A dictionary with short abbreviations and translations of the Psyhco-analytical terminology in German, English, and French.
Quick reference info and more detailed descriptions. great if you are reading German or french theroists and want to make sre you're on track with the concept and be able to cross-reference. A must for grad students. :)

Voll is a pioneer of electro-acupuncture. This text is an excellent intoduction to the theory and technique. It is an excellent springboard for continuing research in the field. I recommend it for practioners, clinicians, researchers, and engineers interested in rehabilitation research.

This is a good book for introducing a form of thinking that may be called for on special occasions, when people have to consider what is not truly mundane. My second-hand copy of this book, the Gateway edition, published 1979, based on the First American edition published 1949, begins with a long attempt to explain Heidegger's main early work, BEING AND TIME, Part I. (1927). Way back then "only the first two out of six planned sections of the book were published." (p. 8). I thought that the explanation by Werner Brock took too long to get to the items by Heidegger which finally appear from page 233 to the end of this book. As an example of the explanation for what is included, I would like to quote the following paragraph:

Some of the critics seem to think that there has been a considerable change in Heidegger's outlook, if not immediately after the publication of "Being and Time," at least since the first essay on Hoelderlin (1936). I for one do not share in this opinion. In my view, the themes of all the four essays, but especially of the two philosophical ones, are directly and most intimately related to "Being and Time," but not so much to the first two published Sections as rather to the third one on "Time and Being." (p. 119).

Heidegger's Inaugural Lecture, "What is Metaphysics?" is included at the end of this book. On page 349, an undated "Postscript" admits that "The question `What is Metaphysics?' remains a question. For those who persevere with this question the following postscript is more of a foreword." The obstacles encountered in the preceding lecture are described as "good. It will make our questioning more genuine." (p. 351). The first of the "misgivings and misconceptions to which the lecture gives rise" has been "The lecture makes `Nothing' the sole subject of metaphysics." (p. 352). The other problems are explained as mood problems we acquire when we do not "shut our ears to the soundless voice which attunes us to the horrors of the abyss" (p. 354) through such a concept. "Without Being, whose unfathomable and manifest essence is vouchsafed us by Nothing in essential dread, everything that `is' would remain in Beinglessness." (pp. 353-354).

After long consideration of "Nothing, conceived as the pure `Other' than what-is, is the veil of Being," (p. 360) comes some ancient Greek described as the last poem of a tragedy, "Oedipus in Colonos" by Sophocles, and at last, an English translation that also seems fair enough to be remembered on Memorial Day, 2003:

But cease now, and nevermore
Lift up the lament:
For all this is determined.

Fassbinder lived life, as the French say, ventre a terre -- with his belly to the ground. And what a belly it was. By the end, that enormous gut was the repository of more lusts and appetites than can be found in all the circles of Dante's hell. Fassbinder was, if not the 20th century's greatest filmmaker, certainly the 20th century's greatest film FIGURE. Unlike most directors, you can't whittle down his body of work to one or two masterpieces -- all his films must be seen, and a working knowledge of his corrupt and abrupt life is necessary.

Christian Thomsen's biography is no masterpiece, but it is the most complete Portrait of the Artist as a Young Monster yet written, and for that reason alone commands attention. Of course Thomsen can't explain how one man was able, in the course of 15 years, to write and direct 41 films, one of them 15 hours long. But who can? Such a driven personality can only be cautiously approached, never apprehended. Thomsen can't be blamed for what, after all, amounts to little more than a very understandable mystification.

Much less forgivable is his slipshod commentary on the films themselves. Fox and His Friends, in particular, is given annoyingly short shrift. This movie, Fassbinder's most far-seeing and revolutionary, is sort of a gay Double Indemnity, with what I believe to be the cinema's first instance of an homme fatale -- it is a truly fascinating update of 40's film noirs, brilliant in its hyperrealistic and poker-faced depiction of Germany's gay underground. But Thomsen passes right over all this, preferring instead to attack the editing, which isn't "tight" enough for his tastes. This is very lazy criticism and not even close to being accurate. I fear Thomsen is influenced by some of Fassbinder's own disdainful comments on the film, even though the director was clearly indulging in a little Hitchcockian false modesty. The point is, Thomsen knew Fassbinder personally, and may still be a little too gobsmacked by his subject to write the unbiased and considered biography he deserves.

Again -- quibbles. Here, for the first time, we learn just how fast Fassbinder could write a feature-length script ( four days ), what he needed to do it ( cocaine ), and which of his projects he held nearest and dearest to his grossly enlarged heart ( Effi Briest, Berlin Alexanderplatz ). Nor does Thomsen quail before the awesome task of explicating each and every one of Fassbinder's many films -- they're all here, every last one of them, even those not available in the U.S. The definitive biography is still to come, but in the interim, this is more than enough to tide over any but the most insatiable Fassbinder freaks.

The book is an easy read and does include some interesting links to history. FIPS was assigned to the sub that sank Lusitania but was detached before the sub did that. Some of the parts of the book illuminate the struggle of FIPS and his crew against incredible odds. The fact that FIPS was able to get out these situations is a testament to his skill as a submarine commander. It is incredible to read what these men faced and overcame. History has always portrayed the British as the gentlemen in the U-boat War, at least FIPS brings something else to the table to digest. This book is important historically because of the 83% loss rate in the Flanders Flotilla during World War I. Not many men lived to tell their story. The only problem I had with the book is the title, when I hear the word U-boat Commander FIPS is not the first person that I think of.

this book was good,however you have to know the game to understand it. yu must also know the controls and aircraft. it was very helpful in teachin though.

This book has the standard outline of Schiffer's long line of military hardware books. It covers mostly "quads" - that is, four-barreled mounts, but also covers single and even three-barreled types. The photos and text cover towed, vehicle mounted, rail-road and armored trains, flak towers, floating platforms, and navy types. It is about 50 pages with approximately 100 photos.

This books had a lot of photos , many of them I have never seen before. The weeknewss is that the book did not say about the air defense of Germany in WW-2. I think the book from Mullar is a must for all interested in military history.

Jahn's wonderful works of glass are shown in this book through his sketches and pictures of models. Unfortunately many of his now built works do not contain photographs. Each project comes with a short but well written description. The book also contains short essays by the architect on his design principles.

The layout and color reproductions are quite good, considering the book's modest size. Werner Schmalenbach comments on the artist's charming paintings, their historical background and influence on comtemporaries, as well as key events in his life. The text is illuminating, lively, and unpedantic-- as Rousseau would have liked it. Also, the price is right. .... Get it! (Even though the book is out of print, I have seen several copies in art museum shops.)

Congratulations to Prestel, the publisher, for making Pegasus Library books available to the wide public-- great art books which are kind to the wallet.