A good collection of Simmel's important essays, especially the parts from Philosophy of Money are useful, but it also carries the weaknesses of its original author. Whether you call it impressionistic sociology or whatever, it lacks explanatory vigour, and in so far as philosophical insight is concerned it is not good enough for a devoted philosopher. We know that Simmel's interests span a wide range of domains, and if this is a strength it is also a major source of weakness in his case.

Georg Simmel's social thought having being neglected for several decades, experiences a revival since the early nineties. A reason for this may be traced in his "gifted" - almost literary - style and in his breadth and vision regarding the state of modern urban culture. The collection of Simmel essays assembled in this volume by Donald Levine, covers a wide variety of the topics with which Simmel was preoccupied during his lifetime. One will find here Simmel's seminal work on social types, particularly on the "stranger" and the "poor". Simmel's brilliant essays on the "conflict in modern culture", the "tragedy of culture" and on the modern metropolis are included constituting essential reading for those who apart from a sociological perspective wish also to gain an aesthetic view of social reality. Simmel's intellectual roots are manifold. One can trace them back to Kant and Hegel but equally to the existentialist thinkers Schopenhauer and Nietzsche. Many of the arguments raised by Simmel in these essays bear the marks of the aforementioned philosophers while others sound incredibly relevant for today's (post)modern culture (for example the essay on "fashion" and on the "conflict in modern culture". The reader of this volume is introduced to Simmel's thought through an excellent and scholarly essay by D.Levine which also locates Simmel's sociology in the American intellectual context (i.e Parsons and Park). This collection has become a classic among Simmel scholars and it provides essential reading for sociologists and philosophers alike.

An excellent and fairly concise analysis of Hegelian political thought. For those of us that cannot wade through Hegel's dense writing style, having a guide like Aveneri truly brings Hegel's thought down to earth. While the author sprinkles the text with plenty of quotations, he also does a wonderful job of deciphering what Hegel meant so the reader gets a feel for both Hegel's writing style and meaning.

Aveneri does much to clear up some misconceptions of Hegelian thought and paints a very sympathetic portrait of Hegel the man. Rather than an anti-Semetic German nationalist, Aveneri depicts Hegel as being a very liberal and forward thinking philospher. More importantly, this book gives the reader a feel for Hegel's system and view of progress without getting too bogged down in abstract concepts. It does a particularily good job of outlining Hegel's idea of civil society and how it works in conjunction with the political state and the family unit. The summary of Hegel's thought on the progression of the State from the Greek city-state to 19th Century constitutional monarchies is also exceptionally interesting.

Anyone interested in history and the big ideas underlying the progress of history will probably enjoy this book. It takes a bit of work to read, but in my opinion, it will enrich your understanding of Hegel and his view of the progression of history.

Charming and robust introduction to the political thinking of Hegel, whose byways in the difficult cultural history of the 1820's requires a sound guide to forestall the many misimpressions possible, and actual, as the Hegel legacy shows. The lowkey acuteness of Hegel's ruminations on the state and civil society are not only classic but key to the understanding of the subsequent Left Hegelian hurricane that swept up Marxism in its path. Hegel is nearly a conservative masthead for some, but this book amply documents the complexity of Hegel's real views that Marx knew well, beginning with his youthful interest in implications of Adam Smith and Stuart, and his pessimistic asssement of the limits of civil society in relation to poverty. This strange constellation of contradictions in Hegel, once uncovered, suggests the reason for the explosive impact of his thought on the generation that followed, for good or ill. Highly useful book, and essential for some cautionary clarification of the anti-Hegelian shibboleths too often cast about.

the Lukacs' theory about History and Class Consciousness answered the question, why the socialist world not yet realized today. Lukacs said that the importance of history not in proletarian class' consciousness. and so, the borgeouis can still made the false consciousness to hegemony proletarian class. i think, it made Lukacs as a outstanding philosopher of neo-marxist today!

The grand and celebrated critiques of capitalistic techno-rationality that emerged from the Frankfurt school are all rooted in the dialectical emphasis of Lukacs. Hegelian notions of reification and alienation that Lukacs resurrected even showed up in radically mutated forms in French poststructuralism. This, as well as Horkheimer's "Dialectic of Enlightenment" are must-reads for New-Left enthusiasts who have neither the time nor the IQ to comprehend raw Hegel. Dialectical thinking is at the root of the philosophies of Hegel, Sartre, Heidegger, Marx, Marcuse, Adorno, Lukacs, Horkheimer, and Neumann, and this book is an excellent introduction to the ontology of capitalism as examined through a whole new cognitive apparatus: dialectical thought.

The book starts on a very informative manner but eventually changes into a brochure for a nutritional product. The information is greatly needed by people suffering from low energy and related problems. Brochures should be send free of charge or be clearly indicated as such. Of the 48 pages, from pages 13 onwards is a straight brochure. The author succeeds to highlight the importance of a very much needed topic. The book "Dreams for Fragile People" by Steyn and Verwey (1998) also deals about the importance of NAD and energy related concepts. The topic of biochemical energy is extended to include the psychological, intellectual and spiritual value of energy to mankind in general. Both these books deals with information about NAD and the importance of this to the general public and more specific suffers from low energy and related disorders.

what makes the body systems works and brakedown foods?enzymes.nadh is actually a coenzyme that explained wonderfully and readably the actions that he involved in the human body in digestion,hormones production,dimentia,altzheimer,energy enhancment,anti aging,and much more. the content in foods are also discovered,and a very specific guidence with nutrition explanation is explained too,after all it is a coenzyme that do accelerate metabolism,and a production of hormones,and their affects on celular metabolism,function,and cocognitive functions as well.sounds complicated,not in the way this guide is wrriten. buy this guide now!.

I presume I do not need to introduce Schwinger's list of credentials, including a nobel prize for QED alongside with Feynman and the third guy (I'm sorry, I never seem to remember his name). Schwinger has always had his own view of physics, much like Feynman, and in his books he usually follows that view. The consequence is a book on an old subject, such as QM, which includes many new viewpoints and ideas not found in other books, especially in use of action principles, of which Schwinger was a major proponent.

That being said, it should be stressed that you should not approach this book without taking a course or two in QM - Schwinger himself states so at the introduction. It would not only make the book hard to follow, but also make it pointless - the whole idea of reading this book is getting a fresh new perspective on QM.

For example, instead of stating the "axioms" of QM, Schwinger decides to examine physical experiments and try to see where these axioms come from. He is not always successful in doing that, but at the very least he should get every faithful reader to deeply ponder the foundations of QM. Instead of just writing down Schroedinger's equation and saying, "this is how our system evolves in time", he decides to take an action principle as his fundamental rule for time evolution and derive Schroedinger's equation from it. In short, he turns QM upside down - and gets away with it.

It is definitely worthwhile checking out this book, although many will not like the idea of doing things Schwinger's way - in a sense, the book's greatest strength is also its greatest weakness. You have been warned.

Schwinger has presented in the text the perfect way to do Quantum Mechanics. It is actually transformed from lecture notes given by him for three quarters at UCLA in the mid-1980s. Just look at how he induses the general structure of quantum kinematics and establishes the dynamical principle - his quantum action principle, you would agree with me that it should be on the shelf of every physist, physics teacher and student.

This book is packed with attractive pictures, although mainly of mice, despite the title. Some of the information is a little sparce and there are a few errors. But overall its a good choice for someone just stepping out into the world of small mammal pets.

this handy book tells you everything you need to know about taking care of your little friends. From feeding to what to do when they escape this book has it all!

One of the best, most insightful works on the subject to date.

Pillow provides a fascinating account of Kantian and Hegelian aesthetics that will prove of great interest to both Kant scholars and to those with a more general interest in aesthetics. The references are particularly useful, such that the book is required reading. This is true despite some serious flaws in the book: E.g, its central thesis on the sublime character of artistic meaning is not credible as a reading of Kant. Guyer's account the role of form in judgments of beauty, which Pillow attacks, still does a much better job of explaining our experience of art. However, Pillow's account can be read as a supplement to accounts focused on the importance of beauty, rather than in the way Pillow's own account is presented (as a full-blown critique of Guyer's use of form to explain artistic experience).

This is a delightful look at the history of York, Pennsylvania, laid out in 1741 by one of the Penn Family's surveyors. The book first looks at the native Americans who put down several villages in this area bordered by the Susquehanna River on the east. In 1749 when the county of York was formed the town of York became the county seat. Author Georg R. Sheets tells the story of the first Europeans arriving in the 1700s and gives special attention to the nine-month period in 1777-78 when Congress met here and hammered out the Articles of Confederation while Washington and his troops were at Valley Forge. York County's role as a breadbasket and arsenal for Democracy is explored through the late 1970s when a resurgence of the Pennsylvania Dutch (actually Pennsylvania German) heritage of the region took place. The town's most famous landmarks are described and among other places the reader is taken to the Central Market House where farmers have been selling their best wares for many generations. The role of York industry is also described with peppermint patties, barbells, automobiles, Harley-Davidson motorcycles, air conditioners and potato chips taking center stage. Dozens of photographs and illustrations enrich the book, some in full color. For a primer on the history of York County, Pennsylvania and a special look at the nation's early days this book is a good read. ...

This book is one of a series of books on historic American communities and because it covers Pennsylvania, all the key elements of the struggle for Independence, strife of the Civil War and much more are covered here. Most interesting are the aspects of the so-called "Pennsylvania Dutch" folklife which runs through this book like a unifying thread. This author knows what he's talking about. Also see, "Made in York: A Survey of the Agricultural and Industrial Heritage of York County, PA.," and the must-read, "The Grand Review: The Civil War Continues to Shape America." I also like the book, "Pennsylvania Heritage: Diversity in Art, Dance, Food, Music and Customs" with history by Sheets and lavish color photographs by Blair Seitz.

For those seeking the famous tale on which the recent film wasbased, this will sorely disappoint. This is Scott's tale of a youngEnglishman, son of a prosperous middle class businessman, who is sent to live w/distant cousins in the north of England (just below the Scottish border) because of his failure to live up to his father's mercantile expectations of him. Here he becomes involved with all manner of intrigue and gets pulled into a vortex of events involving rebellion against the English crown, a scheming cousin, a beautiful girl and that famous Scottish outlaw and freedom fighter, Rob Roy. But the outlaw, certainly the most interesting character in the tale, is only a side player, so to speak, and makes a number of appearances, often in disguises ( a favorite Scott motif), only to guide and/or rescue our blundering hero. This is most definitely not a tale of high adventure and derring do, and the complex and twisted intrigues of the plot do not sustain the book adequately. For those who like period pieces or the works of the masters (and Scott was certainly one), this book might be okay. But this is one of those rare instances where the movie, based apparently on Scott's preface to his book (in which he sketches out the life and times of the historical Rob Roy), is better. And frankly the movie wasn't half bad; far superior, in fact, to that other film of historical Scotland of the same vintage with Mel Gibson. Oddly enough, the Rob Roy film did worse @ the box office. Who can account for some people's taste? -- Stuart W. Mirsky

Sir Walter Scott is widely acknowledged as the creator of the historical fiction genre. His best known book is Ivanhoe, which I have not read. I instead decided to read Rob Roy, a book I became familiar with due to the 1995 movie of the same name starring Liam Neeson and Tim Roth. Rob Roy, written in 1817, takes us back in time to the 1715 Jacobite uprising.

Surprisingly, Rob Roy is not the main character of the book. Rob Roy's appearances in the book are spotty, at best. Instead, Francis Osbaldistone is both narrator and main character. Francis, we quickly find out, is more interested in poetry than in business. His father, who hoped for Francis to take over the family business, becomes angry with his son and banishes him to his brother's estate, Osbaldistone Hall. Francis's relatives are all country hicks, with the exception of Diana Vernon, an astonishingly beautiful "cousin" who stays with the Osbaldistones for reasons best left unrevealed here. Francis also encounters the treacherous Rashleigh Osbaldistone, the cousin who is to replace Francis at his father's business. Francis soon becomes embroiled in several adventures, usually with Scottish sidekick/groundskeeper Andrew Fairservice and Glasgow businessman Nicol Jarvie at his side. Needless to say, Francis falls in love with Diana Vernon and becomes entangled in the machinations of the Jacobite rebellion.

I found myself amazed at Scott's depictions of women in this book. Diana Vernon is not only beautiful; she's smart, self-assured, and a very dominant figure. Rob Roy's wife, Helen MacGregor, also is presented as strong and domineering. I find this fascinating in a novel written in the early 19th century. Even more surprising is Francis; he is depicted as weak and easily dominated. Between Rashleigh, Rob Roy, and Diana, Francis never seems to know what is happening and is easily brought to emotional frenzies by the other characters. You quickly begin to wonder how this guy can get anything done.

There are two minor problems in Rob Roy. First, I'll mention the Scottish dialect. Scott, in an effort to be authentic, makes liberal use of the Scottish accent. This isn't much of a problem in the first part of the book, but in the second half it becomes a serious issue. Even worse, Scott uses the Scottish characters to reveal major plot points. Therefore, if you can't read the dialect, you're in trouble. This wouldn't be bad if a glossary had been included in the book, but there isn't one. After awhile, I realized that "bluid" was blood, and that "muckle" meant much, but the inclusion of many Scottish idioms had me totally dumbfounded. Other Scott novels in the Penguin series include a glossary of Scottish terms, but not their edition of Rob Roy.

Second, the pacing of the book is most unusual. For some 200 pages, nothing much happens. I've read many novels from this time period, and most move faster than Scott. This doesn't make Rob Roy a bad book, but it does take patience to get to the end. Even when the plot starts to thicken, Scott still takes a lot of time to unfold events. In some aspects, this lends a distinct quaintness to the book. At other times, it can become annoying. It is easy to understand how many people would lose patience with the book and give up.

This is still an entertaining book, and I highly recommend it to those interested in historical fiction. Despite a few problems I had with the book, I would like to read more of Scott's work in the future. I shall certainly look for editions with glossaries so I can navigate the Scottish words. By the way, the man on the cover of the Penguin edition is William, 18th Earl of Sutherland.

Robert Louis Stevenson called "Rob Roy" Sir Walter Scott's finest achievement. I do not disagree. Set shortly after the unification of 1707, Scott tells the tale of the protestant Francis Osbaldistone as he bids adieu to his father's London commercial interests and enters, as an exile, the baronial home of his papist relations in the north. His cousin Rashleigh assumes the commercial role intended for Frank and uses his newfound access to stir loyalist feelings in the Scottish Highlands by ruining the far-flung credit of the Osbaldistone business. Frank, upon uncovering the conspiracy, sets forth to Glasgow with the mercurial gardner, Andrew Fairservice, as his guide to right the wrongs of the scheming Rashleigh. Ever dependent on the outlaw, Rob Roy MacGregor, to intervene in his behalf, Francis Osbaldistone leaps from one adventurous situation to another in his fight to clear his family name. Along the way, Frank meets and falls in love with the outspoken and beautiful Diana Vernon who aids him in his plight. Though a fair portion of this book is related in the Scottish vernacular, there is a glossary in the back of this edition that will easily point the way. Even so, the reader will confidently understand the vernacular when one-third through the book. This is a classic that can be enjoyed by anyone, particularly those interested in period and place.

This novel is very different from any other kind of good literature being written today. It has no chapters or divisions; instead, it is a long monologue briefly interrupted by the unnamed narrator's change of settings and time. Throughout the book, Jacques Austerlitz tells us the story of his life and of his origins, as he goes on discovering them. Raised by a childless Welsh couple, Austerlitz finds out around his 15th year that he is from Jewish descent and that he fled Europe when he was four years old, shortly before the outbreak of WWII.
Austerlitz becomes a historian of architecture and travels around Europe (the book is filled with beautiful black and white pictures), but at some point he feels the urgent need to find out about his origins, after a series of nervous breakdowns. What follows is the extraordinary and painful discovery of the fate of his parents and, as a parallel, of Europe in those disastrous years. Sebald's prose is terse and fluid (even if, like me, you don't speak German, you can tell that the translation is really good), his ruminations on a number of subjects is never boring but enlightening, and the story of the narrator and Austerlitz's encounters is incredible but essential to the storyline.
Several passages are likely to remain in your memory. For me, some of them were life at his youth's friend's family house in Wales, the naturalist excursions and the sighting of moths, the visit to Marienbad, and especially his conversations with his aged ex-nurse in Prague. One good thing about the book is the descriptions of European cities, which are very inspiring. In short, this novel is very good and rewarding. Its main subject is the search for identity, but by no means is it the only one. Sebald's death late last year gives it an increased sense of nostalgia and melancholy, and it will likely be regarded later as one of the best novels written at the beginning of this enigmatic century.

They don't get much better than this.
I noticed when I started this book that it is a translation done by Anthea Bell, but this may in itself be just a literary device, or the author must have worked very closely with the author. How else could he, or she, or both have achieved such beautiful English prose. Truly enviable. I am glad to see that one reviewer talked about the texture of the prose in terms of music, and he is right on the mark. Everything is in a minor key and the general tonality and pacing contribute richly to the darkness of the narrative, which is indeed dark. The main theme seems to be how easily if unwillingly we tend to fall from life into death. And almost, sometimes, back again.

Austerlitz tells his story to an unnamed narrator. He was brought up in Wales by a fanatic but civilized preacher and his marginally functional wife but as an adolescent discovers his true origins lie elsewhere. Most of the book deals with his attempt to learn about his beginnings and his parents, victims of Nazi genocide.

The book's fascinating structure is built on descriptions of European train stations and other public buildings, most notably the new National Library in Paris which Austerlitz considers (and by any reasonalbe accounting is) an abomination built on hostility to readers and their search for understanding. Yes, I have visited it.

I would recommend this book to anyone who has despaired of finding high literary standards in contemporary writing.

Austerlitz is a negative, an undeveloped film of memory swished around in the fluid of the reader's imagination, from which emerge images at once clear and indistinct. Readers familiar with Sebald's work will recognize ideas and techniques in the first part of this book - the seemingly random historical associations, the beautifully dense and allusive sentence structures, the haunting photos that poetically omit more than they include - but as the narrative progresses, shadows of the Nazi holocaust take form and lead us deeper into the inferno. The emotional distance and intellectual reluctance start to make sense - they not only characterize the narrator, but they enhance our sense of his human frailty. I kept wondering what kind of book this was - a memoir, a thinly veiled confession, or a fiction of remarkable power? The patterns and connections suggested a literary invention, but every element rang true and seemed idiosyncratically real. The author's death also lends a note of finality and definition to this evocative work, making it necessarily Sebald's last word on recurring themes. If you've not read any of his other books, this is still a fine place to start, because each demands rereading in the context of the whole. For a while his books just play on in your memory, yet when you pick them up again they are full of surprises and undiscovered gems. I recommend getting the hardcover copy so that the binding can stand up to repeated reference.