european

A great book containing pictures, history, and stories on Teegarden ancestery. I bought the book for my girl friend and now am buying two more copies for other members in her family. One of the best buys for the money that I've seen. Does have a couple of errors, but is a great source.

I found this book very well written and informative. Errors are minor, but this is a good collection of facts about the Teagarden Family. I highly recommend it to anyone interested in Teagarden Geneology. I was able to use it to make a "Family Tree--Geneology" model.

This book is truly a family treasure. My family first purchased the book back in the 1960's. Miss Vogt spent time with our family and was quite an interesting person. My grandmother sent correspondence to her for the first publication. It does do your heart good to pick up the book and read as well as see the pictures of our family. Somehow it brings the ones back to life that have passed. This book is a treasure!

This book was required reading for my university geography module "Geographies of the European City". I thought it would be long, dull and confusing. I was very wrong! It is one of the first academic books that i just couldn't put down!

Intresing, mind opening and detailed, yet written in a simple and accessible manner. I learnt not only a lot about the history of Germany and Europe and the Second World War but also about how we view cities, how they are formed and their role in the world today.

This book was on the short list of texts my German language/culture study abroad course required. As far as the architectural culture went, this book was all you needed to taste the essence of the capital. It was better than any guide book out there, especially relating the tulmultuous past with what you were seeing with your own eyes as an urban landscape.

Berlin is complex, historically and culturally - from its imperialist days to Hitler's capital to the scarred divided city just now seaming together. Germany is the embodiment of ambiguity - which is made abundantly evident by its very structures throughout the wide city. Brian Ladd's photography is unobtrusive and tasteful, illustrating his thoroughly researched work. He compares an old photograph to one taken recently by him to study, at one point, how unchanged some parts of the city have been in the midst of constant upheaval in the last century.

It is remarkable how entertaining the book is, as well as its vitality in its examination of Berlin. It was, quite simply, such a pleasure to read. The Ghosts of Berlin takes in the large picture, of a country uniting, political ideologies - past and present, and the significance of massive structures - standing and ruined. It also encompasses details in exquisite ordinariness, like street corners, department stores, and public transportation. All this is told in an appealing style that is accessible (so you don't need any background in Germany or Berlin), but not overly casual (Ladd is informed and comprehensive).

This is a brilliant book that looks at a remarkable city after the fall of the Berlin Wall and asks the question: How to come to terms with the monuments of the past? The Brandenburg Gate? Hitler's Bunker, etc. Should they be torn down, the stories they embody erased? Or should they stand as a legacy of German culture, however tainted it may be. A remarkable book about a remarkable city. Do read it.

Like all the Diane Stanley books that we have my children and I loved this one. The illustrations are colorful and very fitting for the time. I have always been interested in history and have searched for books that my girls can relate to. The story of Queen Elizabeth is something all children should be familiar with. I think Ms. Stanley has a wonderful way of making history interesting for young readers.

I first read this book when I was in third grade and I must have checked it out from the library 100 more times. I was fascinated by the beautiful illustrations and by the true story of Elizabeth I. It really got me into history. Now I read 800+ page books about Tudor history and I can't help but think back to the days when i used to recreate the illusrations using my own crayons and muse over every sentence in the book. Starts a lifetime love of history, and for me, an obession with the Tudors. The illustrations are perfect and the content isn't too dumbed down, but it isn't too hard. Recommended for any child who ever wanted to be a princess or ever showed any interest in history.

When I was seven years old my mother gave me this book for Christmas. That was nearly nine years ago and I've since become an Elizabethan "buff" I read everything on her I can get my hands on. This is a wonderful book for any kid who has ever shown an intrest in history or being a queen or a king. Superbly adapted for the younger set this well written and engagingly illuatrated book on Elizabeth I's life is historically acurate. And for me anyway what looks like a life long fascination.

I purchased this book and Alfred Portale's 12 Seasons Cookbook at the same time. Both are gorgeous to look at and flip through, but I find myself going to this one time and time again for recipes I actually plan to try. Clearly, Gordon Ramsay is a man in love with food and his craft. Don't let what you may have heard about him (e.g., he does not roam through the dining area of his top rated restaurant to glad-hand patrons and solicit their thoughts, believing that anything leaving his kitchen is perfect and beyond criticism) deter you from picking this up!

I found the one theme, intended or not, that makes this a favourite is that many components of the various recipes are interchangeable. For example, there is a great recipe for a lobster and mango/baby spinach salad. I was shopping for ingredients and found the lobster sub-par, so I managed to substitute his marinated tuna recipe in with great success. Same goes with recipes for various pureed sauces and soups. And particularly useful are discussions on the best of seasonal ingredients (notwithstanding that many may not be available to the average cook due to cost, or geographical limitations)

Overall, a top notch book and highly recommended.

With a talent for the simple and elegant, Gordon has produced a book with class. Typical of Ramseys attention to detail a multi-tude of simple and surprisingly easy recipes. No poncy overblown recipes here just class. And to think he played for Glasgow Rangers Soccer team. what he lacked in finesse on the field he more than makes up with finesse in the kitchen and nice to here him singing the praises of the quality of Scots ingredients.

These are the words Charlie Trotter described Ramsey's cooking. I bought this based upon a recommendation about new, hot cookbooks coming out. Sometimes one is really disappointed with the final product.

By first inspection, I imagined this was another of those letdowns. Beautiful photos, seasonal recipe organization,and what appeared to be bland style recipes.

But upon trying several, this book delivers Trotter's assessment: purity and elegance. Although tried only Cauliflower and Sorrel Soup, Tomato And Parmesan Gratinee Tarts and Duck Breasts with Endive Tarts, this food is elegant and tastes are clean, distinct and so, so satisfying.

Anxious to explore this hot London cook even more.

I am a confirmed "bookaholic."...With my purchase of Taschen's edition of Schadel's Weltchronik...I may never buy another book...I became aware of the availability of the book at Taschen's website and was delighted to learn Amazon.com actually had it in stock (as well as Taschen's edition of Luther's Bible...my next acquisition).

This is a very substantial book. Attractively bound. And, the reproductions are wonderful. It is an enjoyable window into printing and woodcuts and world of 16th Century thought. I found my (mediocre) skills in German enhanced my appreciation of the work, but I think that even without understanding the text, the book-as-art stands up well by itself.

Füssel's commentary was interesting and informative and a substantial addition to an already fine volume. Lacking specific background, I could not read it critically but I enjoyed it very much.

Finally, the book, it seems to me, is an incredible bargain at the price.

It isn't necessary to be familiar with old German to appreciate the beauty of this book. It is a wonderful object just to look at.

The one drawback for me is the colouring of the woodcuts. I enjoy coloured woodcuts, but unfortunately the job of colouring these was given to someone unusually inept, a genuine 15th Century donut, who performed the task with neither ability nor care.

But you have to go with what you can get - and this book is still worth it.

If you're here, and know what the heck this book is, then I can readily recommend that you snap it up without reservation. Seriously now, how often do things like this get reprinted? The Liber chronicarum isn't exactly mass market, now is it? ;) There really are only two drawbacks to this edition. First, the cover is an artificial suede that is -really- suceptiable to damage. Be careful with it, and consider making or purchasing some sort of cover for it. The second drawback is merely personal preference - this edition reproduces a hand-colored version of the text. This book is absolutely beautiful in it's reproduction, but I've never been a big fan of colored woodcuts. If you like your woodcuts chromatically enabled, all the better.

This book, on my course syllabus for a course on Spanish art , was a great addition to my library. Tomlinson is a scholar dedicated to giving the pertinent information in the proper art historical format without tireless embellishment. More on artists like Ribera or Zurburan would have rounded out the book but in all it is an excellent source for students writing papers and art historians looking for valid interpretations of Spanish artistic merit without bias. It was refreshing to read a book and not have the art continually compared to Italian & French painters. Instead it offers the reader very important information with excellent images of the Spanish contribution to world of art. Brava.

Well organized and beautifully composed reproductions make this book an indispensable guide and/or introduction to the artists working in Spain from 1561-1828. The historical and political/social context of their works is explored as well as the evolving artistic vison and techniques that were developing during this period. Major influences from Italy and elsewhere are sited. A very enjoyable and enlightening book.

This is a very good, concise look at the painting in Spain from 1561-1828. Janis Tomlinson is very careful to point out the problems with the term "Spanish painting" and tries to go beyond this idea, and to discuss painting in Spain. She chooses to not discuss the Spanish born Jusepe Ribera (as he was mostly active in Italy) but does look at painters from France and Italy who worked in Spain. Tomlinson also tries to get away from stereotyped views of Spanish painting being only somber and religious. I liked how the history of Spain and of Europe was tied into the painting in Spain. The patrons of artists in Spain were also talked about, what they wanted and how they reacted to different artists. Many painters are discussed, even ones whose work is not often seen outside of Spain. The book is has lots of illustrations, not only of paintings but of places. There is also a handy map of Spain in the front of the book. The pictures are naturally on the small side, since this book is rather small, and the pictures rarely take up the whole page. Tomlinson is a good writer, the book is quite readable and enjoyable.

This is the most fascinating mainstream fencing history since Egerton Castle's "Schools and Masters of Fence," which was written at the end of the nineteenth century. William Gaugler's writing, the product of both scholar and fencing master, is always clear and precise. "The History of Fencing" belongs in every fencing and sword library. I recommend it highly.

This book is unique in that it shows the development of modern fencing using the unique understanding of a man who is a fencing master and an academic. Using only orginal sources a complete picture of the development of fencing results. The only possible weakness is the neglect of post 1945 hungarian, polish, german and russian works. Although it can be argued that form the point of view of fencing technique these are a combination of the french and italian fencing schools, in practice they are different. As inclusion of these works would have either made the work too large, or reduced the details of the material covered, exclusion of these works is not really a problem. In itself this book should be required reading for all fencing masters and for all serieus practioners of the sport.

Don't let any of the so-called "shortcomings" I wrote of above stop you from buying this book-- you really will get an excellent education.

laure-anne bosselaar is one of the most gifted and moving poets of the past twenty years. seeing her read at Stockton College in December of 1999, I was moved to tears during more than one of her poems. "My Little Sisters of Love and Misery," for example, evokes a beauty and pain that is both striking and poignant for it's attention to detail and lack of self-pity. She speaks for the women who cannot speak for themselves, to the people in her life that she must forgive to survive, and to the world, she gives her unique view of love and laughter. her brilliance lies in the important fact that she never feels the need to sacrifice her sense of humor to get at the tragedy of life, because she realizes they are often one and the same.

when i met ms. bosselaar, she pinched my cheek and called me "dear poetry sister." it spoke volumes about the kind of person and writer that she is. here's hoping she continues to bless us with her unique gift.

These compelling narratives span post WWII Europe to contemporary USA -- the speaker, raised in a convent in Europe traces her life in the cruel environment of the convent to her married life here in this country. The poems are of daily life -- its joys and horrors. They are generous poems, long and meandering. They are accessible, always. Funny, sweet, scary and sumptuous.

Bosselaar's collection is electric. These narratives, often harrowing, speak the stories of many characters. The geographic and emotional terrain of this book is panoramic. This is a book of narratives that speed down the page and take the reader on one hell of a ride.

Your first impression will involve picking your jaw up off the floor. Here we have examples from Vedic Sanskrit, Old Irish, Greek, Latin, Old English, Hittite, and dozens more obscure, ancient, or dead languages like Umbrian and South Picene, all marshalled in support of the argument that it is possible, not only to reconstruct the language spoken by the ancient Indo-Europeans, but also to reconstruct some of their oral literature, and the cultural role of ancient bards in the courts of nameless chieftains.

The marshalled evidence of the rhetoric of these ancient literatures is indeed impressive. Many parts of it --- specifically, the parts that discuss the various metres of the ancient poems, and suggest ways in which the sound changes of which we have evidence may suggest that these verse forms stemmed from common ancestors --- are convincing.

But the difficulty in parts of the book's argument is its failure to exclude other possibilities --- such as borrowing, loan-translations, or simple independent invention --- of the phrases and images it argues are inherited. Some of them, like the inherited phrase meaning "everlasting fame," are more convincing than others, if only because not only the idea, but the root words themselves, are inherited. We know from comparing Classical, Hindu, and Germanic mythologies that some god-names were inherited.

But when the book argues in favour of an inherited myth that says "a hero kills a dragon (or some other foe)," we're dealing with subject matters that are known to exist in literatures other than Indo-European ones. After all, this is what heroes do. It is unclear even whether these motifs are commoner in Indo-European literatures than elsewhere. Some attention needs to be paid to the possibility of other explanations, and why the hypothesis of inheritance is the likeliest among them.

This vast tome is a masterpiece of comparative Indo-European poetics. It investigates the nature, form and function of poetic expression and ancient literature among an impressive variety of Indio-European peoples. The author uses the traditional comparative method to identify the genetic intertextuality of particular themes and formulas common to all the daughter languages of ancient Indo-European. The work comprises seven sections and 59 chapters. The first chapters of part 1 explain the comparative method, concepts like synchrony and diachrony and pinpoints the various Indo-European cultures in terms of genre, space and time. The rest of part 1 considers the role of the spoken word in Indo-European society and its preservation across time.

In chapter 3: Poetics as Grammar, Watkins analyses the expression "Oats, peas, beans, and barley grow," demonstrating how the word order, alliteration and assonance form a perfect ring-composition. This formulaic utterance now functions only to amuse children, but in its essential semantics, formulaics and poetics it must have been continuously recreated on the same model over six or seven thousand years. He proves that is the central "merism" of an ancient Indo-European harvest song or agricultural prayer, by quoting from the Hittite, Homeric Greek, the Atharvaveda and the Zend-Avesta!

Selected text analyses an case studies from Anatolian, Celtic, Greek, Indic and Italic are found in chapters 7 - 11 of part 2, followed by the analyses of inherited phrasal formulas, stylistic figures and hidden meaning through chapters 12 to 16.

The remainder of the book presents the evidence for a common Indo-European formula in the expression of the dragon - or serpent-slaying myth. Over thousands of years this formula occurs in the same linguistic form as it existed in the original mother tongue. This formula is the vehicle for the central theme of a proto-text that has endured for millennia, a precise and precious tool for typological and genetic investigation in the study of literature and literary theory. It is thus of immense value to literary historians, literary critics and philologists.

I found chapters 50 - 59 of particular interest, as it deals with the application of the formula to the medicine of incantation in a variety of Indo-European traditions, and includes a discussion of the poet as healer.

This work is an opus magnum, and it took me months to read it. Even so, I cannot claim to have grasped all the complexities of the fascinating text in which more than 30 familiar and obscure languages are quoted. I strongly recommend this masterpiece to those interested in ancient history, language and its structure, and to literary critics.

The book concludes with 27 pages of references, an index of names and subjects, an index of passages, and an index of words quoted from the various Indo-European languages.

I haven't read this book, not really.. How could I? The author cheerfully quotes about fifty of the major Indo-European languages over an historical span of some 5,000 years. The Greek is in Greek (which I can barely spell) and (if you are like me) your knowledge of Luvian, Old German, and Sanskrit is probably a little bit rusty.

Nevertheless, it is absolutely one of the most fascinating books I have ever had in my hands. It gives a whole new meaning to the phrase "tour de force."

What Watkins is doing is the same thing J.R.R. Tolkien did for a living: philology. What's that? It's the insistence on studying language AND literature together: the union of the separate departments of linguistics and literature. Tolkien was a genius in this field, and it is awe-inspiring to see how much further Watkins can go.

Here you will learn how to extend the Comparative Method used in linguistics to the field of early poetry, and you will learn of common poetic expressions in use 5,000 years ago: "word-weaver," "immortal fame", "he slew the monster/dragon/worm." You will learn what poets were 5,000 years ago: what they did and how they did it. (They were the most highly-paid profession in ancient times.) It is just plain fascinating to learn that the proto-Indo-European language and people already had well known words for "god" and "Zeus/Jupiter" well before writing was invented, as well as "prayer" and lots of other things.

You will most likely not be able to understand every word in this book, but the messages are very clear, and throw an extremely illuminating light on human prehistory, language, and society. It will also make you realize what the whole point of poetry was in those not-so-far-off times.

Highest recommendation! Unbelievably good!

I taught college level painting and art history courses for ten years. This is one of the most memorable books I used as source material. Usually a treatment of Impressionism will write of it as a movement in response to the paintings of the Academy; an inquiry into the play of light and instantaneity. Fine, fine, but how many books do we really need that say the same thing ? This book looks at changes in the architecture of Paris which changed the city from a network of villages into a web of wide boulevards and massive, sometimes monotonous buildings. People (many of them young) were moving into the city and feeling the displacement and dehumanization which we usually associate with depictions of Victorian era London.

Herbert spends a good bit of time looking at the clothing of individuals portrayed in paintings to ruminate about their social standing. His keen eye for gesture picks up a lot. Looking at an outdoor cafe scene by Manet, he notices that the young man at the table with a woman is actually kneeling next to her, not seated there. From this he infers that the man is trying to pick up the jeune fille. The rather prudish look on her face seems to confirm that this is what's happening.

The copious illustrations are wonderful. Many are of paintings which are infrequently reproduced in art books. There are also a lot of works by Gustave Caillebotte whose compositions are so fascinating. The writing is lively. I think this is a terrific book for a lover of Impressionism and/or a lover of Paris. It's a wonderful fusion of images and prose. I'm just so glad to find it available at such a reasonable price.

This was one of the most informative books I have read on the subject of Impressionism. I found the writing easy to follow and Mr.Herbert's command of his subject matter is fantastic. The narrative was so that one could grasp the concepts and his writing style was a delight. If I were to rate this, it would be at the very top of my list of recommended reading, not only for artists or historians, but for anyone interested in the subject.

I must say that I've read quite a few Impressionist books in recent years. In no way do they come close to the entertainment and ease which I found in this book! As I began to read it, more for pleasure than anything else, I found that I was actually interested enough to continue reading it until the end! There was no overtly boring or tedious sections to the book and the full page photos only helped to enliven my imagination. An excellent read and an easy study!