In this book by Buzzard and Hunting, the authors set out to create for the reader a basis to either accept the existence of the Trinity against all the evidences weighed down against it presented in this book, or to "return" to the solution the authors offer, namely that God's Oneness can, in no way, be used to represent the three Persons of the Godhead.

Unfortunately, such a "return" does preclude the authors' presupposition that the only possible categories for representing the infinitude of God's existance are given in this book. In their disjunctive categorization, Buzzard and Hunting uses God's Oneness to annihilate even Biblical references to Christ's Diety (See R. Bauckham in God Crucified, Wm B. Eerdmans).

I enjoyed the book though I thought it could have better defended the truth regarding the Trinity. The authors have some good scriptural arguments but I feel they relied too much on the opinions of other scholars. The book is full of quotes of scholars with very impressive credentials who do not believe the Bible teaches the Trinity. This is okay to some extent as it does show that well educated and thinking persons recognize the paganism of the Trinity, but these men and their views cannot be used as proof that the Trinity is not true. I think they should have spent more time using scriptures to defend their stance rather than the viewpoints of men.

In addition, I do disagree with them and their belief that Jesus did not exist before he came to the earth. They seem to think that if Jesus did exist before he came to the earth, he must be God. Since it is obvious that Jesus is not God, they bend over backwards trying to explain away the many scriptures that show that Jesus was in heaven before he came to he earth. It was not necessary for them to revert to such extremes and try to explain away all of the scriptures that attest to Jesus' prehuman existance. Jesus was God's only-begotten son, the firstborn of all creation, the beginning of the creation by God. Being such does not make him Almighty God.

Despite this though, the book is very interesting and the many quotes from many different and famous scholars is impressive and sure to be a good addition to any student who wonders if there are scholarly arguments to defend certain Bible translations such as Romans 9:5, Titus 2:13, etc. I recommend it.

Another "Must Read" book on this subject is "Jesus-God or the Son of God?", available here at Amazon.com.

This book will probably never be read or debated in circles that would re-open a widespread doctrinal dispute. But that does not diminish its possible effect upon people.

This book should come with a warning: WARNING: CAREFUL THOUGHT AND CONSIDERATION OF THIS MATERIAL CAN LEAD TO REJECTION.

If individual Christians ever freed themselves from the Councils and Creeds ... (as well as the fear of being labeled a "heretic" by friends and relatives) they would find that this book gives them the chance to confirm what they ALWAYS suspected:. That God and His Only Begotten Son, Jesus... are who the Bible clearly says they are...and that They are not the conglomeration of hundreds of years of speculation about a few difficult verses of scripture. This book gives average folks a chance to replace nonsense with sense.

This book does clearly show that plain logic and scholarly work still produce the best reading. If you want to assure that YOUR faith does not stand in man's cunning ability to conjure up imaginative explanations, you should read this book.

My advanced mathematical training is in statistics, which is a field that relies HEAVILY on linear algebra. One undergraduate course in linear algebra is really insufficient to understand the mathematics necessary for the more advanced courses and some knowledge of functional analysis is also useful. This book is--thanks to Dover--an inexpensive way to fill the gap through self-study. It is highly useful for explaining a number of more advanced results without being too technical. Enhancing its utility to people working in applied fields, it has a number of useful examples and applications illustrating the utility (well, mathematical utility :) of the concepts discussed, e.g., applications to least squares problems, Fourier series, etc.

This book was recommended to me as a starting point to both review and learn advanced mathematics useful for robotics scientists and engineers. It covers linear differential equations, algebras (including Lie algebra), and metric spaces.

I found the text reasonable readable, and would recommend it to anyone looking to improve their understanding of the mathematical fundamentals useful for robotics and control research.

This anthology is the first of its kind in breadth and subject matter, and is a welcome addition to classrooms and bookshelves. However, I am only giving it three stars because the editors chose to parcel out each of these women writers to individuals, ranging from top-notch translators, to graduate students. The result is a mish-mosh of translations, sometimes brilliant, sometimes lackluster, sometimes not even heeding the original form of the poem. Worse still, it has been summarily edited--presumably for the sake of consistency--in such a fashion that there is a certain staleness to the sections. Nonetheless, it is as yet the only book of its kind in English, and therefore a necessary and important addition to the scholarship.

This anthology has been long in coming and long needed. An impressive accomplishment from a number of perspectives, its 891 pages are organized into two sections, Part One: Poetry, pages 1-666, and Part Two, Criticism, 667-804, and followed by extensive notes and an impressive bibliography of the Chinese and English Languages sources for the selection. Each section is then organized chronologically by Chinese dynasty so that the reader can flip from the Poetry to the Criticism within a particular dynasty. Within each section, there are both short biographies of the authors and selections from the poetry of more than 150 women, with critical notes. Thus the anthology offers a wealth of literary and historical information and a breadth of coverage for translations of the many Women poets of China that has not been seen in the past.

The anthology ends with the early 20th century, and represents largely poetry written in classical or literary Chinese. While some of these poets have appeared in general anthologies of Chinese poetry, and will be well known to scholars in the field, there has never been such a comprehensive work in English before this one. I was delighted to discover among my old favorites like the empress Wu Zetian and the Sung poetess Li Qingzhao, large numbers of female poets, especially from the Ming dynasty (1368-1644) through the beginning of the republican period in China (1911). It was also delightful to find that the criticism of some of these poets, and male counterparts who commented on women's poetry, were translated, many for the first time. As near as I can tell, they have been exhaustive in their attempts to select from a broad range of titles by individual poets and the overall result is that one can no longer credibly present women as minor contributors to the literature of this vast and ancient country.

The text described above is not the earliest attempt, but it is the most complete for a scholarly audience. The earlier anthology addressing female poets of China, edited by Kenneth Rexroth, and it was a thrilling introduction when it first came out in the seventies, but Women Poets of China (first published by Seabury Press as The Orchid Boat, 1972). New York: USA New Directions, 1982, which is still in print, offers both many fewer poets and much less context for their work. While Rexroth and Chung should be applauded for their service to the scholarly community, they serve as only a taste of the wealth to be found in this new 1999 title.

As I am sure is by now clear, this anthology includes all the scholarly framework that make it an excellent addition to any academic library purporting to deal with world literature, and a potential candidate for a course book. In fact, one could present undergraduates with a decent history of Chinese poetry by using it to introduce the periods and types rather than a more traditional anthology.

However, Women Writers of Traditional China is so well organized and readable that it is also appropriate for most public libraries as a solid, readable, general introduction to women in Chinese poetry. The translations are poetically rendered, the periodization gives them context and the bibliography locates the texts in a corpus of Chinese poetry. This book is well worth its price and highly recommended. Cloth, 891 pg., Notes, Bibliography, Index of Names.

Jan Bogstad, Reviewer

This text provides a quick, concise review of the pimary topics covered on emergency medicine exams. I found it to be a good way to prepare for inservice exams and the written boards.

There is little doubt that this book is not a comprehensive account of the life of Charles, the Prince of Wales as its contents had to meet the approval of certain people, but one should not go so far as to pass it off as being total ... Were this the case, then it is clear that some of Charles' perceived short-comings would have been glossed over; but instead, we do get a fair sense about the man who will be the future King of England. He is by no means a gregarious, powerful figure, and, unfortunately and quite unjustly, he has been criticized for this, and some, including his now deceased ex-wife, have gone so far as to suggest that he is not suited for the job. Unfortunately, the people suggesting such things have succeeded in instilling some doubt in the minds of the British people as to whether this is in fact the case, but it is quite evident from what I have read that this is complete ... Granted, Charles does not fit the bill of the warrior king, but there is no doubt that he is a sensitive, well-educated and benevolent person who will undoubtably be well suited for the role of King in this current day and age. One thing that struck me as notable about Charles is his passion for certain causes and ideals, including organic farming and architecture. His opinions on these subjects has raised a few eyebrows and no doubt gave his detractors some fuel for their arguments. But his opinions on these, and other issues, are quite sound and indicate that he is a man well versed in modern issues and could prove to be a quite progressive monarch. Unfortunately, many are blinded to this aspect of the man by a superficial devotion to his deceased ex-wife, whose unfortunate behaviour during the latter years of their relationship succeeded in fooling many people.

Published in 1996, "Charles Dickens on the Screen" surveys the filmed works of Dickens from the silent era, including TV adaptaions. The book is rather silm in volume, and not so much a thorough discussion on the cinematic skills employed on the screen as an introduction to the vast field of Dickensian films (more than 100), but still Michael Pointer keeps his book always readable and immensely interesting.

After the brief introduction, the book begins with a discussion about "Dickensian" elements in original books, and their relations to visual media. The agrument at first is a bit too general and obvious, but you should just read on. After the third chapter the writer speeds up his discussion, giving well-researched comments on the films, backed up quotations from various materials. Though the materials might not look rare in the eyes of those who are already versed in film history -- autobiographical writings, comtemporary reviews, the synopsis, etc. -- they help those who do not have knowledge on movie history to gain the historical viewpoint to glance back the current of many films.

Chapters 2-4 are devoted to discussion on the silent films. It is now a nearly impossible thing to make a perfect survey about this era, because many of the films are lost forever (the reason is explained by the words of director Frank Llyod in the book), and considering that fact, Mr. Pointer did a very good job, even though the argument often seems to lack in power, relying on second-hand knowledge. But that cannot be helped.

After Chapter 5, the discussion is about "talkies," and the book gets better and better as you read. His discussion covers the films until the 1993 "Edwin Drood," and, instead of displaying tedious scene-to-scene analysis which might have done harm to the book by its slow tempo, he gives each film concise summery of its characteristics and his opinions about it, which may disagree with yours, but mostly fair and to the point. Mr. Pointer does not neglect the more recent TV products, and gives fair judgement on them. There is even a section where the author deals with parodies! (such as British cult TV series "Avengers" -- remember Mrs. Emma Peel?")

The book also contains a list of films (until BBC's "Martin Chuzzlewit"), which is now superceded by our internet source like imdb. Of more interest is the cluster of clear stills (21 in all) which includes a rare one that shows Charles Laughton as Mr. Micawber in the 1935 "David Copperfield." After one-week shooting, he left the film, and as you know, W.C. Fields took the part. Though not a perfect book, since so many have been released after its publication, "Charles Dickens on the Screen" is a good book to know more about the area of filmed classics, which should be given more attention from both academic and non-asademic people.

This book gives a good introduction to argumentation theory and its twists and turns over the course of its existence. I found it helpful to get started, especially coming from a completely different field. It gives the essence of Toulmin and Perelman and Olbrechts-Tyteca but I would have liked to see a bit more on Austin and Searle.But then again the references mentioned are very extensive and can be followed up. All in all a good book if a bit pricey for students (whatever happened to the paperback cover?)

I like this book very much. Hausa is definitely an underappreciated and underrepresented language. A great deal of Hausa scholarship is evident in the book and a real feeling for the people and the culture. The section on pronunciation is particularly valuable. Grammar and syntax are dealt with very clearly and very thoroughly. My one criticism of this book is that it needs audio support (read: tapes and/or CD). Although the explanation of the sounds of the tonal and intonational contours of Hausa is good, there really is no substitute for hearing it. The UCLA Hausa page will help a lot with learning to make the individual sounds (if you have sound files, of course) but there's no substitute for hearing spoken dialogues. I hope that there will be a new edition of this book which includes audiotapes.

Written in the same vein as Richard Rhode's books, this is a very good read of the history of the Manhattan Project, from the opening bell in Europe, till the ship where the surrender was inked. Has some detail not in Rhodes' book, and is a very complemetary treatment of the subject. Has some good pictures as well.

Charles Winecoff's Split Image answers successfully the two main questions posed by Anthony Perkins' life: why, despite talent and opportunity, he never became a major, enduring star; and why, despite his homosexuality, he spent the last third of his life married to a woman. For the general reader, Perkins' biography also serves as a moving example of the poisonous effects of gay closeting.

While I heartily agree with my fellow reviewers' favorable assessment of Split Image, the book does have its flaws. The documentation is wanting: Winecoff's bibliography cites only books, not articles. He provides no footnotes or endnotes, and no appendix with Perkins' filmography and other work. Furthermore, Winecoff dwells too often on supposed parallels between Perkins' movies and events in his real life, particularly homosexual "double meanings" that the filmmakers obviously never intended. At times Winecoff also tells us more than we need to know about the specifics of Perkins' sexual habits.

These defects, however, do little to detract from the biography's main achievement: its compelling portrait of an elusive, contradictory personality, particularly during his early years. (Perkins' private life after marriage emerges less clearly, as some of those closest to him at that time -- most notably, his widow and children -- apparently declined to be interviewed.) Unlike the typical celebrity biographer, Winecoff pays due attention to the professional aspect of his subject's life and offers thoughtful assessments of Perkins' work, both good and bad. The narrative is well paced and filled with surprising anecdotes. Winecoff's prose, though no threat to the reputation of Virginia Woolf, is still superior to the pedestrian phrasings of most Hollywood journalists.

I recommend Split Image not only to fans of "TP," who surely have read it by now, but also to anyone who wishes to learn more about film history or gay issues - or who simply enjoys a well-written biography.

Too often Hollywood biographies rely on the glossy, fabricated images of their subjects for inspiration. Not SPLIT IMAGE. This remarkable biography meticulously weaves together the very personal story of gay actor Anthony Perkins with the changing social climate of America from the 1950s right up to his death from AIDS in 1992; the book is rich in gossip and scandal (a requirement for any successful star bio) but also full of insights on the effect of the times on Perkins's own troubled psyche. Author Winecoff relentlessly probes the dark side of Perkins's self-made boy-next-door image, which was not only his calling card in surly Method-acting-inundated Hollywood, but also his own private survival mechanism as a young man leading a very severe double life. Nothing here is taken at face value. The author's research, which is vast, covers everything from Perkins's (single) mother's lesbianism and the actor's terrifying experiences at college where he endured a gay witchhunt (along with the older brother of actor George Hamilton) to his love affair with hunky Warner Bros contract player Tab Hunter - violently hushed up by Perkins's studio, Paramount (the two men were given strict orders not to be seen in public together) - to his reliance on homophobic psychoanalysis for confidence, and his eventual marriage (at age 43) to socialite Berry Berenson, with whom he had two sons. It is to Winecoff's credit that the Perkins-Berenson marriage is treated just as fairly as the actor's numerous gay love affairs. Perkins literally brainwashed himself into becoming a heterosexual, so hard was the pressure to conform not only in Hollywood but in America. One of the book's strengths is in subtly showing how one man's story is in fact the story of a nation, the psychiatric community, the gay community. etc. Add to all this fascinating stuff a tearful ending, and you've got what is without a doubt the most intelligent, passionate star biography in years.

Is it any surprise that the brilliant actor who originated th ecreepy role of Norman Bates had a dark side? HELLO! Wake up, people! This is Tony Perkins, not Mickey Rooney! That said, let me add that I am just about THE biggest Tony Perkins lover on this side of the Atlantic - ever since I saw him in Tall Story when I was 11! I've been hooked ever since and this man is my drug![.] Anyway, yes this book is dark, but yes it has more info about His life than you are going to find ANYWHERE - and after you've read, you'll feel closer to Tony than ever![.] In ALL his complexity and love. And I mean ALL. This is Tony, people, not some airhead matinee idol. This is the one and only. This is the great. This is Tony Perkins. To love him is to love him with ALL his faults - and I mean ALL, people - AND his attributes. God bless him and his late wife.