it was my term homework which i prefer then the other units.And i m very glad for choseing this book cause it s out of boring classic managment units. It gives me diffrent management dimension. sorry about my english

This is a really good book. The plotline is a little like Cujo, but so much better. The fact that the dog is evil, and so ominous, really heightens the fear in this one. Definitely check it out--you'll never look at your family pet the same way again.

This series is the definitive text on the Risk Managementprocess! The texts cover all the essentials in a way that is easy tounderstand from a beginner's perspective, yet sophisticated enough for the expert. The examples peppered throughout really bring the concepts to life. I would recommend this 3 part series to everyone interested in Risk Management from beginner to seasoned veteran. A text you will refer to again and again.

"The Four Hundred" begins in the post-Civil War era of America and is the tale of four ambitious men, each with his own story to tell, who hatch a plot to rob the most powerful bank in the world, the Bank of England. The story unfolds and reveals itself through the eyes of each man. Along the way, the young Americans encounter romance, intrigue, and just a little action while keeping just one step ahead of the law. This book captured me from the first page and I shall always keep it among my "treasures!"

If you plan on reading any of the Family D'Alembert series, then I strongly reccomend that you read this first. It sets the plot and introduces the main characters. Frankly, without reading this book, you will probably get lost in the others!

Lovely book of letters: best read in conjunction with "Christopher and His Kind" by Isherwood (to get the other side of the story).

This cleverly designed book provides a short description of each project (sometimes including a tidbit about the idea's pedigree), a full page (i.e., about 6.5" x 11") color photo, and a double page of thorough instructions with detailed drawings. Measurements are given in both English and metric systems. A few pages about tools and specific techniques are included at the end of the book.

I'm happy to have this book and expect to get good use from it, so why not five stars?

First, and this is important if like me you expect the cover of the book to provide a fair look at what is inside, the book does not include instructions for the obelisks that adorn the herb garden on the cover. There are, however, instructions for the low fence. But I _really_ wanted a plan for the obelisk and, although one project is for something with this name, it is not nearly as elegant as what is pictured on the cover.

Second, at least one of the projects (a wall cascade) probably requires professional-level masonry, unless you're keen to have this wall come tumbling down on top of you. I reasonably expected that someone of average handy experience would be able to tackle all this projects; this is one that I know I had better give a miss. It was a disappointment not to have other water feature ideas covered.

Finally, several of the projects for decorated containers are just about too easy for words; it surprised me that these are included as actual projects. In a similar vein, some of the projects are quite simple planting ideas (growing a rose through a tree, herb topiary, a knot garden). But the book's suggestions about plantings do not include information about hardiness. Watch out!

Still, there is much here to use and enjoy: a scented arbor, a chamomile seat, a raised window box, and much more. There is little advice about how to integrate any of these projects into a larger design, but if you have figured out the design you want, here are some plans to implement.

This book contains four very good essays -- one on the works of Evelyn Waugh, one on George Orwell, one on Aldous Huxley and a final one on the common threads running through the works of all three authors. The essay on Evelyn Waugh's works is particularly good. It points out alot of symbolism and motifs which I had missed (but which now seem obvious). This essay focuses primarily upon Waugh's use of architecture as a symbol of social values. However, it only covers Waugh's first four novels (Decline & Fall, Vile Bodies, Black Mischief and Handful of Dust). Similarly, the essay on Huxley only discusses his first two novels(Crome Yellow and Antic Hay) and Brave New World. Both authors continued to write brilliant satire throughout their lives (Huxley's After Many a Summer Dies the Swan comes to mind as an example). I wish the Greenblatt had expanded his study to include a representative cross-section of Waugh's and Huxley's works.

Stephens and Graham here continue the much-needed insertion of philosophically rigorous thought into psychiatry and clinical psychology that has been begun by philosophical psychopatholoy. For some of us who work within these fields, the logical sloppiness of most of the theoretical positions on madness available is quite infuriating, and it is satisfying to see these two philosophers come in and "clean house." However, in some respects, these authors' command of the literature on madness is a little disappointing. For example, they suggest that the alien quality of alien voices and inserted thoughts may be due to the subject's inability to integrate these experiences into her picture of herself as agent- a theory that is probably right but not exactly original. Post-Freudian psychoanalysts have been saying almost identical things for years, and it is too bad Stephens and Graham were not aware enough of psychoanalytic literature to make real use of it; if they did so they might have found themselves in possession of a more comprehensive phenomenology of agency and a more highly differentiated account of its distortions. As it is, to be sure, their theory is nevertheless pretty good, and of course one can't expect those doing this kind of interdisciplinary work to be completely versed in every single theory available. Perhaps the best quality of the book is that it is capable of introducing psychologists and psychiatrists to the intellectual rigor of philosophical discourse.

The Red Badge of Courage is interepted as many as being an anti-war novel: it is not.What it does do is present the horrors and psychological aspects of war war without glory, but not without heroics and courage.Henry Fleming is in many ways an every-soldier: he joins the army out of patriotism and to prove his manhood; when the time comes to fight he doubts himself and runs away out of fear. It is at this point Henry comes to the crossroads of his young life: instead of completely deserting his unit he returns to his regiment and the battlefield out of a sense of duty and also out of shame and anger at himself. Once he returns he peforms heroically on the battlefield. I feel Crane's purpose in this books is not to make some overblown anti-war treatise like All Quiet on the Western Front, but to portray what he believed( and may soldiers who read the book agreed with him) to be the emotions and feelings of a soldier in war and also the true motivation behind courage and heroism. Crane shows through Henry, that heroism and courage in war is not something that comes naturally to man(or any animal, as shown by the squirrel scene in the forest) or can simply be conjured up out of blind obedience or extreme partiotism. Crane in fact argues the opposite: courage in war(or in and courage in reponse to violence) is something unatural, something that must be accomplished by overcoming our own natural fear and flight instincts.Henry is able to perform herocially because of anger, his sense of duty, his feeling of brotherhood toward his regiment and out of something deep inside himself that even Crane ( and nobody) could not totally understand . This is a great book about heroism, courage , brotherhood, duty and the psychological aspects of war. It is not a books that glorifies war ,nor it is it an anti-war treatise. It simply tells a story about war in a world where war exists.

When Stephen Crane wrote THE RED BADGE OF COURAGE it was hailed as a masterpiece of war fiction, more so especially when its readers found out that the only experience Crane had in war was the kind that most of his readers had: from books and articles. When readers discuss the book, they tend to focus on its two outstanding elements: Crane's use of symbol and imagery and the maturation of one soldier from cowardice to courage. Clearly Crane does use language superbly to create in the reader's eye an image of a callow youth, Henry Fleming, who starts off the novel in fear and finishes it in a blaze of glory. But such considerations, when used in isolation, tend to diminish Crane's more subtle attitude toward war and man's attitudes toward war. Crane tends to picture war in a generic sense. Many of his characters have no name. They are referred to by type: the 'youth,' the 'tattered' soldier, the 'dying' man. Battles have no geographical name. What the reader gets out of Crane's refusal to particularize the war is his belief that all soldiers in all wars react much the same as Henry Fleming to the rigors of battle. Further, Crane's use of color imagery, his investing nature with human qualities (called the pathetic fallacy), and his use of symbols (the flag, the wafer-like sun) all combine to suggest that war is so inherently chaotic that it resists any attempt on a literary level to concretize its horrors.
Crane's focus is squarely on Henry Fleming and his perception of both himself and his environment. We never know what the other soldiers think. We can infer their thoughts only through the evolving view of Fleming himself. And what he thinks is that he will turn yellow at the first opportunity. As he thinks this, he rationalizes that all other soldiers think as he does. Further, he sees nature itself in harmony with his thougts. If Fleming lacks courage, then so must the rest of the universe. Serious literary critics point to even more subtle and archetypal images of birth versus rebirth and retreat versus advance in order to bolster their respective claims concerning how Fleming's moral regeneration began. I have no problem with this focus on Fleming's conversion, but not many readers question the sincerity of this conversion. By the middle of the novel, Fleming has been humiliated, bashed on the head with a rifle butt, separated from his mates, and is generally battling with some serious issues of self-worth. And then he changes. For no apparent reason, he now is brimful with courage in battle and hatred of the enemy. Further, he feels a deep shame towards those boys in blue who now exhibit the same lack of courage that formerly characterized him. Yet, it does not follow that courage must spring forth from a mere recognizance of one's own failings. What Crane would seemingly have the reader believe is that Fleming turned his life around quickly and seemingly at will. Yet I quibble at this conversion. It is more likely that Crane wanted his readers to see that the innate chaotic nature of war is so alien to human understanding that the concepts that we call 'courage' and 'cowardice' are mere tags to describe on the most superficial of levels a multi-faceted series of strands of emotions that under stress blend into one another so that the excess of one is seen as the deficiency of the other. Fleming's new-found courage, then, in charging for the grey guns, is less the permanent sense of abiding bravery than the temporary sense of fear turned upside down, a result which mimics but does not actualize true heroism. As Fleming holds onto his red flag while wearing his red badge of courage, the redness of both flag and badge are reduced to empty posturing, that paradoxically enough entitle their bearer to accolades of heroic merit by those others who have not yet undergone a similar conversion. Therefore, it is this superficial conversion of and confusion with deep-seated fear and suspect heroism that marks Crane as one who sought to reveal the terrible chaos of war by suggesting that those whom we adore as heroes perform their acts with less obvious motivation.

While in junior high I failed to jump on The Red Badge of Courage bandwagon when everyone chose it as a book report book because of its length. I am sorry I missed out. The length certainly makes this book easy and accessible to people of all ages, but it is so much more. Not only is it very fast paced, unpredictable, and the best character study I've ever read, but it is timeless. It is about war, specifically the Civil War, but there are no politics or specifics about that war, it is about the emotions of a youth at war and the world through his eyes. There is no difference between what he is thinking as his regiment is charging and what a 20 year old in a modern war would feel. Though Crane had never seen a war before writing this book, he paints an incredibly powerful, honest, and realistic portrayal. It is a fantastic book and one that deserves a very careful, detailed reading, but can also be enjoyed and finished in a couple hours.