Rabu, 25 Mei 2016

Download Ebook The Personality Brokers: The Strange History of Myers-Briggs and the Birth of Personality Testing

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The Personality Brokers: The Strange History of Myers-Briggs and the Birth of Personality Testing

The Personality Brokers: The Strange History of Myers-Briggs and the Birth of Personality Testing


The Personality Brokers: The Strange History of Myers-Briggs and the Birth of Personality Testing


Download Ebook The Personality Brokers: The Strange History of Myers-Briggs and the Birth of Personality Testing

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The Personality Brokers: The Strange History of Myers-Briggs and the Birth of Personality Testing

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Audible Audiobook

Listening Length: 11 hours and 30 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Random House Audio

Audible.com Release Date: September 11, 2018

Language: English, English

ASIN: B07G2K75VR

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Engaging. Informative. Speculative. Illuminating. Irritating. Thoughtful. Mistaken. These terms describe Merve Emre’s new book, The Personality Brokers (in the US) and What’s Your Type? (in Australia and Europe), published by Doubleday. Emre brilliantly used sources in multiple places to support her historical rendering of the family environment and passions of the mother-daughter duo who are responsible for the Myers-Briggs Type Indicator® assessment. She managed to expose a host of attitudes, reflective of the time, and of the unique character of the individuals involved.Emre’s real goal, however, is to use the popularity of the MBTI® tool to expose issues in the use of psychological tools in organizations. She is right to point out that using personality based tools for selection and promotion is problematic and typically doesn’t end well for the individual or the organization. Noting that individuals are being improperly evaluated from a self-report tool is precisely why the professional associations around the world have such high standards regarding the use of assessments. What all social scientists know is that any assessment has measurement error and to make hard and fast conclusions on a single data point isn’t good science or a good use of science-based tools.Certainly, the MBTI® tool, if not the most used, among the most used “personality” related tools in the world is a prime target for attack on two levels. Most importantly, the use of this tool (and others) tends to be far beyond the bounds of what the tool’s purpose is, how the tool was constructed, and how the tool should be deployed. A second issue is on the nature of the tool itself and whether it stands to scrutiny.No matter how many times people are told that personality tools should not be used for hiring and promotion decisions as a single data point, companies still do it. Their HR departments want a quick fix and as with most quick fixes, it is a very poor band-aid to a very complex problem. Regrettably, training and educating others on the proper use of tools is never a one and done proposition. Publishers need to be relentless in providing guidance regarding the use of the tools they publish.Emre’s main purpose to call out the abuse of individuals through the use of psychological tools is a five-star theme. The evidence she pulls together to show the passion and obsession of the Briggs and Myers development of the assessment is also compelling. Emre has done a service to anyone interested in both the context and the detail related to the development of a tool, and in this case, the MBTI. While much of this history I knew, Emre filled in some blank spots which are consistent with the family lore that has been shared.I agree with Emre’s supposition that “the labeling of live human beings emerged as one technique for annihilating individuality” (p. XVI). There isn’t much doubt that many people experience their results as described. In fact, Jung wrote in many of his letters that type was not to be used for this purpose; rather, the theory of type was to alert individuals to a way to start a journey of understanding personal paths to individual uniqueness. This distortion Emre noted isn’t the fault of the tool; rather, it is the problem of the user who either doesn’t understand the tool or have a clear understanding of the underlying theory. As I wrote in I’m Not Crazy, I’m Just Not You, individuals should never trade self-knowledge for personal power and personal uniqueness…..as the poet said, we should avoid “knowledge gained with a loss of power.” I think there is abundant anecdotal evidence that the MBTI has been used incorrectly and used far beyond its purposes and the parameters of its statistical limits. But this claim can be made of almost any self-report tool that corporations use for selection. This issue is very important and very complex.As a side note, I suggest any form of labeling—race, gender, any orientation label—has the potential to limit self-understanding and personal growth. The claims that Emre makes apply to almost every system in the social sciences. Unlike these other systems, psychological type assumes that gaining clarity about your natural tendencies is just a starting point. The goal is to understand the whole system and your use of it. There is no doubt that lots of experts have Procrustean beds which they like to put people in; psychological type, the basis of the MBTI tool, proposes it is an expansive and complex system we can access and use to enrich life choices and individual growth.Emre’s discussion of the state of training on the MBTI® tool is appalling. I checked in with a few people who recently were trained in the tool and their account was not too far off Emre’s descriptions of how the material was presented and the spirit that permeated certification. For those of us who know psychological type, have trained and been trained regarding the MBTI® decades ago, we can only lament that the rigor and principles of care that once guided such training has apparently been lost. For example, strictly speaking, the MBTI® assessment is not a personality assessment. It was designed to get at a framework Carl Jung proposed that affects our mindsets. Rather than personality, Jung was interested in how we use our mental processes for seeing and acting on things. He never thought of these as “fixed” traits and was interested in showing how processes affect attitudes and choices. This was never thought of as “fixed” and invariant; it is a fluid system that has a home base. Emre’s own historical account of Myers initial reports shows that she understood Jung’s model and that it was full of sources of variation. But this is apparently no longer part of the training conversation. In addition, training used to have a rigorous approach to reviewing the statistical methods for estimating reliability and validity of assessment tools, especially as applied to the MBTI® assessment, which is also lost.Emre’s commitment to fair-mindedness does not extend to looking at all of the evidence about the science related to the MBTI® tool, and by extension, all other tools measuring for psychological type. For example, rather than reporting that there are science-minded critics on all sides of the fence about the reliability and validity of the MBTI (and other tools), she declares “it is a well-known fact that the type indicator is not scientifically valid” (p.xv) This would come as a major surprise to the hundreds of graduate committees who approved the tool for use in dissertations or the multiple studies done to show how type preferences are demonstrated.And Emre falls prey to the same limited criticism that so many do by relying on the 1985 manual of the MBTI rather than looking at the newest edition of the manual which describes an entirely new statistical method for re-creating the tool. In short, you would be hard pressed to find social scientists declaring that an item response analysis based on a random sampling of the US population is useless and discredited. Item response analysis is very complex and technical; suffice it to say that many consider it among the most powerful methods available for measurement of human behavior. Through the seemingly endless articles criticizing the MBTI® I have yet to see a critic take up the analysis that is the basis of the newest version of the tool, the research for which was completed 20 years ago.All psychological tools have problems and issues, which is why methods for looking at the reliability and validity of a tool result in “estimations” rather than definitive declarations of what is or isn’t worthwhile. The evidence speaks for itself. And truthfully, we should expect more evidence and demand higher research standards for assessment tools in general.Psychological type is a model attempting to get individuals to think about how their minds work. What are our tendencies for managing our energy? Our tendencies for an approach to information? Strategies for making decisions? Typical approaches to daily life? These are worthwhile questions if we want to learn more about managing stress and renewal, understanding differences in approaches, and being open to multiple paths to get to right answers. That this nuanced, rich framework has been lost in the training and lost in the application of psychological type assessments is lamentable.On the whole, Emre’s book (whatever title is being applied) reveals problems and issues with the use of assessments and the pernicious effects of tools used inappropriately. She exposes that there is a good deal of money in the assessment world and it has vested interests. All those issues are important and call upon serious-minded social scientists and users of tools to be mindful. Erme deftly identifies threads of fascism and sexism that run through the historical context. Unfortunately, she conflates application with intention, popularity with greed, and bias with evidence. For example, she confuses how the MBTI is used with what Myers and Briggs intended, or even current guidance in the Manual about the use of the tool.The supposition that Katharine Briggs and Isabel Myers were the “first to perceive how hungry the masses were for simple, self-affirming answers to the problem of self-knowledge” (p.XVII)” implies an intention which is revisionist history. Looking back on how things emerged in the history of the use of the tool, it seems true to me that many individuals were captivated by the patterns suggested by the MBTI® results. To suggest that Briggs and Myers planned to make the MBTI an engine of wealth betrays every letter or reported conversation they had about their interest in type. They believed that type could help solve a lot of personal problems and they believed that type provided a constructive way to understand human differences. These intentions are a far cry from attempting to leverage the MBTI® as a source of wealth.Here are a few of her declarations which mar the impact of the work. Erme shows a picture of Katharine (mother) and Isabel (daughter at 5 years old) and declares “Katharine and Isabel look straight into the camera: Katharine with pride; Isabel with docility and incomprehension” (p.11) I covered the description and shared the picture with 10 women and 10 men in ages from 18-74. When I asked what they saw in the image, people used terms like focused, intention, warm, affectionate, pleasant, and a host of other terms. Not one person said that they saw pride and incomprehension, and certainly, that was not my reaction. There are a hundred different ways to describe that image but to impose “incomprehension” on someone’s look is quite remarkable and suggests a bias about the person as an adult, which is later confirmed in the narrative.Reliance on a single critic (e.g. Stricker, p. 216ff) of any topic indicates a lack of thoroughness. At the same time that Stricker was launching his opinion of an early version of the MBTI, ETS statistician David Saunders had completed an additional analysis which countered Stricker’s views. Yet, Saunders isn’t noted nor his youthful (like Stricker) and later wise (in his 60s) analysis of additional data provided by Organizational Renewal Associates which was the basis for what has become Step II. None of these are “hidden” facts or characters in the story but notably absent here. This history would argue against the narrative of an awful tool, born of greed, and useless to society.Emre writes, “Beyond all the pseudoscientific talk of ‘indicators’ and ‘instruments’ was a simple but subtle truth: the questionnaire reflected whatever version of yourself you wanted it to reflect, whether consciously or unconsciously” (p. 263). If you remove the word “pseudoscientific” you have a direct statement that is true of all self-report assessments of any ilk. Anytime a person is answering questions about how they believe they are, you are getting a picture of their own self-image as they believe it to be. In the hands of a skilled coach or therapist, that image can be useful and a source of productive exploration. The use of the word “pseudoscientific” is intended to suggest something of no value and represents a judgement not based on evidence. When we say something is scientific or pseudoscience, we owe it to the reader and subject matter to explain what we mean. Were the rules of analysis violated? Were there no efforts to show substance? Was any effort made to collect data and provide propositions? The reader has a right to know that there were plenty of studies done using the MBTI® tool, some of which are clarifying and others confounding about the tool and the underlying model—-which is a truthful statement about the evidence.The ending of the book is interesting in quoting Mary McCauley, the late president of CAPT and the primary aid to Myers and the MBTI for 30 years. Mary is quoted as saying the goal is one of becoming “a more perfect type” echoing the words of Jung. This is rather astonishing given that I knew Mary McCauley from 1980 to her death. We had endless conversations on the potential elements of type development and what they meant. I heard her speak of data and patterns related to type development and effective use of one’s type lens. Not one time did I ever hear her utter the idea of a “perfect type” and I do not recall a single line in all of Jung’s work that suggests anything like that (p.269). Jung’s notion of individuation is about embracing and growing your unique personhood and saying “yes” to what you can become. He wrote,“Everything good is costly, and the development of personality is one of the most costly of all things. It is a matter of saying yea to oneself, of taking oneself as the most serious of tasks, of being conscious of everything one does, and keeping it constantly before one’s eyes in all it dubious aspects—truly a task that taxes us to the utmost.” (Jung, The Collected Works of C.G. Jung, Vol. 13, para. 24)This is a far cry from declaring people should ‘perfect’ their type or even their personality. Myers wrote that type development is being clear about your patterns and knowing when to stretch to use other mental resources. These are calls to be uniquely human.To be fair, you should know that the primary source of my comments in this essay comes from many years of involvement with psychological type. I was involved early in the development of the Association for Psychological Type and was among the initial professionals who were part of the development of qualifying training for users of the MBTI® from 1981 to 2008. I served on the MBTI Research Board and participated in the research of the newest version of the MBTI® tool, along with a panel of additional Ph.D. psychologists and psychometric specialists. I completed research on the MBTI using the data at the Center for Creative Leadership in which I analyzed the MBTI types and 75 independent variables, most of which verified predicted type patterns. I have developed my own tool for measurement of psychological type (Pearman Personality Integrator) so I know the limitations and challenges of creating a valid and reliable tool. Further, I knew a number of the individuals profiled in the book, The Personality Brokers. I have been an eyewitness to the growth and development of personality tools, including the MBTI®, and have researched and written about these tools.

I have only started this book but have to report that the author and I have had very different experiences with the MBTI certification process and dealing with the MBTI experts at University of Florida. I cannot imagine the certification being referred to as "re-edeucation" as the author claims. Further, while preferences are natural, the MBTI community emphasizes that we all use all of the preferences all of the time. Further, "type dynamics" explains how we focus on different preferences as we mature. The emphasis is on "dynamic" not "fixed" and never evolving. It is important to emphasize that responsible use of the MBTI includes a verification process and does not rely on indicator results exclusively. Finally, I find the assertion that the MBTI lacks "scientific validity" to be hog wash. Volumes of reliability and validity studies are provided in a technical manual. But, I understand that couching the MBTI with mystery and "corporate villainy" will sell more books. To me that is disingenuous at best.

The only reason I'm giving this book two stars instead of one is the fact that the book does contain some interesting tidbits and examples of the history of the MBTI. Otherwise, it is a classic example of "paradigm paralysis" from the first words. The author's biases are clear from the beginning and by the end, it's even clearer -- the author even admits her behavior is part of her "B#%##" personality which interestingly corresponds to a possible aspect of her type.While the author lists extensive references at the end, the book is filled with comments and "interpretations" of many communications that leave me wondering "where's the evidence of this?" So many examples, including the author's interpretation of the thinking portrayed by a photograph -- a photograph where the expressions could be interpreted in many different ways.The book wanders back and forth with a confusing timeline that had me frequently trying to figure out the when of a particular part of the story.While statistical validity -- which others claim the book ignores in today's version of the MBTI -- has its place, the author fails to recognize "face validity." Participants of the MBTI today see the instrument as reflecting choices they make -- and they validate the results by the importance of "verifying" the results. The author's arrogance in sarcastically calling the MBTI a "test" during her prejudiced attendance at a certification session was just one of many statements that tarnished the book.

The author has supplied a fairly complex story about the development and evolution of the personality type approaches, especially Myers-Briggs. Her overall assessment seems to be negative: That the modern Myers-Briggs theory and methods oversimplify human personality, have become very superficial, and are neither very meaningful or well-supported scientifically. Nevertheless, for a variety of reasons, they have remained, and have grown in popularity. She connects the personality inventories to the rise to dominance of capitalism, to fascism, to the cultural changes the U.S. has gone through, and to other important features, such as the fact that the Myers-Briggs inventory was the theoretical and practical brainchild of two brilliant women, products of their times, but also fairly unconventional and challenging. Prof. Emre has written a complex interesting story putting the Myers-Briggs personality inventory in an important historical context. Her somewhat negative viewpoint does not detract from the book (at least in my view). I think her book is worthwhile for anyone who is interested in the Myers-Briggs typology.

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Sabtu, 21 Mei 2016

Free Download , by Michael Connelly

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, by Michael Connelly

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File Size: 2575 KB

Print Length: 456 pages

Page Numbers Source ISBN: 0446611646

Publisher: Little, Brown and Company; 1 edition (May 3, 2004)

Publication Date: May 3, 2004

Sold by: Hachette Book Group

Language: English

ASIN: B000FC1MNW

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When the widow of a friend (Terry McCaleb) calls Bosch to investigate her late husband's mysterious death, he is there.Robert Backus: former FBI Behavioral Science, former mentor, former Poet. Is he back? All signs point in that direction, and Agent Rachel Walling is called out of exile in the badlands of North Dakota...but she is not given any power to actually investigate what appears to be his work.Meanwhile, during the investigation of the death of McCaleb, Harry comes across cryptic noted and pictures of McCaleb's family without their knowledge. Was McCaleb being targeted? By who? Why? One of the pictures is taken in Nevada of a road sign, ZZyzx. Bosch decides to go and see what it leads to.Walling and Bosch, both pretty much outsiders, he is former LAPD, retired, and she is not in good standing, They are paired because Agent Walling is already there and he has information. Are the two cases a combination of the work of one madman, or was this all a coincidence. Bosch doesn't believe in coincidences. There are hints as to whom is doing the killing, but why, and how were they lured to their excruciating deaths.Then, Harry's ex wife is keeping a secret. He knows she is and this is one of those mysteries he must solve. However, when he discovers what this life changing secret is, he could never have imagined what it turned out to be.The book was interesting how the crimes were solved, they were led to certain places that apparently they were led to intentionally. They were being played.

Harry Bosch has retired from the LAPD and is trying to drum up business for his new career as a private investigator. He lands a case, probably the last one he wants, to investigate the death of good friend Terry McCaleb who was an FBI agent before his own retirement. In the course of his investigation Harry stumbles on a huge excavation taking place off Zzyzx Road, a nowhere junction along I-15 between LA and Las Vegas. (I’ve seen it several times and it always provoked a laugh.) Turns out the excavators are FBI folks and they are finding a number of bodies whose deaths point to a nemesis called The Poet. One of the FBI agents at the “big dig” is Rachel Walling, an old friend of Bosch who’s been brought down from her office in South Dakota to help. She’s been warned about taking too aggressive a role in this investigation but she does have a good reason to participate fully; The Poet is a psycho named Backus who was Rachel’s FBI mentor many years before. Bosch is not welcomed by the FBI; they don’t want any help from a retired LA police officer, thank-you-very-much. But Bosch doesn’t care about that because he has his own case to worry about. And since he’s in the Las Vegas vicinity, it’s a great opportunity to get over to “Sin City” and see his daughter, Maddie, who lives there with her mother, Eleanor. Backus is also the master of many disguises and is watching everyone closely. As you might suspect, “outsiders” Bosch and Walling get together (in several ways) to hunt and find Backus in a tension-filled ending.

The Harry Bosch series is the best crime series I've ever read and, for my money, this is one of the very best in the series (it's close between this one, Echo Park, and The Concrete Blonde). Read Connelly's earlier novel, The Poet, before reading this. Although Bosch isn't in The Poet, there are important connections between that book and this one, and you'll enjoy this all the more with that background. And The Poet is a great book in its own right. If you've enjoyed Michael Connelly before you'll like this one, too. If you've never read him, get started and welcome to the party.

This is a very good writer and a very smart one. I have read many of his books, all these people that move around and in LA. Bosch, Mike Haller, the journalist , Kiz, Rachel Walling , etc , they all form a group of interesting people, different characters, all working crimes, intricate intrigues, quite atmospheric, .....simply good entertaining writing.

Connelly and Harry Bosch are always a good read and The Narrows is certainly no exception. Having been a cop for 33 years in an LA County city so much of what Connelly writes is so right on target regarding police work, victims and the criminal justice system. Connelly gets it about the FBI's and their bureaucratic, highminded ways that get in the way of good street level investigative police work. While The Narrows is a little weak in capturing my complete attention, I could put this one down, it is a wonderful read.

The crossover books that cover multiple main characters frequently tend to have to much ground to cover on all sides to satisfy the readers of each series. This generally means that the main story itself must be simpler, as was the case with this one whee the villain was revealed very early on. Also, the attempted twist at the end was not really very well conceived, as it essentially meant that it truly was a major coincidence that Bosch became heavily involved in the case at all. While potentially heavily ironic for those familiar with that character, it was also quite unbelievable. However, even with those shortcomings, this was still a very good read. The pacing was generally good and the use of multiple settings to develop the story also worked well.

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Selasa, 10 Mei 2016

Download Ebook How The Sphinx Got To The Museum (How the . . . Got to the Museum), by Jessie Hartland

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How The Sphinx Got To The Museum (How the . . . Got to the Museum), by Jessie Hartland


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How The Sphinx Got To The Museum (How the . . . Got to the Museum), by Jessie Hartland

From School Library Journal

Starred Review. Grade 1–4—Lively artwork and rhythmic text highlight this unique picture book that tells the story of how one particular piece of Egyptian sculpture ended up in the Metropolitan Museum of Art in New York City. Hartland begins with a brief description of Hatshepsut and her significance as a female pharaoh in ancient Egypt, as well as explaining how most pharaohs had many pieces of statuary created in their honor. The story continues to build as Hatshepsut orders the creation of the sphinx, the sculptor secures the granite, the priests admire it, the stepson destroys it, and then the real fun begins after an archaeologist discovers it 3000 years later in a pit and begins the process of acquisition for the museum. The cadenced writing is simultaneously predictable and unexpected, making it a joy to read aloud, inviting listeners to join in. It also includes vocabulary such as curator, rigger, and registrar, providing the opportunity to delve into discussions of unusual career choices, as well as fun verb choices that will intrigue children. The accompanying illustrations are animated and detailed, from an archaeologist's tools to a curator's cluttered office—plenty for young eyes to discover and share. Brilliantly simple and effective, this is an excellent addition to any elementary collection.—Jody Kopple, Shady Hill School, Cambridge, MA (c) Copyright 2011. Â Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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From Booklist

*Starred Review* At some point every visitor to a museum wonders the same thing: How did that get here? With exhaustive, dizzying, yet crystal clear detail, Hartland answers that question in regard to a seven-ton sphinx from ancient Egypt. The opening illustration introduces a museum docent and a gaggle of curious students, but then we backtrack to the reign of Pharaoh Hatshepsut, who requests from a sculptor six granite sphinxes. Priests observe the finished works; years later, Pharaoh Thutmose III destroys them; 3,000 years later, an archaeologist discovers the ruins. This is just the beginning—before it’s over we’ll meet art movers, curators, conservators, riggers, registrars, retouchers, and more, and the increasing lineup is featured on each right-hand page in “house-that-Jack-built” stair-steps: “The SPHINX that was documented by the PHOTOGRAPHER, painted and restored by the ARTIST, officially numbered by the REGISTRAR,” and so on. Eye-openers abound (the movers, for example, avoid “bumpy roads and tight turns”); while Hartland’s cheery, childlike paintings effortlessly shift from desert to city to museum. Closing historical notes are also great. The overall elicited emotion is awe—both for the passage of time and for the steps required to bring a simple hunk of stone to the fifteenth person: you. Grades 2-4. --Daniel Kraus

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Product details

Age Range: 6 - 9 years

Lexile Measure: AD1460L (What's this?)

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Series: How the . . . Got to the Museum

Hardcover: 40 pages

Publisher: Blue Apple Books (September 1, 2010)

Language: English

ISBN-10: 1609050320

ISBN-13: 978-1609050320

Product Dimensions:

9.2 x 0.5 x 11.2 inches

Shipping Weight: 1.2 pounds (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

8 customer reviews

Amazon Best Sellers Rank:

#833,632 in Books (See Top 100 in Books)

Shipped quickly. Grandson Loved it.

I bought this book for my six year old who has been obsessed with everything Egyptian lately. It is a cute look into where pieces of history come from and how they end up in the museum. It focuses on one mummy, a woman pharaoh named Hatshepsut and her journey from being pharaoh to ending up in the Metropolitan Museum of Modern Art.

One of the most frequent requests I get from parents in my library is a desire for books on "community workers". Which is to say, their children have been given an assignment in school on writing about the people who work in their neighborhood, and so we are charged with coming up with books about sanitation workers, doctors, bus drivers, etc. This being New York City, I always kind of wish that I'd get a request for a community worker a little out of the ordinary. How about a request for a book on a conservator? Or a museum registrar? Why do docents always end up with the short end of the stick? Of course, even if I did get a request for one of these, I'd actually have to produce a book that says what such museum folks actually do. Still, that's no problem since the publication of "How the Sphinx Got to the Museum". Basically author/illustrator Jessie Hartland came up with a radical notion. Why not combine a book that explains the jobs people do with a real life mystery (how a busted sphinx was returned to its full splendor for display in the Metropolitan Museum of Art) and then present it in a cumulative tale format? Why that's so crazy it just might work. And work it does in a story that satisfies a child's need for story while also working in some pretty cool details about why museums are full of statues from other countries far far away.A group of kids visit The Metropolitan Museum of Art and are told a strange fact. Before their eyes sits a sphinx created for the Pharaoh Hatshepsut. The kicker? That same statue was destroyed a mere twenty years after its creation on orders from Hatshepsut's successor and stepson. So how on earth has it come to reside fully intact in a museum in America? To answer that you have to begin at the beginning. And so the docent recounts the many steps and people who contributed to the sphinx's story. Hatshepsut commissioned, the sculptors sculpted, the priests admired it, and the stepson had it destroyed. From there the story takes a turn, rediscovered centuries later in a pit by an archaeologist, brought to America, and restored. As each piece of the puzzle falls into place we are consistently reminded of the people who came before, until at long last we reach the present day. A section called "More History" at the end clarifies many of the details and gives kids additional information on the real statue and its current location.The real trick here, as it is with any cumulative tale, is to know how to tell a story with a lot of repetition without making it boring. I should clarify what a cumulative tale is by this point, yes? Basically what I'm talking about is a book that tells a story the same way you would in a classic like "This is the House that Jack Built". It's where you introduce an element and then build on it, always returning for a kind of chorus. The books that are successful at this (like "The Apple Pie That Papa Baked") know how to keep a reader interested, even as the same information is conjured up time and time again. In the case of "How the Sphinx Got to the Museum", Hartland has the advantage of telling a true story. As a result, the more you repeat what happened to the sphinx (it was . . . "secured by the Art Movers, supervised by the Department of Antiquities, found in a pit by the Archaeologist") not only are you bringing up the true story of its travels, you're also teaching kids about certain jobs by having them repeat the wordy occupations over and over again. Teachable moments! Woot!The fact that the book is mostly factual places it in a funny position in libraries. Where do you put it? It kind of looks like a picture book, and indeed might be interesting there, but in the end it tends to end up in the Ancient Egypt section of nonfiction. Interesting since there are some details that were stretched a bit to fit the telling. At the end of the book Hartland admits freely that "The part of this book when Hatshepsut orders several statues from the sculptor is somewhat made up." I trust her as an author, but when I read that I kind of want to know how many other details were true. Did the Sphinx really get sent to America on a ship called The Cingalese Prince? I mean, it had to, right? Who would make that kind of thing up? A little Bibliography or section at the end recommending websites or books for further reading would not have been out of place here. I liked the "More History" but found myself wanting more for the interested kids out there.Hartland has a bit of a Maira Kalman style about her. That incredibly flat, near two-dimensional quality of her art. The book offers no hints on her style or what medium she uses, and her website is equally mum on the subject. What's kind of cool is that she has in her short picture book career already created books for Candlewick, Penguin, Chronicle, Bloomsbury, and now Big Apple Books. In the case of this particular book, Hartland has chosen to set many of the images here against relatively uncluttered backgrounds. There's always adequate room for her text, which doesn't sound impressive until you realize how long the cumulative collection of folks involved with the statue really are. After a while, you also begin to notice that each person's designation ("Department of Antiquities", "Egyptian Priests", etc.) is granted its own distinctive font. That's a detail that keeps the book visually stimulating, even if you don't notice it right off the bat.Of course the best news to leave you with is the fact that this is not Hartland's sole journey into this kind of nonfiction cumulative fare. Following up this title will be a similar book about how a dinosaur got to what I believe will be The Smithsonian, as well as a third title about how a painting (to be determined) got from artist to permanent gallery display. Clearly this is a fun concept with a lot of different applications one can work with and the first in the series is a true keeper. If you, like myself, are a bit sick of the endless identical Ancient Egypt children's fare out there and would like to see something original, Hartland has your number. Consider this a great way to bridge the past and the present for your kids.Ages 4-8.

If you've are lucky enough to walk up the stairs and into the Metropolitan Museum of Art in New York City, you may have been able to see one of Hatshepsut's sphinxes. Hatshepsut was a pharaoh who ruled in ancient Egypt. There were many pharaohs and perhaps the most famous or memorable was King Tutankhamen, but Hatshepsut was undoubtedly the most unusual. Hatshepsut was a woman and that just wasn't supposed to happen in Egypt, but it did. There were "many monuments and pieces of art [that] were created in her honor." As with most pharaohs there were many different kinds of memorial objects that were created to be placed in their tombs or in front of their temples.Hatshepsut had artisans carve several stone sphinxes to stand "guard in front of her temple." She supervised her architect, Senenmut, who created her temple. Plans were drawn up to make statues, "including a set of six sphinxes." The granite was mined at an quarry in Aswan and with great difficulty this "HUGE block of granite" made its way down the Nile on a boat. Pharoah Hatshepsut's dream began to take shape and her magnificent temple was soon guarded by the six sphinxes. Later, after she died, her stepson, Thutmose III, had "all of the beautiful artwork, including the sphinxes," destroyed and buried in a pit. Who found these pieces? How were they put back together again and just how did that sphinx get to the Met?This is a fascinating glimpse at an unusual Egyptian pharaoh and how one of her sphinxes made it to the Met. Most people have never heard of Hatshepsut, but she is just starting to become known to the younger set and this is one of the more interesting portraits of her. The story is progressive and by the time we get to the end we know exactly how that sphinx made its way to 1000 Fifth Avenue so all of us can visit with him. For example, once we meet the archaeologist, "he uncovers the pit with the broken pieces of dozens of statues, including the sphinx that was ... dumped there by the stepson, marveled at by the Egyptian priests, chiseled by the sculptor and order by the pharaoh." At the end we are greeting by the docent and work our way back to the pharaoh. The artwork is marvelously quaint and very appealing. In the back of the book are additional facts and figures, more history, and we learn more about where the other sphinxes went.

This book helped me and my children to love the Met even more. The Sphinx is a beautiful statue but it is overshadowed by the huge Temple of Dendur looming over it. Now that we have read this book my kids love finding the little red numbers that identify it, and examine the parts of the statue that are real vs plaster. Did you know they intentionally make the plaster look different from the original so it's easier to tell the two apart? Because the Met has a room dedicated to Hatshepsut statues, this book helped us to value all of those works of art as well (this Sphinx is not in that room). It brings an ancient statue to life, helping us feel it's colorful history and understand it's significance. How often is a masterpiece broken to boxes and boxes of pieces, buried in a pit for thousands of years, discovered, shipped to New York, and put back together again for the world to admire once more? It's uncommon to find a book that covers an object's history as well as it's preservation. It helped us appreciate all the work gone into acquiring the many masterpieces that make the Met the amazing museum that it is. This is a really great book.

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Selasa, 03 Mei 2016

Free PDF Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer

Free PDF Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer

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Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer

Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer


Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer


Free PDF Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer

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Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer

Product details

Paperback: 105 pages

Publisher: CreateSpace Independent Publishing Platform (November 4, 2017)

Language: English

ISBN-10: 1979413029

ISBN-13: 978-1979413022

Product Dimensions:

8.5 x 0.2 x 11 inches

Shipping Weight: 12 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

179 customer reviews

Amazon Best Sellers Rank:

#44,348 in Books (See Top 100 in Books)

 This is a really cute coloring book for the Christmas season. It is mostly secular (though I did see one church in a snowglobe design). The coloring book includes many designs of Santa with additional elves, home scenes of trees, winter/Christmas animals and much more. Christmas is my favorite season and coloring books associated with Christmas are very high on my list of must-buys. So far this year, this book is my favorite and I intend to have a lot of fun coloring in it.The designs are detailed with full backgrounds and lots to color. They are not what I consider intricate with small or difficult areas to color. I really appreciate the broad range of designs and that there are two of each so I can share my book or color something twice with different color schemes.While you can have access to .PDFs when you purchase this book, my review is based on the book as it is received from Amazon. That way you will know what the pages look like and how they accept color. I like that the publisher provides the digital version as well so you can choose the paper you wish to use and/or to color the pictures as many times as you choose.This is what I found while coloring in this book and testing the paper with my coloring medium:25 unique Christmas-inspired designs with 2 copies of each included for a total of 50 coloring pages.Designs are printed on one side of the pagePaper is typical of CreateSpace: white, thin, slightly rough and non-perforated. The back of the page is printed black.The designs do not merge into the binding. There is a heavy framing line at the outer edges of the design to give the project a more finished look, especially for framing.Glue Binding (there is room to cut the pages out if you choose to do so.)Though you cannot see the bleed-through easily due to the back of the page being printed in black, I recommend the use of a blotter page when working in this book. I use a page of card stock or several sheets of heavyweight paper under my working page. It keeps seeping ink and marring dents from ruining the pages below.Alcohol-based markers bleed through the page quickly.Water-based markers bleed through in spots.Gel pens and India ink pens leave shadows on back of the page. India ink can bleed through if you apply heavily or multiple coats.Coloring Pencils work well with this paper. I found that I could layers the same color for deeper pigment or multiple colors and I could blend easily using a blending stick. I tested both oil and wax based pencils. I also found that hard lead pencils leave dents through the paper.

Jumping with joy with this new book. Beautiful and adorable pictures to color sure to get you in the Christmas spirit. My only problem is to decide what page to color next as they are all so fun. If you have not yet got this book, you must.

Christmas is my favorite holiday of all. Jade captures all the fun of the whole season in this book.There are adorable snowmen, Christmas wreaths, Mr. and Mrs. Claus, reindeer, cute penguins and so much more!!This is a great book the whole family can enjoy; from adults to kids. There are a variety of pages from simple to more intricate.All pages are single sided and have two sets of each adorable picture. The paper is on standard weight paper as provided by Createspace. I recommend using a backer page for any wet mediums to prevent bleed through.The book comes with a free digital copy with access code at the back of the book, so you can print and color any page you like over and over.If you love the holiday season and coloring Christmas pages and more, this is a fantastic book!!

Jade Summer new coloring book is right on time for the Christmas holidays. This is a cute book. There are pictures in this book for everyone. Some pictures are detail and some are not. Each picture is on a single page with the Black background. The pages are easy to tear out. You will love this Christmas book. Happy holidays and happy coloring.

Honestly, I was very disappointed with this book. I don’t recall any product I’ve purchased from Amazon that I have rated less than 4 or 5 stars. I am Avery frequent customer of Amazon. First, it took several days for the book to ship. I ordered it on the 13th and received it on the 19th. Second, the coloring pages are not perforated so u can get a better layout to color them. U rip the page all up trying to remove from book. And they are so close to the bing u can’t cut them out. So u have to color them with a humped up, scrunched up page. No copies to share because u can’t get them out. Third, the faces on everything but the lil Snowmen, were jus not right. Room for improvement there. Fourth, the price for the book is no where relative to the quality and quantity of pages. Fifth, the 2nd page of the book states “No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information or storage and retrieval system, without written permission from the publisher”BUT....on the third page of the book it states “This book includes a Free Digital Copy (PDF Format) so u can print ur favorite images and color them an unlimited number of times”. So is print different from copy? How do u print an image? And which is it? The copyright of the book contradicts each other. So can we photocopy the images or not? Page 2 u can’t.....page 3 u can!!! Take a look and use ur on judgment as to whether u think u want to purchase this book. For myself, I was disappointed in what I received!!

This is a great little book! At first I worried about the thinner paper, but quickly found that as long as I protected the next page with something behind my work, the paper held up very well to both marker and pencil. The images are lovely and there is a very nice variety of them, plus you get a second set of the images in the back of the book. A bargain in my opinion!

Very nice book; I was surprised to find each page backed by a black page and there are two copies of each picture. I like that because sometimes I mess up a page and this way I can redo it or try a different medium for each! I prefer coloring pages that have larger areas and this book fills that need! Can't wait to start coloring!

I would have liked 50 different pages, not 25 with a duplicate page of each. The paper quality is lacking. Colored pencils show every fiber & you have to go over it several times or the finished image looks blotchy. Markers rip the page apart. Gel pens work well as long as you go fast- if you color slowly the paper will rip from the sligh moisture like it does with markers.

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Christmas Coloring Book: An Adult Coloring Book with Fun, Easy, and Relaxing Coloring Pages, by Jade Summer PDF