Anthology

The New York Times Guide to Essential Knowledge: A Desk Reference for the Curious Mind

The New York Times Guide to Essential Knowledge: A Desk Reference for the Curious Mind

Language: English

Pages: 1104

ISBN: 0312313675

Format: PDF / Kindle (mobi) / ePub


The new standard in reference from the nation's leading newspaper:
A thorough, authoritative, easy-to-use guide offering deeper coverage on a broad range of essential subjects.

Whether you are researching the history of the world, interested in learning more about an obscure medical procedure, exploring environmental trends, studying a great work of literature, looking for tips on how to improve your crossword puzzle skills, or just trying to gain a deeper understanding of the latest current events, this book is for you. An indispensable resource for every home, office, dorm room, and library, The New York Times Guide to Essential Knowledge includes insightful sidebars by Times writers, and covers major categories including art, astronomy, business, sports, history, medicine, philosophy, photography, biology, film, and much more!

Years in the making, this one volume is designed to offer more information than any other book on the most popular subjects as well as providing easy-to-access data vital for everyday living. It is the only comprehensive reference book to include authoritative, engaging in-depth essays from experts in almost every field of endeavor, with innovative cross-referencing to allow for to even greater understanding.

Featuring:
- Biographical dictionary of nearly one thousand of the most important people of every field
- Writers Guide to grammar, usage and style
- The United States Constitution
- The most complete sports section of any one-volume reference book
- A thirty-thousand-word history of the world
- Crossword dictionary

Contributors include:
- Jane Brody on health matters
- Dennis Overbye on the Big Bang
- Linda Greenhouse on the Supreme Court today
- Andrew Revkin on the state of the world's environment
- John Noble Wilford on the oldest human fossil
- Michael Kimmelman on the origins of photography
- Will Shortz on crosswords
- Natalie Angier on war
- Nicholas Wade on how life began

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fee orsales charge for purchasing shares ofa mutu cerned with dividend income, and are less interested in al fund, similar to a commission for purchasing stocks. growth potential. Emerging marketfunds invest in compa nies in developing nations. Regionalequityfunds invest only in companies in a certain part of the world. Global equity funds invest in equity securities traded internationally, including those ofU.S. companies. Index funds are stock funds whose portfolio mirrors Mutual funds are

genera tion of directors. Finally, Cool Hand Luke, directed by Stuart Rosenberg (b.1927), showcased Paul Newman (b. 1925) in the title roleas a rebel who is alienated from the social institutions and common goals of mainstream society. End of the Production Code By the1960s,enforce ment ofthe Motion Picture Production Code was imprac tical, and many directors paid little attention to it. Jack Valenti (b.1921), whobecame headof the MotionPictures Association ofAmerica in 1966,replaced the code

M(suggested for mature audiences); R(children action figures. under 17 not admitted without adult guardian); and X Contemporary Hollywood In the 1980s and 1990s (children under 17 not admitted). The system was the studios reclaimed their control over the industry. designed to alert viewers to the nature of a film's content, While the studios continued to solicit films from small rather than prevent them from seeing certain types of production companies and produce films inconjunction material.

(1685-1759), both ofwhom created music thatwas virtuosic inits mastery of harmony and tonality. Other outstanding composers ofthe Baroque period included Henry Purcell (1659-95), Alessandro Scarlatti (1660-1725) andhissonDomenico (1685-1757), Heinrich Schiitz (1585-1672), and Antonio Vivaldi (1678-1741). Composers ofthe Baroque era were often employed by the wealthy ruling class as part of what was called the patronage system. As such, the patron paid the composer for each work, and usually

accompaniment. Initially, there were no soloists; the group played all at once, with the melody instruments improvising around oneanother's parts. The rhythmic accompaniment emphasized a regular, four-beat themostinfluential—was Jelly Roll Morton (b.Ferdinand accent, asa basis for the melodic syncopation. Joseph La Menthe, or Lamothe, 1890-1941). Morton's BuddyBolden and King Oliver Cornetist Buddy piano style melded blues, Spanish dance rhythms, rag Bolden (b. Charles Joseph Bolden, 1877—1931)

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