Jesus spent his time with people - whether on their ground - eg at the well, or on his patch - eg washing people's feet. As people involved in youth ministry displaying the sort of incarnational theology Christ showed, we are called to be alongside young people, showing that we are really interested in them as people, showing compassion and love whatever the situation. We need to be spending time with them, listening to them and supporting them, building relationships of trust, as they struggle through the different things that life presents them with; helping them through the tricky time of adolescence to adulthood. In doing this, the young person will hopefully feel able to talk to you in greater depth than they may do other people, and they will look for you to listen, understand and support them. We will then no doubt come across some of the issues faced in Pastoral Care. We will be faced with Young people who have faced abuse, depression, drugs or the other issues outlined, in brief but useful ways. We may also face other issues such as anorexia, masturbation, and stress not necessarily covered in this book, but we will hopefully be challenged to read further, as we seek to invest time in building relationships with young people.

This is an average book. It does not capture the true character of this special man. Paul Petzoldt's life would be hard for any writer to summarize. The author should have concentrated on a more detailed introspective of this famous man. Too much writing was centered on certain events that do not actualize his true persona. Yet, the author does reflect a reverance for Paul's achievements that are well deserved. An easy reading book.

As I understand it, the goal of Ricoeur's studies is to formulate a notion of the subject that is not susceptible to the same objections and aporia as Descartes's cogito. To accomplish this, he analyzes discursive situations and comes to the conclusion that the subject is first and foremost a being, i.e., a body in space, and that the subject understands herself first and foremost as such. Grammar reveals this self-objectivation (to borrow a term from Habermas) in that the reflexive "I" is a grammatical substitution for a corresponding third-person deictic term: "I" is the "she" of the speaking subject to the "he/him" is the "you" of the interlocutor as told from the perspective of the speaking subject, who occupies the same spatiotemporal point as the subject's particular body.
Ricoeur's findings appear rather plausible, but I cannot help but think that his findings imply sort of transcendental, or perhaps I should say, para- or transsubjective, awareness on the part of the subject that is inarticulable (neologism?) yet essential to her awareness as a body within a discursive situation. In other words, by virtue of the fact that the subject grammatically isolates herself differentially vis-à-vis her interlocutor in a discursive situation seems to me to imply that the subject's self-awareness is not as spatiotemporally limited as the body that it inhabits, or, more accurately with which it is coextensive (consubstantial?). I therefore remain uncertain on how prioritizing the corporeal subject before the thinking subject avoids the aporia of Cartesian subjectivity.

Some out-of-date concepts such as feed-back queue is described in that text. That concept is quite an important one in the OS field.This is the only text provide this concept.

OOps, out of print. Go to the local library, may be you can find one.

Although I disagree with the religious views of the author, being an evolutionist and all, I disliked this book for other reasons. It really tried to shortcut medical procedures by using G-d to explain it. Obviously, this doesn't just happen to conservative Republicans, it also happens to liberal Democrats, like me. I don't think,"Because G-d did it," is a viable explanation scientifically or medically.

An unpretentious history of mass revolt, covering everything from the Diggers to the Iroquois League to anarchistic Red Guards in the Chinese Cultural revolution.
The first thing you'll notice about this brief survey of spontaneous radical insurrections is the translation: it's bad. It's very very bad. Thoughts detour into meaningless exclamations, phrases are unclear and clunky. The second thing you'll notice is the subjective approach to history: Fremion picks favorites. Comrade X is only mentioned to be dismissed as a "turd," Comrade Y "had a good head on her shoulders"-- those sort of vagueries. The combined effect of these two attributes is that the book reads like an intimate conversation with an old French radical. His English is good but not great, he twists your ear a bit and his breath stinks of wine, but he also manages to make you feel as if you were present at every event he chronicles. Clashes, names, and faces fly out of history at you, only to disappear, in a rush that approximates the rushb that the actual participants of these struggles must have felt. Fremion makes you want to read more about the many insurrections he touches on-- to try to sort out the heroes and villains (or "Stalinists" as Fremion labels them) for yourself. Pick it up!

Ideal for the author - is - dead scholarship. Whatever the ideological positon of the Royalist Restoration woman writer, one can critique the Eurocentrism of the narrator or applaud the subversive terrain of the novel as it depicts the slave rebellion. One may react with contempt at the narration of a sordid tale of slave contained or praise the novelist for having the foresight to hint at the importance of the colonial enterprise to the the mother country at a time when few other cannonized writers were doing that.

Contains fantastic photos. A little to 'Photoshopped' for my taste but great. The only problem I had with the book is that it contains no actual panoramic images. Many are wide angle but nothing that fits the definiton of panoramic.

This book contains a series of essays on Paracas art on the following subjects:

-Paracas an ancient cultural tradition on the south coast Peru.
-Paracas: Discovery & Controversy
-A technical & Iconographic analysis of Carhua Painted textiles
-Stucture, Image & Abstraction: Paracas Necropolis headbands as system templates
-Paracas necropolis bundle 89: A description
-Physical & Chemical Analysis of Paracas Fibers
-Ecology & Society in embroidered images from the Paracas Necroplis

-Social & Political leadership in the Lower Ica Valley: Ocucaje Phases 8 & 9
-The Paracas problem: Archaelogical perspectives.

As you can see from the above contents list this book is aimed at specialists - and the language is dense in academic and thick with reference terms. The illustrations are meagre and all in Black and white.

While there is a lot of information in this book, as a person doing research in areas relating to some of these subjects I have found this book hard going. I'm sure to find some useful things but only after much digging and decoding of jargon.

So, if you are after a book with beautiful pictures of Paracas textiles - avoid this like the plague. If you are after archaeological research by people who have worked in the field and have finally been able to publish what they have found then this book is probably for you. I'd classify this as a reference work, not a general use book, especially for people new to the area this book would be difficult to use.

This book probably deserves 3 1/2 stars but since I've got to go with round numbers I'd say 3 is closer to the truth than 4. I may have been influenced by the fact that I have read an awful lot of stuff on Cezanne, but I don't think so. This book was put out to coincide with an exhibition that has "finished/unfinished" as its theme i.e.-when is a painting truly "complete". The idea wears a bit thin after 400 pages. The book starts off with essays by about 5-6 people that take up the first 120 pages. The last couple of essays are interesting and contain some good ideas but the first several essays pretty much say the same thing over and over (many of Cezanne's paintings that were not actually finished are "complete" from an artistic standpoint) and if a couple of these essays had been left out no harm would have been done. The same point is hammered home in too many of the "mini-essays" that accompany each painting and sometimes the contributors get a bit carried away in seeing genius and "completion" in even the works that are clearly failures not only by Cezanne's own standards but also, I think, by the standards of the intelligent layperson and probably also of many art historians. The book does get high marks, though, for many high quality color reproductions and the Cezanne lover will be sure to find his/her favorite genre well-represented. You get many portraits as well as landscapes and those luscious still-lifes (my particular favorite). One of the interesting ideas contained in the book is that the reason the still-life seems to be the category where Cezanne really excelled is that the subject was the one best suited to his temperament. He was an extremely slow worker and did not like changes in the "motif". For example, he did not like it when human sitters would move and he did not like changes in the weather and in light conditions as the changes would make him rethink what he was doing and oftimes start over or have to make corrections. With the still-life Cezanne could arrange things just the way he wanted and could use artificial flowers that would not wither as he worked, etc. Also note that the book contains many works in watercolor, which is a medium that Cezanne excelled in. If you are not familiar with his watercolors I think you will be pleasantly surprised...