimensions: .0" h x .0" w x .0" l, .0 pounds
• Binding: Paperback

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An introductory text with the primary focus on the techniques associated with the Olympic lifts and their assistance exercises. This text explains how to perform each exercise and why things should be done the correct way. Also includes an extensive "common error" section

• Sales Rank: #2307829 in Books
• Published on: 1998-07-03
• Original language: English
• Number of items: 1
• Dimensions: 10.80" h x .40" w x 8.60" l, .77 pounds
• Binding: Paperback
• 140 pages

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25 of 26 people found the following review helpful.
No-nonsense, old fashion Weightlifting
By Mohamed F. El-Hewie
My first impression when I opened a light and skinny envelop of the delivered book was that of opening some business correspondence letter. The book is only 132 pages, of black and weight print that could be produced on a home printer, the era preceding of hp-laser or inkjet. Though the first edition came in 1997, it immediately revived my memory of the struggle to print and publish my own book on those days. It is a painful experience for authors to meddle with so many hurdles in order to get their information to the reader. Then, there is my bias in favor of a fellow weightlifter attempting to maintain a dying sport form retiring to history archives.

In total contravention to the inclusive format of Drechsler's Weightlifting Encyclopedia and El-Hewie's Essentials of Weightlifting and Strength Training, Cissik sticks to the hardcore of old fashion Weightlifting. The classical two lifts; Clean and Jerk and Snatch, are described, together with their immediate supporting exercises. The back, front, and overhead squat; deadlift with various handgrips and height of pull; goodmorning in standing, seating, and ground positions; pullover, and stretching is all that trainees need to advance in weightlifting. That is a bold and daring confrontation of appealing consumerism that thrives on promoting expensive machines, fancy exercise accessories, and endless exercises that do little, if any, good to fitness.

The simplicity, clarity, and accuracy of Cissik's Introduction outweighs it poor production quality and attests to the author's courage to stand tall on substance. Although, the book is intended as an introduction, the above mentioned attributes make the book practical and convenient for modern day busy people. In addition, each chapter begins with neat tabulated highlights and basic contents and ends with a list of references. Inside the chapters, the author places the reference citation where needed in every page.

Its drawbacks are:

(1) Complete omission of individualized peripheral training exercises. Modern weightlifters rival bodybuilders; on bulk and definition, and powerlifters; on peak isometric strength. Many young weightlifters could not attain the astronomically high level of modern international records because of lack of muscular bulk. Cissik's old fashion training emphasizes the technique of lifting and periodization for robust, explosive power, yet falls short on massing slow twitching muscle fibers. Those require dedicated bodybuilding training during off season or prior to committing to protracted competitive weightlifting career.

The fear that bodybuilding and powerlifting exercises would do away with the mental skill, specific to the explosive full range of motion and highly coordinated dynamics of weightlifting, is well understood and recognized by experienced lifters and coaches. However, modern lifters have sufficient resources to ease the highly toned and acutely inflamed structures caused by such repetitive and depleting modes of exercising. Yoga, Pilates, Stretch, UV booths, saunas, and massage are few such modern remedies for the side effects of strengthening through controlled motion exercising. That however raises the stakes of heart and cellular reserves. Could the heart tolerate multiple overloads? Could the cellular metabolism adapt its enzymatic machinery to oppositely demanding activities? or, could the trainee have access to adequate health knowledge in dealing with such double sword training modes? Cissik's answer is: simplicity; a wise, safe, and practical choice.

(2) Jumping straight in the air during the pull isn't scientific. Although few great lifters do jump, the laws of mechanics forbid jumping. It wastes energy. Explosive extension isn't synonymous with jumping. Cissik is rightfully insisting on not spreading the feet sideways, yet wrongfully advises jumping. Jumping might be stimulating, yet wasteful.

(3) The deep squat during the amortization phase portrays to some that "deep" is a requirement for lifting. It is better to emphasize that squatting should be as high as it is needed to catch the barbell at its (the barbell) final destination. Unnecessarily deep squat should be reserved for training, stretching, and strengthening.

Mohamed F. El-Hewie
Author of
Essentials of Weightlifting and Strength Training

39 of 41 people found the following review helpful.
Excellent Book!
By chipkent@tamu.edu
This book is MUCH better than the first edition. The beginning of the book is a concise description of the Olympic exercises and associated assistance exercises. This is good for the beginning lifter. The second half of the book is on workout design. It is EXCELLENT and draws heavily on EASTERN EUROPEAN texts (They always have the best lifters!). The book is worth buying for this section. Powerlifters and fitness buffs can use the principles outlined here to greatly improve their progress. Every chapter is heavily referenced for those who are interested in learning more.

2 of 2 people found the following review helpful.
A Rare Find
By W. Chill
There are not many books published on the sport of Olympic and Olympic-style lifting as the sport's popularity has dropped steadily since the American dominance in the 1960's when the great Tommy Kono was on the lifting platform. I was hard-pressed to find many books on the sport, but was delighted when I found this one. Cissik does a good job of explaining the complicated techniques involved in the various Olypic (style) lifts. As one who never did the lifts but is trying to learn how, this book is spot on. Learning such moves without the aid of a coach is extremely difficult, but Cissik's explanations and photos are the next best thing to live instruction or even video. He also gives the reader sample programs and routines to follow to get ready for lifting competition. The book is no high-tech glossy, but a real world, down and dirty manual for learning the sport. The print, presentation, and format of the book has an almost scholarly feel, perhaps even unconsciously so which seems fitting considering where the sport of Olympic Lifting now resides in contemporary America.

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• Sales Rank: #29976 in Books
• Published on: 2008-12-31
• Original language: English
• Number of items: 1
• Dimensions: 10.16" h x .94" w x 8.03" l, 2.35 pounds
• Binding: Hardcover
• 528 pages

From the Back Cover

Go Beyond the Classroom and Enter into a Future in Sales Management with this Complete Guide for Managing an Effective Sales Force

Easily accessible, real-world and practical, the Tenth Edition of Dalrymple's Sales Management: Concepts and Cases introduces students to the issues, strategies, and relationships that relate to both the development of a sales force program and the management of strategic account relationships. Featuring real-world examples, including a new running case based on the fictional Shield Financial Company, students will have a rich foundation for work in sales management.

New and Hallmark Features:

• New running case introduced in Chapter 1 and carried throughout the text.
• New and expanded coverage of Sales Networks, Customer Lifetime Value (CLV), Solutions Selling, Marketing-Sales Interaction, and Marketing-Sales Shared Responsibilities.
• More than 50 percent of the cases are new or significantly reworked.
• Over 20 new team exercises for in-class discussion.
• Streamlined chapter discussions for easier reading and retention.
• Strong coverage of the role of strategic thinking and how the sales force helps in creating customer value and competitive advantage.

About the Author
William L. Cron received his BSBA from Xavier University and his MBA & DBA from Indiana University. He's a Professor of Marketing at the M.J. Neeley School of Business at Texas Christian University. His areas of expertise and research are Sales Management Issues, Marketing Strategy--Planning for Growth & Profits, and Wholesaling Management Issues. He's received the following awards: Graduate Teaching Award - Electives, M. J. Neeley School of Business, 2003, Carl Sewell Distinguished Service to the Community Award, Edwin L. Cox School of Business, 1999., Excellence in Manuscript Reviewing Award, the Journal of Personal Selling and Sales Management, 1994., Nominated for Jagdesh N. Sheth Award for Best Articles, Journal of the Academy of Marketing Science, 1993. Bill has also done consulting with companies such as American Association for HomeCare, Baylor Health System, Bristol- Myers Squibb, and GTE.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Rental saves you a lot of money
By Nash Ashumov
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0 of 0 people found the following review helpful.
very good
By Susie Ramirez
The projects are very realistic. All though some of the cases are long and they have unecesary scenes, they give you the big picture of a sales manager's every day life situations.

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This is the French-language edition of Darren Hardy's The Compound Effect. En tant qu éditeur du magazine SUCCESS, l auteur Darren Hardy a tout vu, tout entendu et quasiment tout essayé. Il révèle ici les principes fondamentaux du succès. L Effet Cumulé renferme les principes essentiels que toute personne souhaitant réussir plus que la moyenne se doit de pratiquer et de maîtriser pour obtenir un succès hors du commun. Vous y trouverez des stratégies pour : - Gagner à tous les coups ! Une stratégie inégalable pour concrétiser tous vos objectifs et triompher de tous vos concurrents, qu ils soient plus malins, plus doués ou plus expérimentés que vous. - Éradiquer les mauvaises habitudes (même celles dont vous n avez pas conscience !) qui vous empêchent de progresser. - Instaurer sans douleur les quelques disciplines essentielles à une transformation en profondeur. - Trouver le secret véritable et durable de la motivation, ou comment vous inciter à faire les choses que vous n avez pas envie de faire. - Saisir l élan quand il est là afin que plus rien ne puisse vous arrêter. - Comprendre le secret qui permet aux gagnants de se démarquer. Ont-ils un avantage sur les autres ? Oui, et à partir de maintenant, vous aussi ! Si vous souhaitez sérieusement mener une vie extraordinaire, mettez à profit le pouvoir de L Effet Cumulé pour donner vie au succès dont vous rêvez. L aventure commence dès à présent !

• Sales Rank: #165114 in Books
• Published on: 2011-07-01
• Original language: French
• Binding: Paperback
• 208 pages

About the Author
Successful entrepreneur, publisher of SUCCESS magazine, and author of The New York Times Bestseller, The Compound Effect. Darren's passion for personal development is at the core of his business and life philosophy. He has mentored and trained thousands of other successful entrepreneurs and is committed to helping others achieve their potential in order to live richer, more fulfilling lives.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Ce livre est très puissant! Avis a ceux qui sont prêt à ce que les choses changent dans leur vie!
By Sylvie Couture
Excellent livre! À mettre en pratique, relire et relire! Changer d'attitude c'est changer sa vie! Nous sommes à 100% responsable de nos choix!
Merci Darren Hardy!

0 of 0 people found the following review helpful.
Le jeu change
By Patrick Béland
Un guide sur les pratiques quotidienne de ceux qui réussissent. Un ouvrage de qualité incroyable. À posséder dans sa bibliothèque

0 of 0 people found the following review helpful.
Five Stars
By Hector martinez
C'est tres excellente

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[B970.Ebook] PDF Download Deeper than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson

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Deeper than Reason takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Robinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics, especially with questions about emotional expression in the arts, emotional experience of art forms, and, more generally, artistic interpretation.

• Sales Rank: #1032842 in Books
• Published on: 2005-06-02
• Original language: English
• Number of items: 1
• Dimensions: 5.80" h x 1.50" w x 9.30" l, 1.98 pounds
• Binding: Hardcover
• 515 pages

Review

"Robinson is the only philosopher of music known to me who seems to have understood that musical experience involves the activation of the motor system and to have grasped this fact's fundamental importance. Deeper than Reason is impressive. Indeed, it is the best philosophical monograph I know on emotion and the arts. Among its many achievements is one most rare: it manages to be both accessible and profound." -- Modern Philology

Deeper than Reason: Emotion and its Role in Literature, Music, and Art, is a product of more then twenty years of research, in which [Robeson] digs deep into the nexus between philosophy, psychology, and aesthetics. This book is well worth reading if one is interested in contemporary theories of emotions or aesthetics. --Metapsychology

About the Author
Jenefer Robinson is in the Department of Philosophy, University of Cincinnati.

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1 of 1 people found the following review helpful.
Masterful Work on Emotions and Aesthetics
By azonebooks
This may be two books. The first half is a challenging critique of contending views of emotions versus Robinson's own based in psychological and neuro studies. She's persuasive. The second is application of her view to various Arts. Here she's superb in showing that without the appropriate emotional response to a specific piece of music or literature or painting you cannot understand it. These applications demonstrate the value of her theoretical work. The book is invaluable for anyone interested in theories of emotion, and more for their application to the Arts.
Disclosure: I have know Robinson for many years. She is a former president of the American Society of Aesthetics, and a major contributor to theory of emotion and aesthetics.

18 of 18 people found the following review helpful.
An excellent examination of the Paradox of Fiction
By Juneko J. Robinson
Philosopher Jenefer Robinson argues quite convincingly that emotional engagement is necessary for any meaningful understanding of certain genres of art, music, literature, and poetry. According to Robinson, just as individuals who lack emotional understanding display serious social deficits, those who apprehend emotionally charged works from a purely intellectual stance misunderstand the deeper message behind artistic creations. Without that visceral emotional component, we cannot fully apprehend the subtleties of many creative works.

She does a fine job of methodically laying out her argument. Her argument is threefold. From the audience's perspective, Robinson argues that we are naturally inclined to pay attention to things in the environment that may impact our interests, desires, fears, etc. Emotions, then, are bodily responses to the environment, which are either threatening or conducive to these interests.

However, the mechanism is more cyclical than linear in nature. For Robinson, emotions are processes. Non-cognitive appraisals of the environment are caused by "simple perceptions" as well as by complex thoughts and beliefs which, in turn, trigger physiological responses and vice versa.

Moreover, studies indicate that this mental/physiological cycle of responses can occur regardless of the fact that we are cognitively aware that the situation is fictitious. Thus, we can respond emotionally to a work of art because we are capable of vividly imagining emotion in fictitious situations where our interests are at stake. The value of this kind of interaction comes when we reflect upon these experiences and are able learn about the complexities of emotional life that go beyond what our limited vocabulary is capable of articulating.

Secondly, emotion is equally important for the creator of the work. Although Robinson is careful to say that her theory does not apply to certain genres, she nonetheless defends a "new Romantic theory of artistic expression," whereby artists express emotion through their work by way of a persona that experiences the emotion/s depicted in the piece. Building on her theory of emotion, Robinson argues that works of representational works "are able to express an emotion by articulating the way the world appears to a person in that emotional state" (Robinson, 2005, 275).

But this oversimplifies Robinson's argument. She fully recognizes that in many works of art, there are "layers of personae" that allow emotions to be expressed through fiction by way of narrators, via the way that narrators depict the characters, and through the self-expression of the characters themselves, while others--particularly conceptual pieces--resist application of her theory.

Finally, Robinson explores how the very structure of the medium, particularly in literature and music, guides the audience to certain emotional responses to developments in plot and character. The fourth part of the book is devoted entirely to an analysis of the role of emotion in music appreciation and will likely have both lovers of Brahms, as well as new comers to his works, revisiting these pieces, book in hand.

Lovers of Henry James' The Ambassadors, Tolstoy's Anna Karenina, Edith Wharton's The Reef, Shakespeare's Macbeth, and Ian McEwan's Atonement, will enjoy seeing these works analyzed here and those not familiar with them will likely wish to read these works afterwards. Robinson provides especially vivid examples of literary works that lend credence to her argument. Although one wishes that there were more depictions of the visual arts, the one painting selected, a haunting landscape by Caspar David Friedrich, is an excellent choice.

My criticisms are few and relatively minor. While she is correct that many audience members may have felt angry at being manipulated into finding the shooting of a character "amusing," Robinson's brief assessment of Quentin Tarantino's film Pulp Fiction is a bit disappointing. Controversial and often cutting edge pieces, such as Pulp Fiction, frequently arouse ire and attention precisely because they express emotional incongruity in ways that challenge how we traditionally view and make sense out of such depictions. Robinson's quick disposal of the Tarantino example missed an excellent opportunity to discuss further the complexities of emotions that seem diametrically opposed, but that nonetheless exist simultaneously.

One also wishes that the attention paid to each of the arts was a bit more balanced in terms of length (e.g. painting is treated in five pages, sculpture and architecture are conflated into two pages, etc.) and, as such, these sections are less satisfying than the sections on literature and music.

These minor points notwithstanding, it is still a thought-provoking joy to read and would make excellent required reading in a classroom setting. Robinson deftly illustrates the historical landscape of aesthetic theory, and emotion theory from philosophical, psychological, behaviorist, and neuro-physiological perspectives, and the book is surprisingly ambitious in the sheer number of thinkers whose works are discussed over the course of the book. In addition, the book is well-organized with chapter conclusions that bring us back to the previous premises and conclusions and tie everything up to that point together. As a philosopher, free-lance artist, and former paraprofessional psychiatric social worker, I found Deeper Than Reason to be a well-balanced, careful analysis that is appealing on many levels. Robinson has written a fascinating study of the role of emotions in the arts that will be highly attractive to both serious students of philosophy, emotion theory and the arts, as well as educated lay persons. Her style is both economical and engaging and she has managed to articulate what many of us have already felt at an intuitive level; without emotional engagement, some works of art simply cannot be understood. As such, Deeper Than Reason is a welcome arrival on the landscape of the philosophy of art and emotion theory.

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• Sales Rank: #100513 in Audible
• Published on: 2015-11-23
• Format: Unabridged
• Original language: English
• Running time: 127 minutes

Most helpful customer reviews

1 of 1 people found the following review helpful.
Missed Oppurtunity
By Amazon Customer
Great followup to first edition.I wish I had made the recommended stock purchases. Keep up the good work.

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