Anyone that wants to do more then just scratch the surface on WW1 aviation should seriously consider this book. This book is very comprehensive, in that it takes each day and breaks down in chronological form the claims and losses of both fighter and two- seater units. Any known details are included, such as time, location, victim and unit details. A useful reference book that should be cross referenced with 'The Jasta War Chronology' to allow for a clearer picture of 'who got who' or the probability of such an encounter. Highly recommended.

I have had the pleasure of visiting the Hermitage in St. Petersburg, Russia. If you ever have the chance to go, I highly recommend it. I spent three wonderful days in the Hermitage and would have been content going back every day for the rest of my vacation. Although some museums surpass the Hermitage in their collections (surprisingly few), none has fewer visitors per masterpiece. It was not unusual to be alone in a room of Van Goghs for 30 minutes at a time. The lightly guarded museum does not even have a security guard in every room. So the experience of the museum is a wonderfully intimate one.

If you never go to St. Petersburg, you must get and read this outstanding work about the French art from 1860 to 1950. Most of these works do not travel very much, so you won't see them otherwise. That would be a terrible shame, because many significant works, especially the Matisses and Gauguins, from this period are in the collection.

How did such a great French art collection find its way to Russia? That's an interesting story, and the book begins with a long essay about that. Although the Czar and the nobility had always collected art, this period of French art was not very appealing to them. A new merchant class had grown up, and they embraced advanced art from France (beyond the salon portraits the nobles commissioned) that became known as Impressionism and Post-Impressionism. After the Communists firmed up their hold on Russia, museums were consolidated and private collections were expropriated. You will enjoy seeing black and white photographs from the many private museums that these business people sponsored. The Shchukin and Morozov collections form an important base for this collection, as well as having provided important support for these French artists before they were well established.

In most art books, not enough of the reproductions are in color. This book is the exception. The reproductions are essentially all in color. There are 433 of them in color. They are also done in large sizes in many cases, which makes it easier to appreciate them.

The Hermitage is particularly rich is works by Matisse and Picasso, and these are presented in depth in this book. You will also find lots of Monet, Renoir, Cezanne, Gauguin, Degas, Van Gogh, Rodin, and Bartholome. Outstanding examples of works by lesser known artists round out the collection in a way that will give you a different sense of the period than you get at the Musee D'Orsay or the Museum of Modern Art in New York.

Albert Kostenevich is by far the world's authority on these works, as their primary curator for over 30 years. No one else has had nearly as much access or incentive to study them. He has written several fine, detailed essays that relate the works to each other and explain the works. In fact, this is better than going to the Hermitage because you would not have him at your side to explain things there.

And, naturally, if you have been to the Hermitage, this book makes a fabulous souvenir. Treat yourself today!

After enjoying this wonderful book, ask yourself, what other outstanding art collections have I not yet seen? Even if you cannot visit them, there may well be a book on the collection that you can order from Amazon.com!

Johnny Fletcher and his sidekick Sam Cragg are locked out of their apartment room for non-payment of rent. If that's not bad enough, when they illegally enter the room to get some belongings, they notice a body that they didn't leave there... These mysteries from the early part of this century (somewhere around the 1930 or 40s) are just plain fun to read.

I found this to be a very well written and researched bookwith extensive documentation to support the author's work. This isnot a Freud bashing book in the Fredrick Crewes model at all. I found it to be more of a historical documentation of the development of and influence's on Freud's theories. It discusses in more detail than I have seen elsewhere how Fliess (among many others) influenced Freud's thinking. The only reason I can surmise someone would react negatively to this book is if they cannot tolerate the realization that Freud was not working in a vacuum and many of his ideas were not unique to him (such as infantile sexuality) although his theories were more comprehensive and extensive in their scope. For anyone interested in the history of psychiatry, psychoanalysis and Freud, I highly recommend this book. END

We love Froggy! My almost three year old son just loves the Froggy stories and this newest one is by far his favorite. Join Froggy as he goes through the steps to bake a cake! Great story for Preschoolers!

I fail to realize why this book is not used more by chaplains and caregivers who help the sick. It contains prayers from the ages, and helps to describe the way prayer and faith speed the healing process.

With this work, Frank Jackson has provided us with a much needed explicitation of the assumptions underlying most forms of philosophical analysis. Indeed, Jackson argues forcefully that conceptual analysis is much more prevalent in philosophical works than is admitted by many of Jacksons colleages. One of the most important insights offered in this work is the idea that metaphysics, if done seriously, must depend strongly on folk intuitions. The intuitions about when 'the folk' would plausibly apply a certain concept reveils the 'folk theory'. The metaphysician's job is then to locate these intuitions in a coherent account of 'what there is' in the traditional sense. Consequently, Jackson offers two examples of such analysis, namely colours and ethics. Both are located in the natural world: colours as the surface properties which cause our colour experiences and ethical properties as concealed descriptive properties. Whether you agree with these conclusions or not, the line of thought is both clear and sharp. Throughout, Jackson remains true to his general points, which are that metaphysics has to do with analysis of folk concepts as much as empirical discovery. This inevitably leads to considerations on Kripke and Putnam and the nature of so-called 'a posteriori necessities'. Jackson argues that the fallacious intuition that such exist stems from the fact that a single sentence may express different propositions, depending on its intension. Thus 'water is H2O' may express the necessary (and a priori) truth that 'what is actually water is H20' or it may express the contingent (and a posteriori) proposition that 'the watery stuff of our acquaintance is H20'. This is a profound insight, which solves many sceptical worries instigated by the Quinean movement. The distinctions a priori/a posteriori and contingent/necessary may now be employed with a clear conscience; something which has been difficult ever since Quine's Two Dogmas first appeared half a century ago. Not all will agree with Jackson's line of argument but the clarity of his claims and significance of their implications make this book a great asset for anyone interested in metaphysics and the philosophy of language.

This book is very challenging. As you go from the first page to the last you see it gets more difficult. A must for all beginners in Calculus.

The book actually has two authors: Frank E.X. Dance and Carl E. Larson. Both are among the most knoledgeable and most respected researchers in the field of speech communication. These scholars helped to lay a foundation and define the 'rules of the game' in this discipline. I always thought that a pound of theory is worth an ounce of practice; this book convinced me that there are exceptions to this rule. In their introductory chapter, Dance and Larson justly claim that 'theorizing is a basic form of human activity'. The discussion that follows is very clearly and coherently laid; and it shows that theorizing can be a fascinating subject. Dance and Larson isolate three functions of human communication, and dedicate two chapters to each: one to lay down the theory (written by Dance) nd the other to discuss its practical applications (written by Larson). There is also the final chapter which excellently summarizes the key points of the book. Last but not least, Dance and Larson provide 126 proposed definitions of the term 'communication' and a taxonomy of speech communication. Overall, it is a great classic text. It must be on the reading list of all students and scholars seriously studying communication.

I personally look back at the book for referance as how to calculate figures for projects that are coming up at work. I thought that the book had more valuable information in it, that was needed in the everyday of finance. It is worth more keeping the book than selling it. If you asked me what the "Net Present Value" was on this book. I estimated $1201.75 after I expensed the book from my cost of making a decision on whether to, or not to engaging in a project using the "Cost of Capital" method in chapter 10. And, because of it I made more money for myself.

PS Great Book, Refused to sell it.
PSS. Excellant Professor