european

I got this book at a reading by the author, whose enthusiasm for his subjecct was infectious. I was also enchanted by James Grashow's whimsical woodcut illustration on the cover--a mauve hippopotomus doing a feathery fan dance. The illustrations beckon us into Edelstein's etymological digs into the shared parentage of strange doublets--hippopotomus and feather being just two. Both words stem from the Indo-European #pet- (as well as the suffixed form "pet-ra,")meaning "to rush, fly." With a light touch, Edelstein flies through feather's line derived from the Greek "pteron" (feather or wing) through the Jurassic Age archeopteryx, pen (as in,quill), penne (pasta shaped like a quill); then rushes us on to pinnacle, panache, petulant, impetus, perpetual, compete, repeat, appetite, and get this, symptom. But, he asks, "how does the massive, slow-moving hippopotamus, which has absolutely no sense of panache and certainly can't fly, join the family of rushing and flying words? The answer is not in the 'hippo' but in the rushing water where it thrives. Greek 'potamos' means 'river,' originally 'rushing water.' Greek 'hippos' means 'horse.' Literally, a hippopotamus is a 'horse in rushing water.' Hippos rarely wander far from water, where they feed on water plants and share vegetation, feel buoyant, and stay cool."

All this information in a single page of text!

But the book is not just a trip through the meandering geography of our language. Edelstein has unpacked th treasures words have gleaned from their travels, and he entertains us with their tales. Think of gods, muses, royalty, clergy, soldiers, maids, barbarians, Romans, Greeks, French, Germans,Americans all sharing a common table, swapping stories, jokes and wordplay and you get some idea of this book. It's rich Epicurean fare packaged as small tastes--tapas, perhaps. And, it is a comfortable book, cozy in the hands with a soft cover; light enough to carry in a backpack or purse (which I do); with clear operating instructions (doublets are in alpha order). Erudite but friendly, Edelstein's Dubious Doublets might be construed as Pooh's take on the Oxford English Dictionary. For me, it's become a pal.5

Allison Tracy, Western Massachusetts

Anyone interested in words will find this book to be delightful and enlightening. Stewart Edelstein has taken many unlikely pairs of words and traces them back to reveal their common, often surprising roots. For example, he pairs "gazebo" and "placebo." A gazebo is a structure, he explains, which affords an enjoyable view. A placebo is a substance with no real effect. What do these words have in common? Expectation, we learn. Then we learn about the history and the early recorded uses of the words. The book is filled with discussions of such "dubious doublets"-- which provides the book's title-- from "aardvark" and "procelain" to "canary" and "cynic" to "salacious" and "salmon" to "dentist" and "dandelion," and many, many more. Dubious Doublets is a delightful read, filled with erudition and humor. And it is accessible to people who, like me, have never really studied word origins. It is beautifully and humorously illustrated. It would make a fine gift for writers, people interested in language, or people who enjoy words games. It can be read in small doses or in large portions, depending on one's mood. I heartily recommend it.

As a student of Art History I utilise very many volumes and this one rates highly in my opinon. It is not only easy to use, but it also has the great advantage of explaining art historical details concisely and clearly so that anyone, however unused to art they are, can enjoy and understand what is being said. This book surveys paintings, highlighting those in the National Gallery, London England, between the time of Durer and Veronese. It discusses their function, patrons and the way they were painted as well as having an excellent section devoted to their conservation and restoration.

Apart from being informative, this volume is also very well illustrated and its layout means it can be dipped into and read in sections without the reader loosing the plot. Though it is large, it is not imposing and is the type of book that will definitely become a must have classic for all levels of scholar. If you want a book that covers the 16th century in art in a detailed, concise yet informative way, there is no better on the market at the moment and this one will take some beating. It has the right mix of everything, and is a very necessary volume.

"Durer to Veronese" is a gorgeous piece of art history that transcends the ordinary. This work is a departure from the usual dry discussion of art history interspersed with small black-and-white photos. At the same time however, it offers so much more than the typical narrow view of the exhibit catalog.

Using the National Gallery's (London) collection of sixteenth century paintings, this book offers a thematic arrangement as it explores the various themes (eg "Private Devotion") and methods (eg "Preparing the Panel"). Each theme is lavishly illustrated with the Gallery's collection and several are accompanied by artists' sketches and closeups of important sections of the paintings.

The text is well-written and easily digested by the neophyte art historian. A series of maps showing the sixteenth century European art world and an in-depth timeline for the century are presented at the beginning of the book and serve the reader well throughout the reading of the text. The physical properties of the book are impressive as well. It is an oversized book, but not to a point of being unwieldy and the binding is quite sturdy as well.

A beautiful work. I highly recommend it.

Mr. Stalley has written an excellent piece of work by combining the architecture in the early middle ages with its historical context. The content is entertaining and informative. It starts by describing the origin of the basilicas, their evolution along time and the influence that the medieval society (either royal, secular, or religious) had on both, design and construction, of these outstanding long lasting works.

Published last year, this is one of the initial volumes to appear in the extremely good, new "Oxford History of Art" series, which almost outdoes even the recent "Everyman Art Library", which it resembles. Both series are an attempt to make available up-to-the-moment overviews of selected areas of the history of building, sculpture, painting, and photography. Whereas the Everyman series seems to be open-ended, Oxford have divided their survey of world art into categories by area and/or subject, although only a handful of titles have appeared to date.

Both series are superbly well printed and illustrated; each includes maps, charts, timelines, and bibliographies. What Thames and Hudson's "World of Art" series did well for several decades, these two series are now achieving in a more strictly periodizing form, with greater emphasis on method and, in the case of Oxford, on Theory.

In both the Oxford and Everyman series, the most fascinating volumes are those which treat subjects broken down or combined in unusual ways. Thus, Alison Cole's "Art of the Italian Renaissance Courts" (l995) seeks to compare Naples, Urbino, Milan, Ferrara, and Mantua--- bringing relative clarity to a topic that most surveys tend to gloss over. Similarly, Loren Partridge's Everyman "The Renaissance in Rome" (1996) treats the Quattrocento and Cinquecento in the Eternal City, chapter by chapter, in terms of urban planning, churches, palaces, altarpieces, chapel decorations, and halls of state--- all in a single volume.

Before Stalley, the two Oxford volumes I had read were Jas Elsner's "Imperial Rome and Christian Triumph" and Craig Clunas's "Art in China". Both are by younger scholars and are massively imbued with new (politically correct) art history. Yet both books are filled with challenging and brilliant examples and new information. In fact, the China volume is written (like all of Clunas's work) from a perspective that is truly revolutionary in Chinese studies. At the end of the day, both Elsa and Clunas are so skilled, both as writers and historians, that even the jargon of the new art history is eclipsed by the sheer quality of the two works.

Roger Stalley, Professor of the History of Art, at Trinity College, Dublin, writes clearly, penetratingly, and without jargon. "Early Medieval Architecture" is deftly constructed, and the author claims that his chapters may be read "in almost any order". This may indeed be the case (I read straight through and could scarcely put the book aside). It comes, of course, as no small recommendation that Stalley was a student of Peter Kidson's.

What makes "Early Medieval Architecture" unique is the editorial decision to relegate the entire topic of "late" medieval building to a separate volume by Nicola Coldstream. Therefore, hardly a mention is made of "Gothic--- the question that Stalley addresses being: "What is Romanesque?" Like its subject the book is suitably austere, yet it is not without personality. The endnotes are unobtrusive, and there is a state- of-the-art Bibliographic Essay. All this is supplemented by some 150 varied and informative photographs and redrawn plans and building sections. There is virtually no attention to sculpture, as befits a scholar whose interests and sympathies are Cistercian; however, there is a sensitive underlying concern with the "language of architecture" itself, such that the book would give pleasure to any working architect.

Stalley has given us ten chapters starting with "The Christian Basilica", where his subject overlaps slightly with that of the Elsner's book. Appropriately, the argument returns again and again to Rome. The next chapter is an exercise in setting forth the architecture of the Carolingian Renaissance, where light is shed in an area of architectural history that for the novice is more typically hedged with exceptions and speculation. A third chapter pursues the "iconography of architecture" in Rome, Milan, Ravenna, and Jerusalem, as well as lesser-known places.

Chapter 4 is devoted to secular architecture and is somewhat revisionist in tone. The very fact that such an exercise is provided bodes well for the clarity of Stalley's enterprise, and there are numerous photographs throughout the book that succeed in demonstrating a relationship between ecclesiastical buildings and the architecture of feudalism.

Chapters 5 and 6 treat, respectively, the patron-as-builder and the builder-as-engineer. In this, the architectural expertise of certain early patrons is stressed, while the engineering argument is soft peddled, in the sense that techniques of vaulting are not allowed to dominate a more all-embracing explanation of the general integrity of the building fabric. As the author reminds us, the story of vaulting has too often been permitted to get out of hand, leading the discussion of early medieval structure well beyond what is warranted by evidence and probably away from what must have been the original aims and concerns of early medieval builders themselves, whether "engineers" or not.

Chapters 7 and 8 deal with the influences of pilgrimage and monasticism on early medieval building. Here a number of relevant statistics and medieval texts are cited that raise the discussion well above what is ordinarily expected to suffice the undergraduate reader. For example, the names of the seven major services or "offices" of Benedictine communal worship are set out and, where needed, explanation is offered. The discussion of the famous St. Gall plan is commendable in its detail, while the full-page photographic detail of the plan is printed in color to show the use of red ink on parchment. Included here is mention and illustration of the recently restored Cistercian abbey church at Fontenay, which as a caption points out, may reflect the destroyed mother house at Clairvaux.

The final two chapters are a magisterial recapitulation of the "Language of Architecture", starting off "During the course of the eleventh century a new architectural language emerged in western Europe...", and of its subsequent diversity throughout Europe. In summary, this is an exciting book that matches some of the recent strides forward in early medieval social and political history and provides a superlative discussion of a topic that has rarely been so coherently presented and illustrated in a single volume.

David B. Stewart, Tokyo Institute of Technology

Kis was born in my country. This book is the most beautifool story about growing and knowing what life is. He learned very early that there is no justice in the warld, even in cats warld. It is significant story of meaning of time.

This fascinating book is reading material for all ages andgenders. Kis has managed to bring topics we have long forgotten to ourmind. Is this book for children only? No. This book provides intriguing material for thought especially for adults who have figured out what life is all about.

I can confidently recommend that you regard Bruno S. Sergi as a true expert in his field and his book Economic Dynamics in Transitional Economies as a necessary reference to understanding the EEC, EU and its candidate countries. It is an informative road map of the past, present and future paths to a global economy.

Sergi enlightens us with important explanations which define the differences between the Western and Eastern club's economies and the related social perspectives and politics. This book clearly explains the how and why's of Central and Eastern economic inefficiencies and what developments have occurred and still need to in such transitional economies.

It offers concrete investment strategies and insight with examples of backward-looking investment choices prevalent among those not as forward-thinking as Sergi, who prefer to restructure enterprises that were only successful in a past distorted economy.

It is truly one of the most extensive research references I have seen on the economies of Central and Eastern Europe as well as the future for the EU. The constantly changing scenes of the EU becomes a confusing commotion of combined national perspectives, regulations and recommendations, but Sergi's book helps clarify critical points of interest regarding the impact on both sides come this May 2004. Additionally, he helps answer a contemporary prodding question of when the economic transition will be over for the Eastern club and perhaps more appropriately, when the 1st part of the transformation process will end.

I regard it as a must have for all MBA's studying International Business and a definite recommendation for all involved or concerned with global current events.

Sergi is brave enough to stray from popular economists who deliver what we want to hear in exchange for what we need to know by throwing a temporarily unfavorable light on the existing reality for post-communist countries, yet suggesting economic methods to aid them in leaving the Western club's shadow. Sergi wisely points out that short-term solutions usually have short-term effects. We know all business schools support thinking "outside of the box", and Sergi does just this by forecasting long-term economic effects of applications necessary for long-term benefits across what he defines as the '4 P-governments'.

Sergi can not only speak from painfully in-depth research, but also from his own actual related international experience to support his sound and worthy of adoption theories. Overall, this book is easy to digest yet provides great benefits for understanding global economics in Central and Eastern Europe and its impact on the EU and the World.
- Lisa Marie Bochneak, MBA, Instructor, Leon Kozminski Academy of Entrepreneurship and Management, Warsaw Poland

In this book, Dr.Bruno Sergi has written a dynamic and elequant call for a new consensus called "The Brussels Consensus". The publication of the book could not have come at a better time. The "Washington Consensus" has lost much credibility in many parts of the world. Dr. Sergi's "...Brussels Consensus" greatly improves upon the failures of Washington.

Dr. Sergi carefully and precisely calls for specific and active state directed policy which puts economic transition in Europe in a new dimension. Specifically, under the E.U. dimension, development under the new "....Brussels Consensus", consists of activist state policies based upon assumtions given the world by Keynes, Schumpeter and supply side beliefs. This more responsible analysis of supply side theory and practice is a must read for all policy makers at the cabinet and ministerial level. The public and classroom audience will find that policy writing under Dr. Sergi is quite interesting indeed. A must read for all.

This is by far the most impressive book in my collection. Afeast for the eyes, this book illustrates some of the most beautifularchitecture of all time. The exacting detail, and vast collection of drawings make this book a true work of art. I had seen it years ago, and have been searching for it to add to my library ever since. A MASTERPIECE!!!

I found a paperback copy of Letarouilly's Edifices De Rome Moderne in my local library - now out of print - after a vacation to Rome. Nothing has captured the feelings of awe I felt since that trip quite like this new publication. The book itself is a work of art. It should be framed, mounted or placed on an alter, or in a family shrine; "Edifices De Rome Moderne" is the most beautiful book I own. The attention to detail from the original etchings is remarkable. Any Roman Historian of the renaissance or lover of great architecture will not want be without this book. Princeton Architectural Press has a masterpiece with this publication.

I have never made anything from Edna's books and have it turn out bad! I'm also a little biased though, I'm her cousin's granddaughter! My family loves the recipes I get from these books. I highly recommend them!

I am a granddaugther of Edna! This cookbook is just a flavour of her book "The Art of Pennsylvania Dutch". Definitely a must have in your cookbook collection. My favorite recipe of her's is Chicken Corn Soup on pg. 8 (I believe!). I miss her cooking very much and as I grow older and learn to cook, I plan on making more of her recipes. Why don't you try some yourself?

Si le interesa el existencialismo o si le preocupa el sentido de su existencia y lo absurdo de ciertos mecanismos de funcionamiento de la sociedad moderna, este es un libro que debe leer. O quizás, si lee esta obra maestra, empezará a pensar seriamente acerca de estos temas y sobre el individuo, su relación con la sociedad, la burocracia y el poder. Esta obra fué publicada en 1925 (después de la muerte de Kafka, acaecida en 1924) y es considerada por muchos críticos y filósofos como lo mejor escrito por este autor.
La descripción de la soledad y de la enajenación del ser humano, en la sociedad moderna, constituye el núcleo central de todas las obras de Kafka. Por ello se suele decir que elaboró anticipadamente algunos de los temas tratados luego, en forma recurrente, por los existencialistas.
La descripción que hace, en forma detallada y realista, de la existencia del individuo moderno (del ser humano individual) revela con eficacia lo absurdo e irreal de su condición. Desde una perspectiva metafísica, la absurdidad se funda en la ausencia de Dios y en la imposibilidad de aferrar o comprender todo aquello que va más allá de lo racional.
Desde el punto de vista de lo social, la absurdidad deriva del carácter sofocante y controlador de la sociedad moderna frente al individuo. Abrumado por estas complejidades, el ser humano no tiene más alternativa que refugiarse en su pequeña realidad personal, renunciando a toda certidumbre o a respuestas convencionalmente confortantes.

El Proceso
Franz Kafka

La pesadilla de Franz Kafka.

Esta pesadilla, es una interminable sucesión de hechos que rayan en el absurdo y en lo incomprensible. Obra de una mente atormentada por ser tal vez tan consciente de su tiempo, de su humanidad y de los días por venir. Kafka tenia una visión que fue incomprendida en su tiempo. Solo a raíz de los acontecimientos posteriores, se logra un entendimiento más o menos cabal de su obra como escritor y de sus relatos de pesadilla, en la que los personajes se ven envueltos en situaciones que parecen estar fuera de su control. El proceso relata la historia de Joseph K., banquero con un futuro prometedor que un día despierta para encontrarse con dos oficiales del servicio policial que se disponen a informarle que esta sometido por un proceso judicial y que tiene que prepararse para un juicio del cual se le informará la fecha. Nunca sabemos en el relato de que es acusado el señor K. Supongo que se le acusa de ser humano, de vivir, de pertenecer a un mundo en el cual no pidió estar. Pero las mías son meras conjeturas y K se enfrenta al proceso solo y desconcertado y cada vez que avanzamos más en la historia vemos que el proceso se torna más envolvente y que cada personaje esta involucrado de manera directa o indirecta con el proceso del cual se le acusa.

Esto es una verdadera pesadilla y a veces he pensado que Kafka quería relatar lo que se sentía estar atrapado entre sentimientos conflictivos, cuando ni siquiera sabes la naturaleza de esos sentimientos; por ejemplo la relación padre e hijo que en kafka aparece con un vinculo excesivo. La novela bien podría ser la relación padre e hijo, en la que el hijo es muy pequeño para entender de que le acusa el padre y cual es el origen de su castigo.

Es una obra excelente. Se hace un poco pesada, pero vale la pena leerla, y complementar esta leyendo la metamorfosis, en la que la alineación llega a extremos horrendos cuando el ser humano es degradado hasta convertirse en un insecto de características horrendas que resulta una carga para la familia.

Luis Méndez.

This book is just one of Lijphart's works to provide an excellent analysis of the impact of the shape of institutional structures on the behavior of political systems. A very useful read for anyone wishing to understand the new institutionalist approach to political science, as well as for anyone seeking a more particular understanding of electoral systems and the variables of such systems having a significant impact on the structure of political party systems, electoral outcomes, and legislative processes.

The best coparative study for European and pther countries electorial systems. Great!

Had Herbert hewed to the leftwing/socialist line, he would have won the Nobel Prize years ago. He didn't, however, and, like Borges, he was denied the prize in favor of much lesser writers. Thankfully he was honored by the Ingersoll Foundation a few years before his death with The T.S. Eliot Award for Creative Writing, an award conferred for merit, not idealogy. Herbert's poems have an elegant austerity born out of his own privations and the loss he experienced and witnessed for most of his life, first at the hands of the Nazis, then the Communists. But he is not without hope and humor. The book is divided into three sections: the first comprised of early poems, the second by a sequence of wry, lovely, surprising prose poems, the last of latterday work. Among the outstanding pieces here are "A Small Bird" and the title poem, a magnificent farewell to art and to life that could well serve as Herbert's epitaph. Here's hoping his name and work win the widespread attention they deserve.

While I havent read this book, I have read much of his earlier work, and certainly his poems are the genuine article. The Rain, Apollo and Mauryas are two quite wonderful pieces that combine emotion and intellect in a seldom-encountered way. Read him.