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Anyway, the Black Fleet Crisis, and more specifically this final, climatic chapter of the trilogy, are one of the better Star Wars books I've read so far.
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What the author does in this book is create a prep guide of 70 plus pages for the written exam. His understanding of what it takes to pass the exam is what makes this book one of the best I have seen on the market today.
To ensure you best shot at passing the exam each chapter has both a pre and post assessment test. Also the book has you working with over 15 scenarios and judging from the content it would appear that the scenarios were taken from real life situations.
Covering the topics like the OSI model, number conversions, RIP, IGRP, EIRGP, OSPF, VLANs, BGP, MPLS, IS-IS, firewalls and NAT to name a few, you are given router screen shots and step by step instructions to help your learning experience.
There is also a cd included with over 200 practice questions, so overall you have a very good tool. With a few grammar errors that need fixing this book should provide a great of help either for the exam or for the real world.
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Can the terrorists fulfill their threat to create California earthquakes if their demands are not met? It would seem they could, although Judy Maddox's brainless boob fellow agents scoff and publicly embarrass her. Well we all know what will happen don't we?
It's a fun ride though, and I enjoyed it. As someone who lived for years in the San Francisco area I had an extra pleasure in seeing if a British writer would make any mistakes describing northern California. He did pretty well, making only a few trifling errors, like calling the well known Cala Foods supermarket "Gala" Foods.
Well recommended, although I still think Follett's best books were his first ones.
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When a book starts with such an assertion, I have the tendency to discard it at once, because this is simply absurd, and it is supported by no proof, no evidence. All we know is that music was duple up to J.S. Bach who introduced a heavy triple bourrée that Mozart will make light, thus inventing the antecedent or precursor of the waltz.
Popular dances were triple but they were NOT in Latin. Church music was duple : check for example the Old Hall Manuscript or Willam Byrd. The latter uses the polyphony of his compositions (in Latin) to make it turn around and around, by a permanent shifting from the bass to the alto and down again to the bass via the soprano and the tenor, and back to the alto, or the other way round. To make that music dance around, they used something that had nothing to do with metre.
I do not say that Antony Hopkins's book is not interesting, but I cannot go beyond such an unfounded remark that kind of make fun of the concept of the Trinity which is definitely not that trite. What he says might be true with a popular dance stuck with that particular rhythm. But I would accept it as triple when I am shown the decomposition of the longer note into two shorter notes. This is not possible with Latin where the stressed syllable, in spoken language, is longer than the unstressed syllable. But the whole problem is that all other stressed languages of the Germanic family or even the romance family, oppose, naturally, stressed and unstressed syllables, not in length but only in emphasis. That will produce the famous iambic pentameter, in spite of the French or Norman influence, as for English. French will move towards a syllable-based metre and not a stress-based metre like English, or, before, Anglo-Saxon.
This fundamental binary rhythm will be dominant in music up to Bach, except in popular music, and in English poetry forever. In French poetry they invented a line of four groups of three syllables, hence basically triple, but because French was not a stress-based language. And that was achieved only in the 17th century.
An interesting book, though, in spite of its objective to speak to the non-learned in music. That too is a drawback. People have to - if they want to enter the syntax of music, hence to understand the causes of their pleasure (and no one has to understand why they like a piece of music to like it) - break themselves into the standard language of music criticism. The more they « understand » the nuances, the details, and the proper language for them, the more they can communicate with other people and enhance their own pleasure by sharing it.
Dr Jacques COULARDEAU