THE month of September is far from being a harvest month with English printing-presses, but it is even more of a dead season with French publishers. We have to-day to notice nothing but school-books, and most of those English. In the first lace and most closely connected with literature, may be notice Mr. Gosset's Manual of French Prosody, a very good book in itself, and one to be the more welcomed that it comes from a Fellow of New College, Oxford. For whatever the educational advantages or disadvantages of "the modern side" maybe, the advantages at least will never be fully experienced till the studies of the modern side are made in the full sense liberal and academic. Mr. Gosset justly says that the way in which English boys and English men are for the most part supposed to know French versification by the light of nature is "singular," and if he had chosen he might have given instances of the still more singular results of the supposition. In one of the foremost magazines for this month there is a parcel-French poem, signed with initials which appear to indicate a well-known and learned Professor, and containing lines which the writer evidently supposes to be of the value of eight syllables each. These, according to French prosody, vacillate cheerfully between seven, eight, nine, ten, eleven, and, if we mistake not, in one instance, twelve, actual syllabic integers, owing apparently to sheer ignorance on the writer's part of the value of the mute e and of the law of elision. Such an absurdity could never be committed by anyone who had even glanced through Mr. Gosset's very useful little book, which is equally suited for schools and for the reference shelf of the library.
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Skill in wood-carving, as in every other art, is to be attained only by thoroughness. Let the pupil therefore bear in mind that he or she must be careful to master the first lessons, and to go no further until these can be executed with ease and accuracy. This will be greatly aided if the book is read with care, and not used for mere reference. Teachers will please observe that the work is in a regular series of progressive lessons, the first being extremely easy; and that these lessons lead so gradually one to another that the last are no harder than the first to one who has gone on carefully from the beginning. This will be found to aid teaching and self-instruction greatly. Every item of information will be found under its proper head, and not scattered here and there through different chapters: for every lesson is complete in itself, and from the first the pupil is taught how to produce some satisfactory work of its kind. Thus, indenting or stamping, which can be learned at once, and grooving with a gouge, which is not more difficult, are capable of producing very beautiful decoration even if the worker goes no further. No writer has, indeed, ever seriously considered what valuable and varied results may be produced by these simple processes.
As was the case with Charles Ross's Packaging of Pharmaceuticals published by the UK Institute of Packaging in 1975 it is assumed that the reader of this book already has a broad understanding of the basics of packaging. If not the Packaging Users Handbook and the Handbook of Food Packaging are recommended. The packaging needs of pharmaceuticals are different in degree only from those of other perishable products such as processed foods. Because the required action of a medication can be nullified by any deterioration in its active principles the protection required from its packaging is at least an order of magnitude greater than that needed by foods for example. Functional efficiency is therefore of prime importance. Conversely the need for the packaging to 'sell' the medication is much less, hence the graphics required need only provide the right 'image' for the product when presented for use in hospital or surgery. Even when on sale at the pharmacy the 'appeal' required is that of providing hygiene and confidence more than anything else. Thus, the textual requirements are paramount including traceability (batch numbers, date-coding etc) in case of recall; while striking appearance to attract customer attention is in lower key. And with the increase in malicious tampering nowadays recall is more frequent.
At last--a manual that takes the chore out of cataloging sound recordings! The author clarifies the AACR2 rules (Anglo-American Cataloging Rules, 2nd edition) and literally steps through the thought process used in cataloging a sound recording, beginning with what to use as the source for the title, through the physical description and series information. All the examples of catalog cards presented, ranging from the full gamut of 20th century music to spoken records and compact discs, show the full level of descriptive cataloging. The appendixes make this a practical worker#xE2;#xAC;"s manual; they include order and content of cataloging notes, order of parts in a uniform title, a glossary of musical terms and acronyms, a list of basic reference books and thematic indexes, a complete set of catalog cards, and the Library of Congress rule interpretations for sound recordings. The detailed indexes enhance this important book#xE2;#xAC;"s utility.
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