This book will guide you step by step (literally) through the magnificant temples of Angkor. And even if you weren't planning to go, you will want to for sure, after viewing Michael Freeman's superb photographs and reading Claude Jacques' expert commentary.

No matter where you wander on the very large site of Angkor, Freeman and Jacques are right alongside you, suggesting places to look and explaining what you are looking at. There are maps and temple plans, a glossary, and an index. For visitors with limited time, the suggested itineraries (from one to seven days' length) will let you make the most of your visit.

The book is especially helpful for photographers. Freeman, who has photographed professionaly at Angkor for over a decade, describes the best vantage points and subjects, suggests the best time of day to shoot, and provides itineraries that take you to each location just when the light is best.

The book is well designed and contains many helpful features. For example, a cross-referenced list of architectural features and mythological scenes makes it easy to locate temples that contain whatever the visitor is most interested in seeing.

In short, carrying this book with you is like having an expert photographer and historian as personal guides during your visit to Angkor. You probably won't even need to engage an actual guide, unless you want to pick up a bit of local color; everything you need is right there in the book.

This book is a fantastic combination of pictures and facts for people wanting to visit the Angkor temples. The pictures stir the imagination and the text provides the facts to go with the pictures.

In fact I recently used this book as my guide while visiting Angkor. It provides a section for each of the most-visited temples and will also give you information on suggested time to put aside for each visit and the best time to go. In fact, my guide at Angkor said this was the best guide book he had seen, and I saw other people using this same book to guide themselves around the temples like I did.

This book provides suggested itineries to the temples and the best times to visist for photography. whether you can actually manage to combine the two is debatable on a short visit. The books main downfall is not its content, but its weight which is quite heavy because of the good quality paper used.

The climate (extremely hot and humid - air conditioning is a worthwhile investment) can make visiting these monuments as trial at times, but they are worth the effort. All the buildings are unique, covered in exquiste carvings (which books can only hint at) and original. Some are still partly swallowed by the jungle. Straight out of indiana Jones.

Get this book, let your imagination wander and visit these amazing ruins if you can before too many other tourists turn up - for they are a world wonder not to be missed. And don't forget your camera - these are places begging to be photographed.

A lovingly prepared compilation of superb color photographs, maps, history and scholarly explanations of the major world monument that is Angkor Wat. The authors thoughtfully include suggested itineraries ( ranging from one to six days ), sites ranked by interest, peak times and locations for photographing and even helpful suggestions for accomodations. A must for planning a visit to Angkor Wat or for preserving memories.

At long last, a book on education that does not skirt the issues or waste the reader's precious time on experimental proposals with no proven effectiveness!

Begin Here (sorry--don't know how to italicize on the 'net) is a series of articles and essays written over the years on the subject of education. I have tremendous respect for Barzun as a man of letters and as a writer; if I ever possess half his range of knowledge and gift of expression, I will be very fortunate. His ability to identify underlying principles and their results is astounding, and the essays in this book are so filled with wisdom that I want to stand up and cheer at the end of each one! I sorely regret that either he is not younger or I am not older--those who had the privilege of having him teach one or more of their courses have been abundantly blessed indeed.

The bottom line: If you want to sit around and wring your hands helplessly while bewailing America's educational problems, you'd best keep shopping. But if you want to cut the political nonsense and demand results, not excuses, this book is indeed the place to begin.

This book is far from original, and its influence upon me was sobering, not life-changing.

Barzun, the near-ancient Columbia scholar, argues simple truths rather than attempting to glorify the fads in today's educational system. He advocates the value of effort in achieving results in schools--and the results themselves are to be simple to account for ("rudiments," such as reading, writing, or drawing) instead of touting abstract and platitudinous "goals," "objectives," or "doctrines."

As a college student, I found his musings about the state of higher education even more inspiring. In line with the full title of the book, he writes of the forgotten conditions of teaching and learning in the face of over-politicisation and drive to "re-search" of modern colleges. He also stresses the deliberate detachment of academic institutions from the mundane goings-on in the rest of the society for the sole purpose of pursuing knowledge. Instead, the modern establishment of higher learning (?) feels incomplete without an array of "social justice" undertakings in place both in its curriculum and interaction with the world outside.

I think every thinking person who believes in common sense would enjoy Barzun's writings.

There are many ideas in this devastating critique of contemporary universities and of the educational system in general.

According to Barzun, the advent of making research profitable (through grants, the publish-or-perish mentality, etc.) has fatally wounded universities. Before this, teachers were teachers first. Research was conducted on a teacher's own time, and important works were often published at the end of a teacher's long career of teaching, reading, and thinking about a subject.

In contrast, teachers today resent students because students take time away from research. The publish-or-perish doctrine has resulted in a wash of triviality. Information that was once a footnote is now the subject of an article. What was once an article is now a book.

Barzun also disapproves of the politicization of universities. Teachers, he says, should concern themselves with providing the tools needed to get along in the world: reading, writing, counting, and thinking. The result of those tools should be of no interest of the teacher - because it isn't any of their business.

Primary education is little better than the universities. Educators fall under the spell of their own rhetoric. No one can teach creativity, self-esteem, etc., and teachers should stop claiming that they do. Instead, teachers should teach those subjects that are teachable: reading, writing, thinking, and counting.

This book deserves more than five stars.

Before going further, let me mention that Brassai's images contain many sinners and show the seamier side of Paris. For example, there are many photographs of prostitutes here. If such subjects upset you, do avoid this volume.

The collection of Brassai's work at the Musee National d'Art Moderne at the Pompidou Centre in Paris was recently expanded from 300 to 500 items due to a large deposit by Mme. Gilberte Brassai, his widow. This monograph greatly benefits from these additions. The monograph also commemorates the 100th anniversary of his birth in 1899.

Best known for his photography, Brassai had many other dimensions: collector, scholar, sketcher, sculptor, and writer. His self description was as "a creator of images." This book does an excellent job of capturing all of these elements so we can better understand the entire man and his work.

As Brassai said, "The meaning of art is not authenticity . . . but the expression of authenticity." Why does he say that? Well, his method of photography required careful staging because of the bulkiness of his equipment and its slow speed. So, although an image may seem like something taken by a news photographer from the Daily Blurb, Brassai's techniques required that subjects hold their poses for long periods of time. Much like Cindy Sherman does today using herself as the model, those in the photographs were often friends of Brassai's who were posing as someone else. So what is remarkable about these "candid" photos is his "use of re-creation and reconstruction" to produce them.

Taking the photograph was really just the beginning. Using darkness as his ally, it is the print that makes the difference to his representations. "A negative means nothing for my kind of photographer." "It's the artist's proof that counts."

Here are my favorite photographic images in the book:

Notre-Dame, c. 1930-32

The Pont Neuf, c. 1932

The Viaduc d'Auteiul, 1932

The Baker, c. 1930-32

Public Urinals, c. 1932

For a Detective Story, 1931-32

The Big Night at Longchamp, July 1937

False Sky, 1934-35

Nudes of 1934

Matches, c. 1930

Picasso, His Studio and Works, 1932-46

Montmartre, c. 1935-37

Metro Pillar, 1934 (you will see a man's face in the shadow of the pillar)

Odalisque Transmutation, 1934/1967 (this is clearly influenced by Picasso)

The essays in the book are excellent. I especially liked Alain Sayag's comparison of his work to Chinese painting.

I also learned a lot about his life. Like many famous photographers he had to earn a living by doing more commercial work. These images often were done on his own time, late at night. Interestingly, many great photographic images were created in only 1-3 takes. In part, this reflected his poverty.

Actually, he had earlier earned a living from writing about France for German newspapers. The Depression began to cut off that source of funds, and photography was taken up in part to supplement his income. By selling the story and the images, he could get paid a little more. He also worked for Harper's Bazaar taking photographs by day for many years.

The text also contains many selections from what Henry Miller and he had to say about each other and their long-term friendship. This emphasizes "seeing only what is."

My appreciation of the photography was improved by seeing his drawings and sculptures. Clearly influenced by prehistoric and primitive art, many of these images look like fertility gods. His women are all bottom. From these, I could understand his graffiti photographs of images that could literally have come from the caves at Lescaux. So in looking for the "reality" Brassai was reaching deeper into our ancient psyches than other photographers before and since.

I came away very much more interested in Brassai, as I am sure you will be.

After you finish consider Brassai, I suggest you ask yourself how you could add more dimensions of expression to your personal life. What can you share that is both "real" and important for others? How can you best accomplish that?

Au revoir.

It was only several years ago that I had noticed the brilliant work of Brassai. The Chicago Institute of Art was having a special exhibit featuring his work. I stood before each photograph for what seemed like an eternity. The way that he captures the essence of the human life, the laughter along with the tears, brings a flood of emotions to any observer. My interest in Brassai only grew from this exhibit. I then started to hunt out books on him, his life, his work but I wound up a little disappointed due to most of his work is out-of-print. When I had been scanning Amazon.com and found a new book, Brassai, I was highly interested. I awaited the day that it would finally be published. That day came. As I turned the pages of the book, I felt as if I am back in the Art Institute. The quality of the photographs, the meaning of the words, by close friends, and from Brassai himself add to the pleasure and overall joy of the book. He depicts a time in history that is meant and needed to be cherished. Brassai reaches into the human heart and soul and brings out strength, determiniation, and a smile. These feelings are only emphasized on the pages of this magnificant book. I only hope that more will follow so that Brassai can touch more lives, touch more hearts, and bring emotions to the forefront of everyone's lives.

When Abrams released their long-delayed book on Brassai last December, THE EYE OF PARIS, I was very critical of the entire piece. The images weren't well-printed, the selection was mundane, and the whole thing had an oddly slapped together quality, especially for such a major publisher. Now we have Bullfinch's answer to the recent Brassai gap, and it is a clear success, head and shoulders above this earlier release. After only a relatively cursory look at the book, it is clear that this is what we've been waiting for. The selction of images is deep and varied, mixing both the iconic with the lesser known, the printing is lustrous and dimensional, and the layout is both attractive and compelling. The production may not match the incredible PARIS BY NIGHT reissue of the late 80's, but nothing probably ever will. That said, this book looks very good indeed. I haven't read the impressively credited text yet, but the visuals are certainly terrific, the most important thing, obviously, in a photography book. It is hard to imagine a superior monograph on this seminal figure forthcoming anytime soon. Grab it and feast.

This novel will keep you thinking. The characters are regular people, with their own lifes, feelings and passions. The plot is just very good and he does not use any tricks to captivate you. Is a book to enjoy for a couple of hours and think about it for a long time.

I read this mystery in two hours. You are taken places you have never been, the prose is perfect, the story grips you. A reason to bid the video store farewell!

Jean-Jacques Fiechter goes deep into the Psychology of Revenge. It is fascinating to see how the Characters take Shape and Volume as the Plot evolves. A Movie has been made, based on this Book, but the Book is a lot better.

Maritain, the major neo-Thomist of the 20th century, has written a masterful tome on most epistemological accounts that is not only versed in "knowing that," and "knowing how," but also the knowledge derived from religious experience, mystical experience, and various other "degrees" of knowledge which, like a spider, are webbed together in a wonderful lattice of gemlike reflections. One will find all sorts of epistemological issues handled with care and illumination -- even ones modern analytic philosophy finds too "metaphysical," -- that most people encounter in the course of a lifetime. A delightful read and a great treasure for future reflection and meditation.

The work of a great mind

Out of the many books Jacques Maritain wrote, his Degrees of Knowledge can be considered as his Magnum Opus in the field of speculative philosophy. First published in 1932, it is his major work on the theory of knowledge, inspired by the philosophy of St Thomas Aquinas and the mystical works of St John of the Cross.

The whole purpose of the book is to make a synthesis between science, philosophy and theology. It has always been said that the vocation as a philosopher meant two things for Jacques Maritain: "the dignity of the human person and the restoration of the intellect". The first part of this project can be found in his works on social and political philosophy, like Integral Humanism and Man and State, etc. The other part led his philosophical activity gradually from his Bergsonian background to the critical realism of Thomas Aquinas.

The critical realism is to be found in the Degrees of knowledge which is Maritain's testimony of the second part of his philosopical vocation: the restoration of the intellect. Knowledge for Maritain contains two realms: natural and supernatural. The whole enterprise Maritain undertakes is to find an epistemology that embraces the full range of human knowledgde, from the simple knowledge of sense perception, to the supernatural knowledge, knowledge of the Divine essence.

The book is separated in two parts, a part about the degrees of natural knowledge and a part about the degrees of supranatural knowledge.

My intention is to represent the basic ideas of the book, I do not find myself able to criticize the book. Understanding what Maritain is trying to show, takes a lot of time, and I am still in the phase of understanding. This book deserves a honest and clear evauation, more than a simple good or bad label. The book contains more than 500 pages of text, in which a lot of very difficult material is presented. Let's be clear about it: The Degrees of Knowlegde is a very difficult book, and I think you need a decent philosophical training to understand it.

Degrees of rational knowledge

Let's look at the first part: the domain of natural knowledge. Natural knowledge is the domain of unaided reason, in which the intellect has as its formal object: being. Being is known by way of abstraction. Maritain dinstinguishes three degrees of abstraction. In the first degree of this process, the mind knows an object, which it disengages from the singular and contingent moment of sense perception, but is still in reference to the sensible. This first degree of abstraction belongs to physics and philosophy of nature. The second degree is the mathematical abstraction, in which the mind knows an object whose intelligibility no longer implies an intrinsic reference to the sensible, but to the imaginable. Finally, in the highest degree of intellectual vision, the metaphysical degree, the intelligibility is free from any intrinsic reference to the senses or imagination. This is the field of trans-sensible reality. The mind starts with knowledge from the sensible, and penetrates deeper and deeper in the mystery of reality by way of ascending towards objects of thought which both can be conceived and exist without matter, which is the domain of metaphysics. The three degrees are on a hierarchical line, in which the first participates in the third.

The kinds of knowledge which belong to the natural order are also called, the dianoetic knowledge: in which things are known in themselves; perinoetic knowledge, in which there is knowledge of essences by way of signs, or some measurable properties. And there is finally ananoetic knowledge, or knowledge by analogy. This is the domain of metaphysics in which the intellect ascends from sensible being to the knowledge of the first being, which is God. It is at the same time called: natural theology.

Also there is knowledge which belongs to the natural order, which is called knowledge by connaturality. This kind of knowledge is not by means of a concept, but knowledge by inclination. It can be found in moral knowledge, the work of the artist, and the knowledge we have of other persons. We are co-natured with our object.

Knowledge starts with sense perception, the intellect receives through the sense perception a concept, an intelligible similtude, on which the intellect makes a judgement. The concept is called a formal sign: that by which we know, a means by which we know the very nature of a thing. The thing exists and the formal object is grapsed by the intellect. The object has intentional being, the thing has natural being. The concept is a formal sign by which the intellect becomes the other as other. By way of the judgement, the intellect asserts the existence of the thing as an extramental being.

The judgement is an important aspect in the theory of knowledge. By way of the judgement we assert that our knowledge is not only about a phenomena, a mental thing, but by the judgement we confirm the existence of the extra-mental being, the correspondence of intellect and reality. Things can be known in themselves, the truth of knowledge consists in the conformity of the mind with the thing. Truth is possible but difficult for man to attain. It is therefore called critical realism.

So we can conclude that: Truth is the conformity of the mind with being. Knowledge is immersed in existence, given to us first by sense, sense attains the object as existing. Sense delivers existence to the intellect, it gives the intellect an intelligible treasure which sense does not know to be intelligible, and which the intellect knows as being.

The degrees of supra-rational knowledge

The second part of the book deals with supra-rational knowledge. It's about the knowledge of God. For Maritain, faith and reason are not conflicting. There is a great harmony between nature and grace. Again Maritain distinguishes in order to unite. There are three wisdoms. The first one belongs to the natural order, it is based on reason, the domain of metaphysics. It's the ananoetic knowledge, also called natural theology. Above the natural theology, stands the science of revealed mysteries, which is called theology. It is reason illuminated by faith. It's certitude is superior to metaphysics, because it has a divine origin. Then above all, there is the mystical wisdom or infused wisdom which consists in knowing the essentialy supernatural object of faith and theology, Deity as such, the expierence of God, in which we can know Him in His essence. Faith alone is not sufficient, it needs the gifts of the Holy Spirits and the theological virtues of faith and hope, infused moral virtues.

Some remarks

Like I said earlier, you need a decent philosophical training to understand the material presented. The book presupposes knowledge about the battle for the universal in the middle ages, the philosophy of Descartes, the tradition of idealism and logical positivism.

If you fancy yourself a philosopher, I would assume you are familiar with this work. A giant of a work, possibly Maritain's masterpiece. The Introduction alone is sweetness to the scholar....

A tale of human foolishness and supernatural evil in the form of a beautiful love story. What a novel idea, especially for the eighteenth century. The devil is found in an obscure but fitting role in this surprisingly entertaining book. He has many faces; all deceiving and different; all equally wretched and evil. This book captures some of his essence. Excellent, and to be read again.

A book not to be ignored, this stands as a perfect example of what a book can achieve: beauty, clarity, truth, and the ability to mirror the world we live in while creating a fantastic tale.

The story unfolds in luminous, poetic writing that is a total joy to read, and in the end leaves the reader fully satisfied, yet still longing for more. A book to be read again and again. Wonderful.

this is a master work that is very important if we are to understand ourselves as well as the world in which we live. A fascinating read for the newcomer to such fiction, as well as the seasoned pro. A book to be enjoyed as much as it is to be studyed. Poetic, sad, and often very illuminating, "the devil in love" belongs to that league of literature that works on every level. Not to be ignored.

I have read all of Van Horne's books and this is definitely my favorite! I learned so much about the French Revolution from reading this book. It was obvious that Ms. Van Horne did her research! All of her books have way of taking you on the journey with the character. Fantastic! I recommend any of her books to people who are intrigued with romance, time travel, or just a great story!!

The fifth book in the exciting "Time Travelers" series, The Diary of Jean-Jacques Coupier by Hollie Van Home is the engaging story of Celeste Montclaire, a contemporary woman who falls into a Time Tunnel and finds herself transported to 1793 Paris -- smack into the middle of the French Revolution. With loves and loyalties on both sides of the growing conflict, she must make her choices quickly; her very life hinges upon them! A rousing and engaging novel, in touch with its chosen era of history, The Diary of Jean-Jacques Coupier is especially recommended for science fiction fans with a penchant for time travel stories.

I have read all the Time Travelers books and I love them all, but I think this one may turn into my favorite because I think that this may be the best book I have ever read in my life. I got the book on a Tuesday and just read it non-stop until I was done. Her books are like that. You can't put them down. The characters just grab you and won't let go. I had to find out what would happen to them. The finest glimpse into the past you will ever read. If you have never read a book in this series, then you are missing one of the best new writers on the market today.

This is a wonderful example of the 18th century enlightenment. In this work, Rousseau states that inequalities of rank, wealth, and power are the inevitable result of the civilizing process, something most of us have found to be very true if unfair. This new translation also includes all of Rousseau's own notes.

I enjoyed this tremendously, and am always amazed that the thought pattern and process is oneof the few things that hasn't changed over the centuries.

Excellent discourse. This book discusses some of the rudiments of the history of inequality and how its self supporting and ever existing in human nature. I recommend this book for those readers who either want to increase their knowledge on Jean-Jacques Rousseau or historical development of inequality

For those who want to further their command over Rousseau's life- I suggest them to read 'Confessions' by Rousseau.

I find Rousseau especially creative in the way he describes how inequality progressed from the time the first humans made contact. He makes a good case for the solitary life. I think Rousseau believes it is destructive whenever humans come together in groups. Governments were formed to protect the weaker from the stronger or as Rousseau thinks to actually protect the rich from the poor. This is an outstanding book. It will haunt you.

Amazing story. I'm glad it wasn't lost and is being republished. I bought two copies. This would be a great story for teenagers to read about endurance and survival (for all ages, but the story is easy to read and the guy is a teenager when he was captured by the Russians and sent to the slave camp). It is very remarkable story if even mostly true and now one of my favorite books.

I had first heard about Jacques Sandulescu through my father, after he loaned me the book, "The Carpathian Caper", a novel by Sandulescu and Anne Gottleib. It was a Topkapi-esque adventure, about a man's return to his homeland behind the Iron Curtain after being kidnapped by Russian soldiers as a youth and shipped off to a Soviet slave labor camp, escaping after a mine cave-in crushed his legs, escaping to freedom, working his way West from black marketeer in the Middle East and Europe, to prize fighter in the midwest to nightclub owner in New York. It deals with his friend's plans to embarass the Russian Government by the very high profile heist of priceless religious icons right from under their noses.

The lead character, Jack, was one of those impossible men, like Indiana Jones, Dirk Pitt, Jack Ryan or James Bond. Who knew that he was for real?

Donbas is his story, the true tale of a 16 year old boy's decent into the hell of the mines in the Donbas region of the USSR. His torture, his survival, his escape and his life since then is the stuff great movies are made of. So why is Hollywood sitting on their hands on this one?

Read the adventure, then rent movies like "Moscow On The Hudson", "The Owl And The Pussycat" and "Trading Places". Watch for a big, burly man with a thick Russian accent and say hello to Jacques.

This is a surprising tale of human survival and the spirit to go on. In unbearably harsh conditions a young man fights a battle of survival with an uncommon strength of will that sees him battle through a nightmarish world we could only vaguely imagine in our darkest moments. Very insipring. If you think things are tough and you have the whole world on your shoulders, have a read of this and feel sorry for yourself no more!

Eugene Bullard was an African American man who was born in 1895 in Columbus, Georgia, and lived a really fascinating live. After leaving the U.S. in 1912 to escape the existing suffocating racist oppression, he stayed first in Britain, and then settled in France where he lived as a boxer, entertainer, jazz drummer, was a war hero in the trenches in Verdun, and become the first African American combat pilot in 1917 (in French service: the U.S. would allow black combat pilots only in 1941...). After the war, like so many other African Americans, he remained in Europe. He become a well known entrepeneur in the Parisian night club life during the 20s and 30s. At the German invasion in 1940, and after a brief stint in the French army, he went back to the U.S. where he died in New York in 1961. Revered in France as a national hero during is life, and completely unknown in his country until more than twenty years after his death, the life of this extraordinary man has in this book a much deserved homage and, probably, its definitive biography.

A very well documented biography on a genuine American and French hero. Unfortunately he was born during the Jim Crow era in the south (even though the constitution which was written over 100 years before his birth mentions "all men are created equal", this did not include any non-caucasian's or women, did it? Did not use the word minority since it denotes less than some majority, there are more non-caucasian's in the world anyway and what is really meant by that word is just that, non-caucasian. I find it odd that the USA was founded by European descendants like the English, French and even though the country prided itself on it's progresive nature, it did not include equality, even though Europe itself did not practice racial discrimination). He was born the seventh child of a large family and his father always had a premonition of a very distinguished future for him and let it be known to him when he was young. Talks about his travel through the south after he left home and was told early by his father of a country (France) where all men are truly free. This had a profound effect on him because he eventually made it to France via England first.

He began his livelyhood as a theatre performer and boxer; two opposing and similar avocations. He joined the military and became the first Black American and Black Frenchman aviator and was awarded medals for his bravery, dedication and skills. Very well liked, he had a contagious personality and started working at a famous Paris club later in life and eventually became a club owner himself. He met the famous of the day like Louis Armstrong, Duke Ellington, Langston Hughes, Bricktop and many others. This biography also got me interested in Jazz age Paris to request both autobiographies of Hughes and Bricktop.

Slowly (too slowly) more is being known about this man and his acomplishments and contributions to the human race.

You won't be able to put it down. Jack Johnson's autobiography "In the Ring and Out" is another good bio of that era too.

I had earlier learned of some of Eugene Bullard's exploits, but Craig Lloyd's book spotlights an endless list of amazing achievements that seem unbelievable for any man to accomplish in just one lifetime. It's a shame Bullard's life has been up to now unexplored and uncelebrated. Hopefully this extremely well-researched biography will fix that.