Modelski and Thompson have put together a constructive argument in analyzing war and its relationship to economic growth, hegemonic stability, and naval power

Very good review of internal medicine. the questions are well-written, reflecting not only classical clinical cases but also more complex ones. It helped me to better understand the content of "Color Atlas and Text of Clinical Medicine".

please send the rates of this item immediatly on my email address

I was well into the book still wanting to say: "No tell me about the BIG impact trick." Then I realized the book was full of technique and ideas from every possible angle. Scientific, artistic, graphics, lists, logic, emotion and even down to: "It's something like this." I would be amazed if there was an angle about impact that is not in this book. The book is easy to read but I will be reading it again and again. Sometimes the smallest insight opens the biggest doors. My only complaints would be that sometimes the word selection is weak or wrong and some poor sentences slipped through the process or were wrongly slipped in by an editor at the last minute. Sometimes the author is high handed with branding some techniques as losers. You will know where she stands when you read this book. I am very happy I found and read this book so early in my quest to find expert help on public speaking.

The fact that there are many books available that are designed to teach you how to be a good public relations writer is not news. What is news is that William Thompson's Targeting The Message reminds you of who you are really writing to--not your boss, not your clients, not your media contacts, not yourself, but your target audiences. The purpose of Targeting The Message is to encourage the reader to discipline him/herself to consider the receiver when creating a message. Too often in the field of public relations, success is defined by the number of successful media placements one has made. Thompson does a terrific job of redefining what it means to "reach" your audiences. He stresses that "reaching" your target audiences does not mean merely being successful at getting your message through the media or getting your target publics to recognize your advertisements, but for your messages to have an impact on them. Thompson challenges you to become a better writer by entering the minds of your potential readers.

Every chapter in this book starts off with "Real-Life Lessons," "What You Know," and "What You'll Learn." Targeting The Message teaches you how to do such things as create a persuasion platform, conduct research, write a position paper, form query letters, and target print and broadcast media. And just like any good public relations text, this one has a chapter on ethics and legal issues. Also, the "Applications Workbook" section includes useful information from the Associated Press Stylebook, tips on how to improve your basic writing skills, and answer keys. Furthermore, there are case studies to which the reader can apply the chapter concepts and theories.

Targeting the Message proves to be a worthy textbook for my Advanced Public Relations Writing course (Spring 2000). Thompson constantly reminds you, and figuratively drills into your head, that you must consider the receiver when you deliver a message. This uniquely superb book can serve as a guide for any writer, especially the public relations writer. There are many books that teach you how to be a good, a great, and even an incredible public relations writer. But Targeting The Message reminds you of what is really important in message placement: not successfully reaching the media (although this is a good start), but your ability to grab the attention of your target audiences, have tremendous impact on them, and motivate them to take action.

This is a collection of letters written from Hunter's Childhood up to his successful Hell's Angels book. The most interesting thing about this book is the immense difficulty he had selling his stories and the desperate poverty in which he lived for years as a struggling writer. I guess like all people I kind of thought that someone this brilliant was just embraced by literary circles, and any problems he had was because he was a drunken, drugged out, crazy freak who upset everyone who tried to help him. This was not the case.
Like many geniuses Hunter was so far ahead of everyone that he had to wait for them to catch up.
The humor is so funny that it almost impossible not to crack up on every page, even in the midst of terrible personal turmoil Hunter was one funny man.
ONE problem, I wish that there were more letters FROM the people he wrote to over the years. Some of the funniest moments were the letters he received from people over the years. More of those exchanges would have helped and made the book much more interesting. That is why it is not 5 stars. It is still worth reading. Especially if you want to be a writer.

Perhaps, as Hunter Thompson suggests in The Proud Highway, people really do take more of a liking to his letters and not his serious work. This statement is easily endorsed by the fine contents that surround it. This is the perfect book for a typical Thompson fan, a collection of eccentric one plus page letters that suit a person with a short attention span. His sylistic prose is best received in short bursts, such as essays, articles, and letters. The letter format also allows us to see the evolution and experimentation Thompson has endured in his life. This pre-gonzo collection is Thompson as himself, not the "Raoul Duke" character he has personified in the past. While Hunter seems incapable of writing anything unautobiographical, the fact remains he is far more qualified to tell this story than any hack biographer seeking to romanticize and sensationalize Thompson's myth for a profit. The Proud Highway tells Thompson's story in a much more engaging fashion than the biographies, though there is no lack of effort and emulation in any of these books. This book should be required reading for aspiring authors.

I have just got through reading this collection of Letters and found it to be worthwhile reading. I received the book as a gift and was not aware of a Fear and Loathing Letters Volume. I found this to be a highway of following (if anyone possibly could) and watching Thompson grow as a writer. While at the Air Force Base working as an editor of the Sports Section, he wrote to his family and friends as well as ex-girlfriends. Probably because he was away from home for the first time.

As the years go on the more this book became more interesting. Between following all over this country we follow him to South America were some of his best articles came from. I have read Hell's Angels and The Great Shark Hunt and found this to tie in with those books. Through his consumption of Old Crow and god only knows what else, we see letters to LBJ, various magazine editors, and Mr. Semonin and start to see the Hunter we all know and love to come out. The thing that makes him "likeable" is his blunt honesty, since he calls them as he sees them. He is intelligent and knows a lot about everything. I would recommend this book to anyone who wants to read Thompson!

If anything this book offers a chance to see what makes this amazing mind tick!

. . . to really achieve its full potential, this play needs to be acted out on stage. Still, highly excellent, involving twins, cross-dressing, love tangles, sword-fighting, secret marriages, music, disguises, mistaken identities, high speech, and lowbrow humour.

The entire play takes place in Illyria. In the main plot, Orsino is in love with Olivia, who unfortunately does not return his feelings. Viola is shipwrecked on the Illyrian coast, and dressed as a boy, comes to serve in Orsino's court, where she of course falls in love with Orsino. Meanwhile, in Olivia's court, some of her courtiers plan a cruel--but funny--practical joke against her pompous steward Malvolio. There is also a third plot later on involving Viola's twin brother Sebastian, who has been shipwrecked likewise. Naturally things get quite confusing, but, true to Shakespeare's comedic style, everything gets worked out in the end.

This is an enjoyable book to read, and the notes are very helpful. However, it is still better as a performance.

"Twelfth Night" is one of the famous romantic comedy written by William Shakespeare. Many critics said, "Twelfth Night" is the masterpiece among his comedy because his fully developed style and insight are in the "Twelfth Night", so it has special value and attractiveness.
There are four main characters in "Twelfth Night" ; Duke Orsino, Olivia, Viola, and
Sebastian. Duke Orsino who lives in Illyria loves Olivia, so every day he send one of
his servant to Olivia's house for proposal of marriage. However, every time Olivia
refuses his proposal for the reason that she lost her brother before long, so she is now
in big sorrow and can not love anyone. One day, Viola comes into Illyria. She and her
twin brother Sebastian are separated in a shipwreck and they are rescued by two
different people in two different place, so they think the other one is dead each other.
Viola disguise as a man and become a servant of Duke Orsino, and then she fall in
love with Duke Orsino. But, Duke Orsino loves Olivia and he send Viola whose new
name as a man is "Cesario" to Olivia for proposal. Unexpectedly, Olivia fall in love with
Cesario!! Therefore, love triangle is formed. In the latter scene, Sebastian also come into
Illyria, so the confusion getting worse. However, in the end, all misunderstandings are
solved and Cesario become Viola, so the four main characters find their love.
There are also four supporting characters in "Twelfth Night" ; Clown, Sir Toby Belch,
Malvolio, and Sir Andrew Aguecheek. They make the readers laugh through their funny
behaviors and comments in subplot.
"Twelfth Night" is very funny story and enjoyable book, so I recommend you.

I didn't read this particular version of Twelfth Night, so I'm rating the plot, not the editing. This book was the first play by Shakespeare that I read, and I loved it! It starts when Viola and her brother, Sebastian, are seperated in a shipwreck. Viola decides to disguise herself as a boy and work for Orsino, the duke. Orsino sends Viola to tell Olivia that he loves her. Viola does what he says, but she wishes she didn't have to, because she has fallen in love with Orsino! Then Olivia falls in love with Viola, thinking that she is a boy. While all this is going on, Andrew Aguecheek is wooing Olivia, who scorns him. Also, Maria, the maid, Sir Toby Belch, Olivia's uncle, and another servant write a letter and put it where Malvolio, a servant, will see it. The letter says that Olivia is in love with Malvolio. Malvolio immediately starts trying to woo Olivia. Maria and Sir Toby pretend to think that he's mad, and lock him up. Meanwhile, Sebastian comes to town with Antonio, the man who saved him from the shipwreck. Antonio gives him his purse and says that he must stay away from the city because he fought against the duke in a war. A few minutes later, Antonio realizes that he needs money for lodgings and goes to find Sebastian. In the city, Viola is being forced to fight Andrew Aguecheek for the right to marry Olivia. Antonio sees the fight and hurries to intervene. Orsino recognizes him and has him arrested. Antonio asks Viola for his purse so that he can pay bail, thinking that she is Sebastian. Viola denies having had a purse. Then Sebastian comes up. Olivia had found him and married him on the spot, and he, deliriously happy, had gone away to give Antonio his purse. On the way, he met Sir Toby and Andrew Aguecheek. When they try to force him to fight, he punches them and goes on. They come up too, bitterly accusing Viola. (No one has seen Sebastian yet.) Then Olivia comes up and speaks to Viola, who denies being her wife. Orsino becomes angry with her, thinking that she has married Olivia, and accuses her of treachery. Just as things are looking bad for Viola, Sebastian reveals himself. Then everyone is happy (since Orsino falls in love with Viola on the spot) except Andrew Aguecheek and Malvolio, who is later set free. The plot of this book is a little hard to understand, but it is halariously funny and makes for happy reading.

This is an excellent guide to the art of mixology and setting up a home bar. It shares the same features as "Ultimate A-to-Z Bar Guide" such as the alphabetical format which I find very useful and convenient as quick reference at the bar; and the appended listing of drinks following certain typologies - a great help finding the right drink appropriate to the occasion or what one has in stock. The presentation and layout however is more appealing and inspires neophytes like me to explore more the diverse world of wine and spirits. It is an alternative but will not replace the "Ultimate A-to-Z Bar Guide."

I'll admit that I was impressed with the cover as well as the little green ribbon used to mark pages, but when I browsed the book it impressed me enough to buy it.

This book is chock full of information and recipes pertaining to the past 130 years. It has trivia, origins of liquors and pictures as well as history of drinks that are famous today.

Examples include: did you know that Absinthe was eventually replaced with what we use nowadays called Bitters? Also has origins of liquors (you know "Eau-De-Vie"? No, I didn't, but if you don't either it's the pear-in-the-bottle liquor -- they literally fasten the bottle to the pears before they get too big and the pear grows inside the bottle.)

If you're looking for a guide to help you make that "time period" party just right, this is the one for you. Tells you how to stock your bar properly, glasses to use and drinks for special occasions, such as Wassail for Christmas and tropical drinks from the 40s. You name an ingredient -- they've got a drink for it.

If you're not a social drinker, this pretty much makes a good read. I've literally curled up in bed just browsing the information aside from the recipes.

A must have for the serious bartender-wannabe for authentic drinks and history.

This book is an excellent source of practical and understandable information for families dealing with children with ADD. The writing style is such that parents are able to understand the information about some of the more complex issues discussed like neurofeedback. There are many other techniques for parents and families to use daily to help these children while at the same time maintianing a positive approach and building the child's self esteem. This is a book that any parent would want to include in their reading about the subject of ADD. In fact it would be a good book to choose as the first book to read on this subject. It will help to clarify much of the other information parents are offered.

The A.D.D. Book offers hope and solid practical advice, while at the same time, not describing A.D.D. Children as diseased. This book offers a view of ADD kids that gives them hope to be happy, successful adults. The interventions go way beyond the simplistic drug approach of some "experts" on ADD, including neurofeedback, a non-drug approach which can work better than drugs.

This is one of several books with a more positive slant on ADD/ADHD, with others by Thom Hartmann and Lynn Weiss also viewing ADD without the pathologization you see in writings of folks like Russell Barkley.

This very readable book is a thorough overview of how to recognize and treat attention problems. Sears of course is a prolific comentator on caring for children. Linda Thompson is respected for her work treating attention disorders, and runs the largest ADD center in Canada. Particularly useful is the Chapter describing Neurofeedback. Many families searching for help with unmanagable problems are finding this approach yealds amazing benifits. The chapter is intelligent, thorough, yet easily understood. As a provider of Neurofeedback services, I recommend this book highly to clinicians who want their patients to understand A.D.D. and Neurofeedback, and to the parents, spouses, and friends who want to help.

At a time when the question, "Who are America's intellectuals?" was circulating, and the mention of Susan Sontag in this regard left me queasy, I remembered my exhilaration reading Thompson's books in the 70's and 80's and wondered what he was doing lately. I didn't finish this book--some of the "texts" weren't of that much personal interest--but the first three-fourths were wonderful. The introductory essay, which was prophetic in its emphasis on the terrorist-fundamentalist forces at work in the world--is alone worth the price of admission. A brilliant, incisive mind with an insatiable curiosity to expand its range, and we are the beneficiaries.

With Thompson in the lists, I think we Americans can hold our own with intellectuals the world over.

Reading this book is a bit like watching a Baz Lurhrmann film like "Moulin Rouge" or "William Shakespeare's Romeo & Juliet." Although the text, superficially, is the printed record of a 1992-1994 lecture series, the lectures themselves were not designed as a linear narrative exposition, but in Thompson's words, operated as a form of mind-jazz -- an improvisational riff on ancient texts.

The texts function in the book very much the way an archetypal storyline does in Luhrmann's films -- as a structural anchor for a great whirl of pop references and images that have no temporal relationship to one another but are perceived to occupy the same ideational space. When this strategy works, the results are exhilarating.

Thompson's focus is the living interaction of consciousness and communicative form -- the way in which a consensual instrument of communication serves as the performance of tacit assumptions about what it means to be human. Influenced in this enterprise by the theories of Marshall McLuhan, Thompson demonstrates in diverse communicative fields -- art, literature, religion, myth, history, archaeology, poetry, pop imagery -- how new possibilities for meaning take hold in a culture, relegating displaced forms to folk art, and setting in motion fundamentalist movements in which the frankly archaic returns nativistically, a vocabulary wielded by those disenfranchised by the process of ideational change.

Thompson has been taken to task, in this respect, for the so-called Whig fallacy of history -- that is, for treating past social orders as though they'd been groping along, step by step, to reach our own point of conscious development. But these reviewers are equally irritated by Thompson's multidimensional approach to his subject, regarding it as a rejection of western narrative convention.

It seems to me that the book's structure is more profitably understood as a deliberate reflection of the thesis that Thompson is advancing: that all variants of a conscious perspective exist at once as performances of that perspective, whether or not they served to reflect or influence the society in which they found expression. This thematic consistency both unifies the material and allows for expansive variation, much as an ostinato binds a musical composition while allowing for constantly changing contrapuntal parts.

Although some of his ideas are certainly familiar from post-modern theory, Thompson rejects the nihilism and political utilitarianism that so often attend a deconstructionist perspective on great literature. He appeals, rather, to the reader's imagination, that intermediate psychological ground between matter and spirit, where language serves as a form of currency: a means of exchange between the sensorium and dimensions that lie beyond its direct perceptual acquisition.

This felicitous analogy allows Thompson to introduce the evidence of texts that are not usually understood to have relevance in a technologically oriented society. Like a marriage contract, whose value is not in its material existence as a piece of paper, some texts operate as a "consensual instrument," allowing, as Thompson puts it, a domain of meaning to come into play.

Like Thompson's other books, this one is not an easy read. It's in the business of limning texts as performances of the worldview in which they were generated, determined not only by culture but by gender and adaptive context. And it attempts, by its very form, to invoke as well as to describe what Thompson calls a hermeneutic of the imagination.

Understanding our current state of cultural organization as a bifurcation point, a time in which the traditional forms of literate civilization are undergoing an electronic meltdown, Thompson regards the present communicative medium as the concrete performance of a state of consciousness that is collective rather than individual. Our consensual vocabulary for understanding this evolution, however, is unremittingly technological, which has paved the way for immense corporate interests to define the emerging global landscape. Spirituality, accordingly, is devolving into archaic personal cosmologies.

"Coming into Being" is an attempt to jump, feet first, into that perceived breach between science and mysticism, between abstract scholarship and embodied folk wisdom, between self and Other, between being and Being, in order to celebrate the many textual images, both ancient and contemporary, of their potential integration. I loved this book -- even its recapitulation of "The Time Falling Bodies Take To Light" as though it were a text like any other, important for its ideas and images and not because Thompson happened to write it.

See my review of the hardback with 284 pages and twelve essays compared with 336 pages and fifteen essays. Hint: the last three essays bring Thompson's thoughts to a higher and more mature plane. Hence the hardback should merit four stars and the paperback rates five stars with me. Buy it! Gordon E. Beck, Ph. D., Emeritus Professor, The Evergreen State College, Olympia.