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A landmark work of bio-romanticism, Mephistos and Other Poems is the first completely new collection in five years from legendary Beat and SF Renaissance poet Michael McClure, reflecting his interests in mammal consciousness and ecological survival. The title sequence stems from McClure's ongoing "grafting" experiment, growing new poems from fragments of previously ones. "Some Fringes" is a series of haiku-like nature poems, while the seventeen-part "Rose Breaths" derives from the poet's practice of meditation. The freestanding poems grouped under the title "Being" pay homage to many of McClure's collaborators and fellow travelers like Bruce Conner, Terry Riley, and Dave Haselwood. The book climaxes with "Song Heavy," recounting McClure's recent encounter with a beached whale in Rockport, Massachusetts, and recalling his classic "For the Death of 100 Whales," which he read at the Six Gallery in 1955--the inaugural moment of American eco-poetics. Michael McClure is an award-winning American poet, playwright, songwriter, and novelist. After moving from Kansas to San Francisco as a young man, he was one of the five poets who participated in the Six Gallery reading that featured the public debut of Allen Ginsberg's landmark poem "Howl." A key figure of the Beat Generation, McClure is immortalized as Pat McLear in Jack Kerouac's novels The Dharma Bums and Big Sur. He also participated in the sixties counterculture alongside musicians like Janis Joplin and Jim Morrison. McClure remains active as a poet, essayist, and playwright and lives with his second wife, Amy, in the San Francisco Bay Area. Michael and I have been twisting the Dharma for twenty years now. He reads his poetry like a mad lion or a hummingbird or a soft evening tidal pool or a wild California thunderstorm...His words are of a new realm of love and joy and terror. What a pleasure to play with such a perceptive artist. It's always been my great joy to make music to his words."--Ray Manzarek [C]ertainly a genius in thought and writing it out ...McClure is one of the few contemporaries to have understood Kerouac as a literary poet--and learned some joyous classic invention therefrom ...Thus we have a McClure poet, a McClure natural philosopher, and a McClure prosateur and novelist. Hardly anyone in America with equal range and sharpness, liveness. What more?"--Allen Ginsberg Praise for Mephistos: In Mephistos we are again thrown into Michael McClure's lavish lair of forceful magic. Its actions are literal ones, handfuls of jewels disintegrate as a firewall rises to a solid prism. There is no poet more adept at calling forth the elements, only to fashion them later as eternal amulets for his readers. 'NEW MOON ((BLACK!)) /STAR CLOUDS/ HALOES/ Flashlight reflects/ into two small eyes.' You will find your body changed through the labyrinth these poems initiate."--Cedar Sigo "Close attention will be rewarded in kind. Keep Mephisto near at hand, read only a poem or two at a time, let the imagery possess you. It's okay, you can trust it. It's McClure: he'll never steer you wrong."--Robert Hunter, lyricist, poet, songwriter "He is such a sweet paradox! Like most of Shelley and the late poems of D.H. Lawrence, McClure turns the phenomenal world inside out, seeking Mind within mind."--Diane di Prima, poet "If you've enjoyed McClure's writings in the past, this volume ought to recapture your poetic heart and rekindle your imagination." --Jonah Raskin, New York Journal of Books "Mephistos is perhaps an open love letter to all of McClure's many fans who have followed him ever since he arrived in San Francisco from Kansas City more than half a century ago."--San Francisco Chronicle

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Experiencing Dance: From Student to Dance Artist, Second Edition, takes off where its previous edition—a best-selling high school text for students enrolled in dance classes—left off. Geared to students in dance II, III, and IV classes, this text places teachers in the role of facilitator and opens up a world of creativity and analytical thinking as students explore the art of dance. Through Experiencing Dance, students will be able to do the following: • Encounter dance through creating, performing, responding to, analyzing, connecting with, and understanding dance through its 45-plus lessons. • Experience dance as performers, choreographers, and audience members. • Learn about dance in historical and cultural contexts, in community settings, and as career options. • Go through a complete and flexible high school curriculum that can be presented in one or more years of instruction. • Meet state and national standards in dance education and learn from a pedagogically sound scope and sequence that allow them to address 21st-century learning goals. • Use Spotlight and Did You Know? special elements that will enhance the learning experience and connect studio learning to the real world of dance. Experiencing Dance will help students engage in movement experiences as they learn and apply dance concepts through written, oral, and media assignments. These assignments help them gain a perspective of dance as an art form and provide the content for students to develop interactive dance portfolios. The text contains 15 chapters in five units. Each chapter offers at least three lessons, each containing the following material: • Move It! introduces students, through a movement experience, to a lesson concept. • Vocabulary provides definitions of key terms. • Curtain Up offers background information to help students understand lesson topics and concepts. • Take the Stage presents dance-related assignments for students to produce and share. • Take a Bow engages students in response, evaluation, and revision activities to process their work and concepts presented in the chapter. Each lesson includes Spotlight and Did You Know? special elements that help students extend their learning and deepen their understanding of historical and cultural facts and prominent dancers, dance companies, and professionals in careers related to dance. Each chapter includes a chapter review quiz. Quizzes incorporate true-or-false, short-answer, and matching answer questions. Finally, each chapter ends with a capstone assignment. Students will delve into major topics such as these: • Identifying your movement potential as a dancer • Understanding dance science and its application through studying basic anatomy and injury prevention in relation to dance training • Developing proper warm-ups and cool-downs and integrating fitness principles and nutrition information into healthy dancing practices • Expressing through various dance styles and forms the roles of the dancer, the historical and cultural heritage of the dance, andd the dance’s connections to community and society • Developing and performing dance studies and choreography in a variety of styles and forms and then producing the dance using production elements for a variety of settings • Preparing for a future as a dancer, choreographer, or a career that is otherwise connected to dance • Advocating for dance in your community and beyond The text is bolstered by web resources for both students and teachers. These resources enhance the students’ learning experience while enabling teachers to prepare for, conduct, and manage their classes. The student web resource contains these features: • Journaling prompts • Extended learning activities • Web search suggestions for further research • Worksheets and assignments to either print out or complete online (via editable Word files) • Interactive chapter review quizzes (these are completed online and students get immediate feedback) • Video clips • Vocabulary terms with and without definitions to aid in self-quizzing and review The teacher web resource contains everything that is on the student web resource, plus the following: • A printable full-color poster for the classroom • PowerPoint presentations for each chapter • Answer keys for worksheets and quizzes • A full electronic version of the student textbook In addition, Experiencing Dance is available in both print and interactive iBook versions. The iBook version has embedded chapter-opening and instructional video clips as well as interactive quizzes (in which students immediately receive feedback on their answers). This updated text, with its solid instruction and comprehensive lessons, new resources, and extended learning experiences, will help students at levels II, III, and IV increase their understanding of, expertise in, and enjoyment of dance.

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"Death was, after all, the way Henry made his living." A bookhound, Henry Sullivan buys and sells books he finds at estate auctions and library sales around Boston and often from the relatives of the recently deceased. He's in his late thirties, single, and comfortably set in his ways. But when a woman from his past, Morgan Johnson, calls to ask him to look at her late husband's books, he is drawn into the dark machinations of a family whose mixed loyalties and secret history will have fatal results. Hound, the first novel featuring Henry Sullivan, is the debut work of a longtime Boston bookseller. It is a paean to books, bookselling, and the transformative power of the printed word. Even as it evolves into a gripping murder mystery, it is also a reminder that there are still quiet corners of the world where the rhythms of life are calmer, where there's still time for reading, time for getting out for a beer with friends, time to investigate the odd details of lives lived on the edges of the book world. As the true story unfolds, its mysteries are also of the everyday sort: love found and love lost, life given and life taken away. At the center is Henry himself, with his troubled relationships and his love of old books. There's his landlady Mrs. Prowder whose death unsettles Henry's life and begins the sequence of events that overturns it. There's the secret room his friend Albert discovers while doing "refuse removal," a room that reveals the story of a woman who lived and loved a century ago. And throughout the novel are those of us whose lives revolve around books: the readers, writers, bookstore people, and agents-as well as Henry, the bookhound, always searching for the great find, but usually just getting by, happy enough to be in the pursuit. "McCaffrey, the owner of Boston's legendary Avenue Victor Hugo Bookshop, succeeds in conveying his love of books in his intriguing debut." -Publishers Weekly "Hound is billed as a mystery, and it's a good one, but its fuse is long and its pace befitting an old bookshop. That's a good thing. There's something charismatic and timeless about the way the story builds and McCaffrey opens Henry's life to the reader. It wasn't until the action started to heat up about 100 or so pages in that we remembered we were reading a mystery at all. And while we're a little tired of books about books and the people who love them-which often come off more as marketing initiatives- McCaffrey is never cloying or playing to demographic. He's just telling a compelling, old-school yarn, the kind of story a man who knows his literature tells." -Time Out Chicago "Vincent McCaffrey's debut mystery is crammed with stories, with likable, eccentric characters, much like his marvelous Avenue Victor Hugo Bookshop-of all the bookstores in the world, the one I still miss most of all. Like all good mysteries, Hound concerns more than murder: it's rich in detail and knowledgeable asides about bookselling, the world of publishing, and life lived in the pubs, shabby apartments, penthouses, and strange corners of the city of Boston." -Kelly Link, author of Pretty Monsters "McCaffrey's bookseller, Henry Sullivan, is as endearing, frustrating, and compelling a character I've come across in some time. Hound is more than Henry's show, however. It's a slow burn murder mystery, a sharp character study, a detailed exploration of Boston, and a mediation on the secrets of history-both personal and universal. But I'm wasting our precious time trying to pigeonhole his wonderful first novel. Hound is, quite simply, a great book." -Paul Tremblay, author of The Little Sleep. Vincent McCaffrey has owned and operated the Avenue Victor Hugo Bookshop for more than thirty years, first in Boston, and now online from Abington, Massachusetts. He has been paid by others to do lawn work, shovel snow, paint houses, and to be an office-boy, warehouse grunt, dishwasher, waiter, and hotel night clerk. He has since chosen at various times to be a writer, editor, publisher, and bookseller. He can still remember the first time he sold books for money in 1963-and what most of those books were. Hound is his first novel.

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`A recent SAGE Publication called Therapists in Court provides invaluable, step-by-step guidance to mental health practitioners in the UK. Even though different countries use different legal systems, many issues faced in the legal domain are based on the principle of protecting the rights of both parties and balancing often competing roles. Despite its base in the UK legal system, Therpists in Court provides essential advice on many of these issues for all mental health practitioners, regardless of their location′ - New Therapist `[Therapists in Court] spells out very clearly the vastly different worlds of therapy and the courts. Detailed and careful preparation is advised although not offered by the courts to the uninitiated. There are many examples given of typical Initial Statements; Disclosure Documents; and several different Court Reports which may be requested under different circumstances. This is a user-friendly handbook that one can use to get an initial overview of the likely legal scenarios therapists may experience, and which can be used for more detailed study if and when the need arises. Tim Bond and Amanpreet Sandhu provide therapists with a useful reference in which the legal process as it may apply to themselves and/or their clients becomes more easily understood′ - Eisteach ′This book fills an important gap in the literature and will I hope remain in print long term, with appropriate amendments and revisions. It should be read by any therapist whose client is or may be involved in court proceedings, civil or criminal, as witness, plaintiff or defendant: that is, by all therapists of any discipline. It will be essential reading for trainees. I wish it had been around when I was learning my job′ - Dr Jean Harris - Hendriks, Honorary Senior Lecturer and Consultant in Child and Adolescent Psychiatry, Traumatic Stress Clinic, London `Therapists in Court provides a clear and useful summary of what to do when faced with legal processes and will be extremely helpful both to counsellors called to provide evidence in court and to lawyers who wish to refer their clients for support during the legal process or afterwards´ - Sarah J Head, Client Support Manager, Alexander Harris Solicitors `It is extraordinary that no such work already exists. I predict that Therapists in Court will become not just useful but indispensable to all practitioners, not least because of the accessible and jargon-free language in which the law is conveyed. Ultimately, clients will be the beneficiaries of a better informed profession´ - Marcel Berlins, Barrister, Author of The Law Machine, Media Law Module Leader at City University London, and Guardian Legal Correspondant ′It often happens that lawyers get frustrated trying to find the answer to a point of law in their textbooks. Therapist need have no such worries! When trying to find out how the courts of law may affect them in their work, they will find it all here - in a comprehensive and very readable account of what is involved. Here is all you ever wanted to know about the courts but were afraid to ask!′ - Sheriff Nigel Thomas CBE `So many therapy books contain too much padding with references to other published work that is already familiar. The reader has to work hard to ′extract the gold from the dross′. This title is not one of these. Your review read the whole book through in one sitting because of the clarity of the writing and logical sequence. I wanted to know what to do next. Bearing in mind that this is about legal matters, it may be described as ′un-putdownable′ - Play for Life Therapists in Court is the first in a series of handbooks providing legal guidance for practitioners from all the talking therapies, including counselling, psychotherapy and psychology. For many practitioners, becoming involved in a court case is a frightening and disturbing experience. The tone of legal letters and the adversarial atmosphere of a courtroom is very different from their usual working environment. Providing clear practical guidance backed up with illuminating examples, the book is an invaluable source of information in situations such as: o responding to a solicitor′s letter o supporting a witness in their preparation to appear in court o being called as a witness.

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- Explains, with sample unit plans, how to teach the basics of 10 popular dance forms for K–12 settings- Explains how to apply educational theories to dance - Presents dance education in context of the national standards for dance- Helps readers build portfolios that demonstrate their ability to create lesson plans, a unit plan, and a dance curriculumThere's a lot more to dance education than steps and dances. To be successful, dance educators must practice a variety of skills that go far beyond dancing. They must incorporate educational theories to meet state and national arts standards, establish a solid knowledge base of the dance form to be taught, and set up developmentally appropriate learning experiences. To help aspiring dance educators acquire the skills that will make them successful in the classroom, this book provides vital information on teaching methods in general, then shares specific applications for teaching each dance form.Dance Teaching Methods and Curriculum Design presents a conceptual model of dance education that embraces dance as an art form and disseminates it through learning experiences in dancing, dance making, and dance appreciation. Through this book, dance educators will broaden their understanding of the dance content that is appropriate for their students and their educational setting.Part I presents an overview of the teaching and learning process in dance, including the background information necessary to plan, organize, set up, and deliver an effective learning experience. It provides essential information about the national standards in dance and guides readers smoothly through the process of - identifying both dance content knowledge and teacher knowledge,- developing observation skills, - being aware of how students learn movement,- constructing a dance class,- choosing a presentational method,- addressing student behaviors in the classroom, - analyzing the learning environment, and- teaching for artistic development across various dance forms.Part II offers ideas for unit and curriculum development, design, and evaluation. Readers will learn how to create learning experiences, lesson plans, unit plans, and finally a dance curriculum. They will become familiar with four categories of dance that encompass 10 dance forms; they also will discover the application of movement, choreographic, and aesthetic principles to these dance forms. Readers will find step-by-step instructions for teaching beginning dance units in 10 different dance forms to offer a curriculum of experiences for students in preschool to college settings. This book contains many special features so that readers can access important information quickly:- Chapter objectives and summaries- Tables that compile information about different topics- Highlight boxes that draw attention to important information - Self-check lists that provide a quick way to understand a process or learn a new concept- It's Your Turn activities that provide practical, interactive experiences in dance- 33 forms, including lesson plans, teaching evaluations, unit plans, block time plans (with detailed information about what to teach in each class), and scope and sequence forms that show the order in which to teach various dances and techniques- Ready-made rubrics that match the objectives for each of the sample unit plans for evaluation- Sample unit plans for 10 different dance forms, each containing a three-week unit of 15 progressive classes- An extensive list of book, music, and video resources for each dance unit- More than 120 photos and 66 illustrations that illustrate the various dance forms and techniques- Icons for movement, choreographic, and aesthetic principles as they apply to each dance form- Beyond Technique exercises that provide additional learning activities in dance making and dance appreciation for each sample unit- A culminating portfolio project that synthesizes all of the elements explored in the book into a practical product that prospective dance educators can present to potential employers Even the most experienced dance educators will appreciate the sample units for 10 different dance forms, divided into four categories:- Creative movement and creative dance- Recreational dance (including social dance, contra dance, folk dance, and square dance)- Concert dance (including ballet, modern dance, jazz, and tap)- Aerobic dance (dance fitness)Dance Teaching Methods and Curriculum Design provides a sound foundation in the art and science of dance pedagogy–for those who seek a rewarding career in teaching dance.

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Discovering Dance is the ideal introductory text for students with little to no dance experience. Teachers can adapt this course to meet students where they are, whether they are new to dance or already have some dance experience. The material helps students consider where movement comes from and why humans are compelled to move, grasp the foundational concepts of dance, and explore movement activities from the perspectives of a dancer, a choreographer, and an observer. The result is a well-rounded educational experience for students to build on, whether they want to further explore dance or choreography or otherwise factor dance into college or career goals. Discovering Dance will help students in these ways: • Meet national and state standards in dance education and learn from a pedagogically sound scope and sequence that allow them to address 21st-century learning goals. • Discover dance through creating, performing, analyzing, understanding, responding to, connecting to, and evaluating dance and dance forms. • Step into a flexible dance curriculum that is appropriate for one or more years of instruction. • Build on their dance experience, whether they want to further explore dance or choreography or otherwise factor dance into college or career goals. • Use student web resources to enhance their learning. The book is divided into four parts and 16 chapters. Part I focuses on the foundational concepts of dance and art processes, wellness, safety, dance elements, and composition. Part II delves into societal facets of dance, including historical, social, folk, and cultural dance. In part III, students explore dance on stage, including ballet, modern dance, jazz dance, and tap dance, and also examine aspects of performance and production. Part IV rounds out the course by preparing students for dance in college or as a career and throughout life. Each chapter helps students • discover new dance genres; • explore dance genres through its history, artists, vocabulary, and significant works; • apply dance concepts through movement, written, oral, visual, technology, and multimedia assignments, thus deepening their knowledge and abilities; • enhance learning by completing in each chapter a portfolio assignment; and • use the Did You Know and Spotlight elements to expand on the chapter content and gain more insight into dance artists, companies, and events. Learning objectives, vocabulary terms, and an essential question at the beginning of each chapter prepare students for their learning experience. Students then move through the chapter, engaging in a variety of movement discovery, exploration, response, and research activities. The activities and assignments meet the needs of visual, auditory, and kinesthetic learners and help students explore dance through vocabulary, history, culture, creation, performance, and choreography. This personal discovery is greatly aided by technology—including learning experiences that require taking photos; watching or creating short videos of dancers’ performances; creating timelines, graphs, drawings, and diagrams; and creating soundscapes. Chapterrs conclude with a portfolio assignment or project and a chapter review quiz. A comprehensive glossary further facilitates learning. In addition, some chapters contain Explore More elements, which trigger students to investigate selected dance styles on the web resource. These sections offer students insight into various dance genres and styles; for example, in the chapter on cultural dance, students can explore more about street dances, Mexican folkloric dance, African dance, Indian dance, and Japanese dance. The online components further strengthen the book and enrich the students’ learning experience. These resources also help teachers to prepare for and manage their classes. Here is an overview of the resources: Teacher Web Resource • Learning objectives • Extended learning activities • Handouts and assignments that students can complete, save, and print to turn in • Explore More sections of selected chapters to introduce students to additional social, folk, cultural, and contemporary dance styles • Chapter glossary terms both with and without the definitions • Chapter PowerPoint presentations • Information on assessment tools • Interactive chapter review quizzes • Answer keys for handouts, assignment sheets, and quizzes • Unit exams and answer sheets • Video and audio clips for selected dance genres • Web links and web search terms for resources to enhance the learning • Additional teacher resources to support and extend the teaching and learning process (these resources include chapter learning objectives, enduring understanding and essential questions, chapter quotes, teacher-directed information to support teaching specific activities, and web links) Student Web Resource • Handouts and assignments that students can complete, save, and print to turn in • Explore More sections of selected chapters to introduce students to additional social, folk, cultural, and contemporary dance styles • Chapter glossary terms both with and without the definitions so students can test their knowledge • Information on assessment tools • Interactive chapter review quizzes • Video and audio clips for selected dance genres • Web links and web search terms for resources to enhance the learning The availability of Discovering Dance as not only a print book but also an e-book and an interactive iBook enhances its ability to introduce students to the elements of dance and help them discover new talents, desires, and delights as they explore movement and dance.

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Carmen Boullosa’s Cleopatra Dismounts tells three versions of the life of Cleopatra. In the first sequence, Marc Antony had just disemboweled himself, knowing they had lost the war against Octavian and believing that Cleopatra was dead. Hugging his corpse, Cleopatra castigates Octavian and history for its betrayal of her, recalling variously how she had herself delivered to Caesar in a roll of carpet, and bore his child (Caesarion); the twins and third child she bore to Marc Antony; the bitterness of the recent military defeat. At this point Diomedes, variously described as an informer and her official chronicler, intercedes, admitting that this version of the story is not true to the brilliant, accomplished woman who was the true Cleopatra really was. Telling of how he betrayed Cleopatra, by altering the histories of her reign and allowing Caesar and others to destroy or change her scrolls, he begins again with the story of Cleopatra’s flight from Pompey (the Roman leader who was placed in charge of Cleopatra and her brothers and sisters after Ptolemy Auletes, her father and ruler of Egypt, died). The girl queen (Cleopatra inherited the throne as a teenager) sneaks with several faithful servants out of the palace into a wagon, accompanied by a group of brightly costumed gladiators, on her way to Ascalon. She and her supporters carve the words “Queen of Kings” (Cleopatra’s motto in real history) into the boards of the wagon in which she is traveling, and leave it behind when they reach Rome. When they are beset by pirates, Cleopatra stages an elaborate show using some costumes the young gladiator Apollodorus, who has become part of her retinue, helped her buy. She convinces the pirates that she is Isis (a myth which was in reality part of her statecraft). She makes an alliance with them and is taken in peace to Cilicia. The third and longest version of the Cleopatra story is a delightful interlude in which Cleopatra goes live with the Amazons. Cleopatra is at war with the Ruling Council of her husband and brother Ptolemy (she was, historically, forced to marry her brother because she could not rule alone as a woman). The Ruling Council has sent an envoy to summon her to Alexandria to make peace, but when she realizes it is a trap, she flees with her retinue. She arrives in Pelusium, a trade center on the Mediterranean, where many merchants have been stranded by bad weather, and where, as if by magic, she sees a replica of the cart, carved with the words “Queen of Kings,” she left behind in Rome. Chased by the “reception committee” of the Ruling Council, she escapes on the back of a magical bull. He carries her across the Mediterranean to the land of the Amazons, who take her in. The Amazons welcome her into their society of women, eschewing marriage and traditional female roles to live as warriors and hunters. They sing her the stories of their joining the Amazons and of the many myths that surround them. She meets a group of aged poets, kidnapped by the Amazons to write verses for them, because they love poetry and music. She learns that one Amazon, Orthea, is in love with a god who has the power of extreme heat and cold, and who caused an earthquake that day. The Amazons go to bed, falling into each other’s arms and making love. Though initially disgusted, eventually Cleopatra falls asleep in the protective (and erotic) embrace of Hippolyta, the Amazons’ queen. The next day, the Amazons go to battle a group of rebellious male warriors who charge the Amazons and seek, ultimately, to follow the Sirens. Charging them on their horses, driving cattle at them, the Amazons battle the men. One of their prized poets, however, in an act of suicide, surrenders himself to the Sirens, who devour him before everyone. This breaks the spell and the men cease their clamoring to get to the Sirens. Cleopatra sees Orthea consummating her passion for the god, which kills her. The Cyrene male warriors, who withstood the Sirens’ onslaught in their fort by plugging the windows with rocks and mud, invite Cleopatra and the Amazons to their court to celebrate their successful protection of so many men. Hippolyta declines but sends Cleopatra with her blessing. Once there, she is joyfully reunited with the gladiator Apollodorus and her faithful maidservant and right hand Charmian. The Cyrenes offer to ally with her against her enemies in Ptolemy’s Ruling Council. The alliance between Cleopatra and Caesar (wherein she was smuggled to him rolled up in a carpet, and he assisted her in defeating her enemies in Egypt, part of history) is presaged. At the close of the piece, Cleopatra returns to bid goodbye to the Amazons. She finds them naked, covered in blood, having just sacrificed a horse. Hippolyta is holding the horse’s castrated penis. She repudiates her earlier alliance with the Amazons and returns to Cyrene alone, to her military campaign to become the queen history knows.

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During the last months of the war, Josef Pieper saw the realization of a long-cherished plan to escape from the “lethal chaos” that was the Germany of that time, “plucked,” he writes, “as was Habakkuk, by the hair of his head . . . to be planted into a realm of the most peaceful seclusion, whose borders and exists were, of course, controlled by armed sentries.” There he made contact with a friend close-by, who possessed an amazing library, and Pieper hit upon the idea of reading the letters of Goethe from that library. Soon, however, he decided to read the entire Weimar edition of fifty volumes, which were brought to him in sequence, two or three at a time.The richness of this life revealing itself over a period of more than sixty years appeared before my gaze in its truly overpowering magnificence, which almost shattered my powers of comprehension – confined, as they had been, to the most immediate and pressing concerns. What a passionate focus on reality in all its forms, what an undying quest to chase down all that is in the world, what strength to affirm life, what ability to take part in it, what vehemence in the way he showed his dedication to it! Of course, too, what ability to limit himself to what was appropriate; what firm control in inhibiting what was purely aimless; what religious respect for the truth of being! I could not overcome my astonishment; and the prisoner entered a world without borders, a world in which the fact of being in prison was of absolutely no significance. But no matter how many astonishing things I saw in these unforgettable weeks of undisturbed inner focus, nothing was more surprising or unexpected than this: to realize how much of what was peculiar to this life occurred in carefully preserved seclusion; how much the seemingly communicative man who carried on a world-wide correspondence still never wanted to expose in words the core of his existence. It was precisely in the seclusion, the limitation, the silence of Goethe that made the strongest impact on Pieper. Here was modern Germany’s quintessential conversationalist intellectual, but the strength of his words came from the restraint behind them, even to the point of purposeful forgetting:The culmination is when the eighty-year-old sees forgetting not as a convulsive refusal to think of things, but as what could almost be termed a physiological process of simple forgetting as a function of life. He praises as “a great gift of the gods” . . . “the ethereal stream of forgetfulness” which he “was always able to value, to use, and to heighten.” However manifold the forms of this silence and of their unconscious roots and conscious motives may have been, is it not always the possibility of hearing, the possibility of a purer perception of reality that is aimed at? And so, is not Goethe’s type of silence above all the silence of one who listens? . . . This listening silence is much deeper than the mere refraining from words and speech in human intercourse. It means a stillness, which, like a breath, has penetrated into the inmost chamber of one’s own soul. It is meant, in the Goethean “maxim,” to “deny myself as much as possible and to take up the object into myself as purely as it is possible to do.” . . . The meaning of being silent is hearing – a hearing in which the simplicity of the receptive gaze at things is like the naturalness, simplicity, and purity of one receiving a confidence, the reality of which is creatura, God’s creation. And insofar as Goethe’s silence is in this sense a hearing silence, to that extent it has the status of the model and paradigm – however much, in individual instances, reservations and criticism are justified. One could remain circumspectly silent about this exemplariness after the heroic nihilism of our age has proclaimed the attitude of the knower to be by no means that of a silent listener but rather as that of self-affirmation over against being: insight and knowledge are naked defiance, the severest endangering of existence in the midst of the superior strength of concrete being. The resistance of knowledge opposes the oppressive superior power. However, that the knower is not a defiant rebel against concrete being, but above all else a listener who stays silent and, on the basis of his silence, a hearer – it is here that Goethe represents what, since Pythagoras, may be considered the silence tradition of the West.Pieper concludes his remarkable find with this summation:When such talk, which one encounters absolutely everywhere in workshops and in the marketplace – and as a constant temptation – , when such deafening talk, literally out to thwart listening, is linked to hopelessness, we have to ask is there not in silence – listening silence – necessarily a shred of hope? For who could listen in silence to the language of things if he did not expect something to come of such awareness of the truth? And, in a newly founded discipline of silence, is there not a chance not merely to overcome the sterility of everyday talk but also to overcome its brother, hopelessness – possibly if only to the extent that we know the true face of this relationship? I know that here quite different forces come into play which are beyond human control, and perhaps the circulus has to be broken through in a different place. However, one may ask: could not the “quick, strict resolution” to remain silent at the same time serve as a kind of training in hope?

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During the last months of the war, Josef Pieper saw the realization of a long-cherished plan to escape from the “lethal chaos” that was the Germany of that time, “plucked,” he writes, “as was Habakkuk, by the hair of his head . . . to be planted into a realm of the most peaceful seclusion, whose borders and exists were, of course, controlled by armed sentries.” There he made contact with a friend close-by, who possessed an amazing library, and Pieper hit upon the idea of reading the letters of Goethe from that library. Soon, however, he decided to read the entire Weimar edition of fifty volumes, which were brought to him in sequence, two or three at a time.The richness of this life revealing itself over a period of more than sixty years appeared before my gaze in its truly overpowering magnificence, which almost shattered my powers of comprehension – confined, as they had been, to the most immediate and pressing concerns. What a passionate focus on reality in all its forms, what an undying quest to chase down all that is in the world, what strength to affirm life, what ability to take part in it, what vehemence in the way he showed his dedication to it! Of course, too, what ability to limit himself to what was appropriate; what firm control in inhibiting what was purely aimless; what religious respect for the truth of being! I could not overcome my astonishment; and the prisoner entered a world without borders, a world in which the fact of being in prison was of absolutely no significance. But no matter how many astonishing things I saw in these unforgettable weeks of undisturbed inner focus, nothing was more surprising or unexpected than this: to realize how much of what was peculiar to this life occurred in carefully preserved seclusion; how much the seemingly communicative man who carried on a world-wide correspondence still never wanted to expose in words the core of his existence. It was precisely in the seclusion, the limitation, the silence of Goethe that made the strongest impact on Pieper. Here was modern Germany’s quintessential conversationalist intellectual, but the strength of his words came from the restraint behind them, even to the point of purposeful forgetting:The culmination is when the eighty-year-old sees forgetting not as a convulsive refusal to think of things, but as what could almost be termed a physiological process of simple forgetting as a function of life. He praises as “a great gift of the gods” . . . “the ethereal stream of forgetfulness” which he “was always able to value, to use, and to heighten.” However manifold the forms of this silence and of their unconscious roots and conscious motives may have been, is it not always the possibility of hearing, the possibility of a purer perception of reality that is aimed at? And so, is not Goethe’s type of silence above all the silence of one who listens? . . . This listening silence is much deeper than the mere refraining from words and speech in human intercourse. It means a stillness, which, like a breath, has penetrated into the inmost chamber of one’s own soul. It is meant, in the Goethean “maxim,” to “deny myself as much as possible and to take up the object into myself as purely as it is possible to do.” . . . The meaning of being silent is hearing – a hearing in which the simplicity of the receptive gaze at things is like the naturalness, simplicity, and purity of one receiving a confidence, the reality of which is creatura, God’s creation. And insofar as Goethe’s silence is in this sense a hearing silence, to that extent it has the status of the model and paradigm – however much, in individual instances, reservations and criticism are justified. One could remain circumspectly silent about this exemplariness after the heroic nihilism of our age has proclaimed the attitude of the knower to be by no means that of a silent listener but rather as that of self-affirmation over against being: insight and knowledge are naked defiance, the severest endangering of existence in the midst of the superior strength of concrete being. The resistance of knowledge opposes the oppressive superior power. However, that the knower is not a defiant rebel against concrete being, but above all else a listener who stays silent and, on the basis of his silence, a hearer – it is here that Goethe represents what, since Pythagoras, may be considered the silence tradition of the West.Pieper concludes his remarkable find with this summation:When such talk, which one encounters absolutely everywhere in workshops and in the marketplace – and as a constant temptation – , when such deafening talk, literally out to thwart listening, is linked to hopelessness, we have to ask is there not in silence – listening silence – necessarily a shred of hope? For who could listen in silence to the language of things if he did not expect something to come of such awareness of the truth? And, in a newly founded discipline of silence, is there not a chance not merely to overcome the sterility of everyday talk but also to overcome its brother, hopelessness – possibly if only to the extent that we know the true face of this relationship? I know that here quite different forces come into play which are beyond human control, and perhaps the circulus has to be broken through in a different place. However, one may ask: could not the “quick, strict resolution” to remain silent at the same time serve as a kind of training in hope?

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Teaching is complex. But there are simple ideas we can enact to help our teaching be more effective. This book contains over 400 such ideas.The ideas come from two sources. First, from the wonderful guests on my Tips for Teachers podcast - education heavyweights such as Dylan Wiliam, Daisy Christodoulou and Tom Sherrington, as well as talented teachers who are not household names but have so much wisdom to share. Then there's what I have learned from working with amazing teachers and students in hundreds of schools around the world.Inside you will find 22 ideas to enhance mini-whiteboard use, 15 ideas to improve the start of your lesson, 14 ideas to help make Silent Teacher effective, seven ways to respond if a student says they don't know, and lots, lots more.Each idea can be implemented the very next time you step into a classroom. So, whatever your level of experience, subject or phase, there are plenty of ideas in this book to help take your teaching to the next level.Book contentsChapter 1: How to use this bookTip 1. How to use this book to improve your teachingTip 2. How to give yourself the best chance of making a lasting changeChapter 2: Habits and routines Why are habits and routines important? Tip 3. Eight ideas to help introduce a routineTip 4. Beware of the Valley of Latent PotentialTip 5. Two ideas to help a routine stickTip 6. Develop a set of high-value activity structuresTip 7. Six ideas to help establish positive norms in your classroomTip 8. Four types of words to consider removing from your teaching vocabularyChapter 3: The means of participationA challengeTip 9. Front-load the means of participationTip 10. Ten ideas to improve Cold CallTip 11. Eight reasons to strive for mass participation more frequentlyTip 12. Twenty-two ideas to improve the use of mini-whiteboardsTip 13. Five ideas to improve the use of voting systems Tip 14. Nine ideas to improve Call and ResponseTip 15. Fifteen ideas to improve Partner TalkTip 16. Six ideas to improve group workTip 17. Use the means of participation holy trinityTip 18. Never rely on a mental noteTip 19. The best tool for the long term might not be the best tool for nowChapter 4: Checking for understandingTip 20. Think of questions as a check for misunderstandingTip 21. Use the temptation to ask for self-report as a cue to ask a better questionTip 22. Lengthen wait times after asking a questionTip 23. Lengthen wait times after an answerTip 24. Ten types of questions to ask when checking for understandingTip 25. Try these three frameworks for learner-generated examplesTip 26. Three ways to use diagnostic questions to check for understandingTip 27. Provide scaffolds for verbal responsesTip 28. Six key times to check for understandingTip 29. Ten ideas to improve Exit TicketsTip 30. Pick the student least likely to knowTip 31. Start with whoever got 8 out of 10Tip 32. Ten ideas to help create a culture of errorTip 33. Three ideas to encourage students to ask questionsChapter 5: Responsive teachingTip 34. Trick your students to test if they really understandTip 35. Never round-upTip 36. Six ideas if a student says 'I don't know'Tip 37. What to do when some students understand and some don'tTip 38. What to do when some students still don't understandTip 39. How students can own and record classroom discussionsTip 40. Share students' work with the rest of the classChapter 6: PlanningTip 41. Seven ideas to improve a scheme of workTip 42. Six ideas to help start the planning processTip 43. Plan to do less, but betterTip 44. Ask yourself: 'What are my students likely to be thinking about?'Tip 45. Write out ideal student responsesTip 46. Four ideas to help you plan for and respond to errorsTip 47. Two ideas to help teachers engage in Deep Work Tip 48. Aim to close the loop when sending an emailChapter 7: Prior knowledgeTip 49. Plan relevant prior knowledgeTip 50. Prioritise relevant prior knowledgeTip 51. Assess relevant prior knowledgeTip 52. Respond to prior knowledge assessmentTip 53. Assess relevant prior knowledge for each idea, not for the whole sequenceChapter 8: Explanations, modelling and worked examplesTip 54. Five ideas to show students why what we are learning today mattersTip 55. Use related examples and non-examples to explain technical languageTip 56. Fourteen ideas to improve the explanation of a conceptTip 57. Teach decision making separatelyTip 58. Five ideas to improve our choice of examplesTip 59. Model techniques liveTip 60. Use a teacher worked-examples bookTip 61. Use student worked-examples booksTip 62. Make use of the power of Example-Problem PairsTip 63. Fourteen ideas to improve Silent TeacherTip 64. Use self-explanation prompts to help develop your students' understanding Tip 65. Six ideas to improve 'copy down the worked example'Tip 66. Vary the means of participation for the We DoTip 67. Three errors to avoid with the Your Turn questionsTip 68. Reflect after a worked exampleTip 69. Beware of seductive detailsChapter 9: Student practiceTip 70. Eight ideas to improve student practice timeTip 71. How to harness the hidden power of interleavingTip 72. Consider using Intelligent PracticeTip 73. Consider using 'no-number' questionsTip 74. Nine ideas to help you observe student work with a purposeTip 75. Occasionally let students do work in someone else's bookChapter 10: Memory and retrievalRetrieval opportunitiesTip 76. Show your students the Forgetting CurveTip 77. Show your students the path to high storage and retrieval strengthTip 78. Show your students the limits of working memoryTip 79. Show your students how long-term memory helps thinkingTip 80. Show your students that being familiar with something is not the same as knowing itTip 81. Ensure you provide retrieval opportunities for all contentTip 82. When designing retrieval opportunities, aim for 80%Tip 83. Vary the types of retrieval questions you askTip 84. Consider providing prompts and cues during retrieval opportunitiesTip 85. Get your students to assign confidence scores to their answersTip 86. Make corrections quizzableTip 87. Twenty-one ideas to improve your Low-Stakes QuizzesTip 88. Fifteen ideas to improve the Do NowTip 89. Consider using Trello to help organise the disorganisedChapter 11: Homework, marking and feedbackTip 90. Make homework feed into lessonsTip 91. Eight ideas to improve homeworkTip 92. Two things to check if homework or test scores are a surprise Tip 93. Be careful how you respond to 'silly' mistakesTip 94. Turn feedback into detective workTip 95. Consider recording verbal feedbackTip 96. Twelve ideas to improve whole-class feedbackChapter 12: Improving as a teacherTip 97. Find the expertise within your teamTip 98. Five different people to learn fromTip 99. Revisit education books and podcast episodesTip 100. Four things to consider when trying something newTip 101. Five ideas to help tackle the negativity radioTip 102. Consider slowing down your careerTip 103. Sixteen ideas to improve the delivery of CPD Tip 104. Micro tipsTip 105. If you want more tips...

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“SOA Design Patterns is an important contribution to the literature and practice of building and delivering quality software-intensive systems.” - Grady Booch, IBM Fellow “With the continued explosion of services and the increased rate of adoption of SOA through the market, there is a critical need for comprehensive, actionable guidance that provides the fastest possible time to results. Microsoft is honored to contribute to the SOA Design Patterns book, and to continue working with the community to realize the value of Real World SOA.” - Steven Martin, Senior Director, Developer Platform Product Management, Microsoft “SOA Design Patterns provides the proper guidance with the right level of abstraction to be adapted to each organization’s needs, and Oracle is pleased to have contributed to the patterns contained in this book.” - Dr. Mohamad Afshar, Director of Product Management, Oracle Fusion Middleware, Oracle “Red Hat is pleased to be involved in the SOA Design Patterns book and contribute important SOA design patterns to the community that we and our customers have used within our own SOA platforms. I am sure this will be a great resource for future SOA practitioners.” - Pierre Fricke Director, Product Line Management, JBoss SOA Platform, Red Hat “A wealth of proven, reusable SOA design patterns, clearly explained and illustrated with examples. An invaluable resource for all those involved in the design of service-oriented solutions.” - Phil Thomas, Consulting IT Specialist, IBM Software Group “This obligatory almanac of SOA design patterns will become the foundation on which many organizations will build their successful SOA solutions. It will allow organizations to build their own focused SOA design patterns catalog in an expedited fashion knowing that it contains the wealth and expertise of proven SOA best practices.” - Stephen Bennett, Director, Technology Business Unit, Oracle Corporation “The technical differences between service orientation and object orientation are subtle enough to confuse even the most advanced developers. Thomas Erl’s book provides a great service by clearly articulating SOA design patterns and differentiating them from similar OO design patterns.” - Anne Thomas Manes, VP & Research Director, Burton Group “SOA Design Patterns does an excellent job of laying out and discussing the areas of SOA design that a competent SOA practitioner should understand and employ.” - Robert Laird, SOA Architect, IBM “As always, Thomas delivers again. In a well-structured and easy-to-understand way, this book provides a wonderful collection of patterns each addressing a typical set of SOA design problems with well articulated solutions. The plain language and hundreds of diagrams included in the book help make the complicated subjects of SOA design comprehensible even to those who are new to the SOA design world. It’s a must-have reference book for all SOA practitioners, especially for enterprise architects, solution architects, developers, managers, and business process experts.” - Canyang Kevin Liu, Solution Architecture Manager, SAP “The concept of service oriented architecture has long promised visions of agile organizations being able to swap out interfaces and applications as business needs change. SOA also promises incredible developer and IT productivity, with the idea that key services would be candidates for cross-enterprise sharing or reuse. But many organizations’ efforts to move to SOA have been mired–by organizational issues, by conflicting vendor messages, and by architectures that may amount to little more than Just a Bunch of Web Services. There’s been a lot of confusion in the SOA marketplace about exactly what SOA is, what it’s supposed to accomplish, and how an enterprise goes about in making it work. SOA Design Patterns is a definitive work that offers clarity on the purpose and functioning of service oriented architecture. SOA Design Patterns not only helps the IT practitioner lay the groundwork for a well-functioning SOA effort across the enterprise, but also connects the dots between SOA and the business requirements in a very concrete way. Plus, this book is completely technology agnostic—SOA Design Patterns rightly focuses on infrastructure and architecture, and it doesn’t matter whether you’re using components of one kind or another, or Java, or .NET, or Web services, or REST-style interfaces. While no two SOA implementations are alike, Thomas Erl and his team of contributors have effectively identified the similarities in composition services need to have at a sub-atomic level in order to interact with each other as we hope they will. The book identifies 85 SOA design patterns which have been developed and thoroughly vetted to ensure that a service-oriented architecture does achieve the flexibility and loose coupling promised. The book is also compelling in that it is a living document, if you will, inviting participation in an open process to identify and formulate new patterns to this growing body of knowledge.” - Joe McKendrick, Independent Analyst, Author of ZDNet’s SOA Blog “If you want to truly educate yourself on SOA, read this book.” - Sona Srinivasan, Global Client Services & Operations, CISCO “An impressive decomposition of the process and architectural elements that support serviceoriented analysis, design, and delivery. Right-sized and terminologically consistent. Overall, the book represents a patient separation of concerns in respect of the process and architectural parts that underpin any serious SOA undertaking. Two things stand out. First, the pattern relationship diagrams provide rich views into the systemic relationships that structure a service-oriented architecture: these patterns are not discrete, isolated templates to be applied mechanically to the problem space; rather, they form a network of forces and constraints that guide the practitioner to consider the task at hand in the context of its inter-dependencies. Second, the pattern sequence diagrams and accompanying notes provide a useful framework for planning and executing the many activities that comprise an SOA engagement.” - Ian Robinson, Principal Technology Consultant, ThoughtWorks “Successful implementation of SOA principles requires a shift in focus from software system means, or the way capabilities are developed, to the desired end results, or real-world effects required to satisfy organizational business processes. In SOA Design Patterns, Thomas Erl provides service architects with a broad palette of reusable service patterns that describe service capabilities that can cut across many SOA applications. Service architects taking advantage of these patterns will save a great deal of time describing and assembling services to deliver the real world effects they need to meet their organization’s specific business objectives.” - Chuck Georgo, Public Safety and National Security Architect “In IT, we have increasingly come to see the value of having catalogs of good solution patterns in programming and systems design. With this book, Thomas Erl brings a comprehensive set of patterns to bear on the world of SOA. These patterns enable easily communicated, reusable, and effective solutions, allowing us to more rapidly design and build out the large, complicated and interoperable enterprise SOAs into which our IT environments are evolving.” - Al Gough, Business Systems Solutions CTO, CACI International Inc. “This book provides a comprehensive and pragmatic review of design issues in service-centric design, development, and evolution. The Web site related to this book [SOAPatterns.org] is a wonderful platform and gives the opportunity for the software community to maintain this catalogue….” - Veronica Gacitua Decar, Dublin City University “Erl’s SOA Design Patterns is for the IT decision maker determined to make smart architecture design choices, smart investments, and long term enterprise impact. For those IT professionals committed to service-orientation as a value-added design and implementation option, Patterns offers a credible, repeatable approach to engineering an adaptable business enterprise. This is a must read for all IT architect professionals.” - Larry Gloss, VP and General Manager, Information Manufacturing, LLC “These SOA patterns define, encompass, and comprise a complete repertoire of best practices for developing a world-class IT SOA portfolio for the enterprise and its organizational units through to service and schema analysis and design. After many years as an architect on many SOA projects, I strongly recommend this book be on the shelf of every analyst and technical member of any SOA effort, right next to the SOA standards and guidelines it outlines and elucidates the need for. Our SOA governance standards draw heavily from this work and others from this series.” - Robert John Hathaway III, Enterprise Software Architect, SOA Object Systems “A wise man once told me that wisdom isn’t all about knowledge and intelligence, it is just as much about asking questions. Asking questions is the true mark of wisdom and during the writing of the SOA Design Patterns book Thomas Erl has shown his real qualities. The community effort behind this book is huge meaning that Thomas has had access to the knowledge and experience of a large group of accomplished practitioners. The result speaks for itself. This book is packed with proven solutions to recurring problems, and the documented pros and cons of each solution have been verified by persons with true experience. This book could give SOA initiatives of any scale a real boost.” - Herbjörn Wilhelmsen, Architect and Senior Consultant, Objectware “This book is an absolute milestone in SOA literature. For the first time we are provided with a practical guide on how the principle centric description of service orientation from a vendor-agnostic viewpoint is actually made to work in a language based on patterns. This book makes you talk SOA! There are very few who understand SOA like Thomas Erl does, he actually put’s it all together!” - Brian Lokhorst, Solution Architect, Dutch Tax Office “Service oriented architecture is all about best practices we have learned since IT’s existence. This book takes all those best practices and bundles them into a nice pattern catalogue. [It provides] a really excellent approach as patterns are not just documented but are provided with application scenarios through case studies [which] fills the gap between theory and practice.” - Shakti Sharma, Senior Enterprise Architect, Sysco Corp “An excellent and important book on solving problems in SOA [with a] solid structure. Has the potential of being among the major influential books.” - Peter Chang, Lawrence Technical University “SOA Design Patterns presents a vast amount of knowledge about how to successfully implement SOA within an organization. The information is clear, concise, and most importantly, legitimate.” - Peter B. Woodhull, President and Principal Architect, Modus21 “SOA Design Patterns offers real insights into everyday problems that one will encounter when investing in services oriented architecture. [It] provides a number of problem descriptions and offers strategies for dealing with these problems. SOA design patterns highlights more than just the technical problems and solutions. Common organizational issues that can hinder progress towards achieving SOA migration are explained along with potential approaches for dealing with these real world challenges. Once again Thomas Erl provides in-depth coverage of SOA terminology and helps the reader better understand and appreciate the complexities of migrating to an SOA environment.” - David Michalowicz, Air and Space Operations Center Modernization Team Lead, MITRE Corporation “This is a long overdue, serious, comprehensive, and well-presented catalog of SOA design patterns. This will be required reading and reference for all our SOA engineers and architects. The best of the series so far! [The book] works in two ways: as a primer in SOA design and architecture it can easily be read front-to-back to get an overview of most of the key design issues you will encounter, and as a reference catalog of design techniques that can be referred to again and again…” - Wendell Ocasio, Architecture Consultant, DoD Military Health Systems, Agilex Technologies “Thomas has once again provided the SOA practitioner with a phenomenal collection of knowledge. This is a reference that I will come back to time and time again as I move forward in SOA design efforts. What I liked most about this book is its vendor agnostic approach to SOA design patterns. This approach really presents the reader with an understanding of why or why not to implement a pattern, group patterns, or use compound patterns rather than giving them a marketing spiel on why one implementation of a pattern is better than another (for example, why one ESB is better than another). I think as SOA adoption continues to advance, the ability for architects to understand when and why to apply specific patterns will be a driving factor in the overall success and evolution of SOA. Additionally, I believe that this book provides the consumer with the understanding required to chose which vendor’s SOA products are right for their specific needs.” - Bryan Brew, SOA Consultant, Booz Allen Hamilton “A must have for every SOA practitioner.” - Richard Van Schelven, Principal Engineer, Ericsson “This book is a long-expected successor to the books on object-oriented design patterns and integration patterns. It is a great reference book that clearly and thoroughly describes design patterns for SOA. A great read for architects who are facing the challenge of transforming their enterprise into a service-oriented enterprise.” - Linda Terlouw, Solution Architect, Ordina “The maturation of Service-Orientation has given the industry time to absorb the best practices of service development. Thomas Erl has amassed this collective wisdom in SOA Design Patterns, an absolutely indispensible addition to any Service Oriented bookshelf.” - Kevin P. Davis, Ph.D “The problem with most texts on SOA is one of specificity. Architects responsible for SOA implementation in most organizations have little time for abstract theories on the subject, but are hungry for concrete details that they can relate to the real problems they face in their environment. SOA Design Patterns is critical reading for anyone with service design responsibilities. Not only does the text provide the normal pattern templates, but each pattern is applied in detail against a background case study to provide exceptionally meaningful context to the information. The graphic visualizations of the problems and pattern solutions are excellent supplementary companions to the explanatory text. This book will greatly stretch the knowledge of the reader as much for raising and addressing issues that may have never occurred to the reader as it does in treating those problems that are in more common occurrence. The real beauty of this book is in its plain English prose. Unlike so many technical reference books, one does not find themselves re-reading sections multiple times trying to discern the intent of the author. This is also not a reference that will sit gathering dust on a shelf after one or two perusings. Practitioners will find themselves returning over and over to utilize the knowledge in their projects. This is as close as you’ll come to having a service design expert sitting over your shoulder.” - James Kinneavy, Principal Software Architect, University of California “As the industry converges on SOA patterns, Erl provides an outstanding reference guide to composition and integration–and yet another distinctive contribution to the SOA practice.” - Steve Birkel, Chief IT Technical Architect, Intel Corp. “With SOA Design Patterns, Thomas Erl adds an indispensable SOA reference volume to the technologist’s library. Replete with to-the-point examples, it will be a helpful aid to any IT organization.” - Ed Dodds, Strategist, Systems Architect, Conmergence “Again, Thomas Erl has written an indispensable guide to SOA. Building on his prior successes, his patterns go into even more detail. Therefore, this book is not only helpful to the SOA beginner, but also provides new insight and ideas to professionals.” - Philipp Offermann, Research Scientist, Technische Universität Berlin, Germany “SOA Design Patterns is an extraordinary contribution to SOA best practices! Once again, Thomas has created an indispensable resource for any person or organization interested in or actively engaged in the practice of Service Oriented Architecture. Using case studies based on three very different business models, Thomas guides the reader through the process of selecting appropriate implementation patterns to ensure a flexible, well-performing, and secure SOA ecosystem.” - Victor Brown, Managing Partner and Principal Consultant, Cypress Management Group Corporation In cooperation with experts and practitioners throughout the SOA community, best-selling author Thomas Erl brings together the de facto catalog of design patterns for SOA and service-orientation. More than three years in development and subjected to numerous industry reviews, the 85 patterns in this full-color book provide the most successful and proven design techniques to overcoming the most common and critical problems to achieving modern-day SOA. Through numerous examples, individually documented pattern profiles, and over 400 color illustrations, this book provides in-depth coverage of: • Patterns for the design, implementation, and governance of service inventories–collections of services representing individual service portfolios that can be independently modeled, designed, and evolved. • Patterns specific to service-level architecture which pertain to a wide range of design areas, including contract design, security, legacy encapsulation, reliability, scalability, and a variety of implementation and governance issues. • Service composition patterns that address the many aspects associated with combining services into aggregate distributed solutions, including topics such as runtime messaging and message design, inter-service security controls, and transformation. • Compound patterns (such as Enterprise Service Bus and Orchestration) and recommended pattern application sequences that establish foundational processes. The book begins by establishing SOA types that are referenced throughout the patterns and then form the basis of a final chapter that discusses the architectural impact of service-oriented computing in general. These chapters bookend the pattern catalog to provide a clear link between SOA design patterns, the strategic goals of service-oriented computing, different SOA types, and the service-orientation design paradigm. This book series is further supported by a series of resources sites, including soabooks.com, soaspecs.com, soapatterns.org, soamag.com, and soaposters.com.

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