Selasa, 26 Februari 2013

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Erfolgsfaktor Risiko-Management 3.0: Methoden, Beispiele, Checklisten Praxishandbuch für Industrie und Handel (German Edition), by Fr

Ein praxisorientierter Leitfaden zum Risikomanagement im Unternehmen.
Mit vielen Checklisten und einem ausf�hrlichen Glossar. Besonders n�tzlich: OnlinePlus mit hilfreichen Tools. Jetzt in der 2., �berarbeiteten und erweiterten Auflage.

  • Brand: Brand: Springer Gabler
  • Published on: 2013-04-23
  • Original language: German
  • Number of items: 1
  • Dimensions: 9.45" h x 1.38" w x 6.61" l, .0 pounds
  • Binding: Hardcover
  • 527 pages
Features
  • Used Book in Good Condition

Review

Aus den Rezensionen zur 3. Auflage:

�“... anschauliche Reise durch alle Unternehmensabteilungen vermittelt dem Leser einen umfassenden �berblick �ber aktuelle Methoden im Risiko-Management. Besonders n�tzlich: die skizzierten Beispiele als fertige Excel-Tabellen zum besseren Nachvollziehen sowie weitere Materialien wie Checklisten und Tools auf dem Portal RiskNET. ... bietet eine F�lle von bew�hrten Entscheidungshilfen f�r unternehmensweites Risiko-Management.“ (in: Au�enhandelsreport/AHV NRW, 20. September 2013)

“… Diese anschauliche Reise durch alle Unternehmensabteilungen vermittelt dem Leser einen umfassenden �berblick �ber aktuelle Methoden im Risikomanagement ... Dieser umfangreiche Methodenmix von qualitativen und quantitativen Werkzeugen er�ffnet dem Leser viele L�sungsansatze f�r die praktische T�tigkeit ... des Praxishandbuches ist wieder komplett �berarbeitet und aktualisiert worden ...“ (in: risknet.de, 31.Juli.2013)

"Seinem Untertitel [...] wird dieses fundierte und umfangreiche Nachschlagewerk in �berzeugender Weise gerecht. Im Vergleich zu anderen Werken zeichnet sich dieses Buch durch einen durchgehenden methodischen Tiefgang und eine erfrischend klare und verst�ndliche Sprache aus." Creditreform, 12-2010

"Mit dem Buch 'Erfolgsfaktor Risiko-Management 2.0' ist den beiden Autoren die Neuauflage eines hervorragend konzipierten und von Sachkompetenz �berzeugenden Buch gelungen." RC&A - Risk, Compliance & Audit, 5-2009

"Seinem Untertitel 'Methoden, Beispiele, Checklisten - Praxishandbuch f�r Industrie und Handel' wird dieses fundierte und umfangreiche Nachschlagewerk in �berzeugender Weise gerecht. Im Vergleich zu anderen Werken zeichnet sich das Buch durch einen durchgehenden methodischen Tiefgang und eine erfrischend klare und verst�ndliche Sprache aus." www.risiko-manager.com, 01.09.2009

"Die Beitr�ge sind theoretisch fundiert, haben aber die unternehmerische Praxis immer im Blick. Das Buch d�rfte Studenten und Wissenschaftler an Hochschulen ebenso ansprechen wie auch das Management in der Praxis. Es ist ein von Anfang an durchdachtes Werk gelungen, das in w�rdiger Weise dem Ruf der ersten Auflage als Standardwerk des Risikomanagements gerecht wird." RiskNET - The Risk Management Network (www.risknet.de), 19.08.2009

From the Back Cover

F�r Unternehmen ist ein sicherer und zugleich professioneller Umgang mit dem Faktor Risiko (und damit auch der Chance) aus existenziellen Gr�nden unumg�nglich. Ohne Risiken g�be es aber auch keinerlei Chancen und der verantwortungsvolle Umgang mit Risiken stellt in Wirklichkeit einen wesentlichen Werttreiber f�r das Unternehmen dar. Die beiden Risiko-Management-Experten Frank Romeike und Peter Hager machen typische Fragestellungen aus der Unternehmenspraxis an Fallstudien anschaulich, diskutieren die anwendbaren Methoden und beschreiben die Umsetzung. Diese anschauliche Reise durch alle Unternehmensabteilungen vermittelt dem Leser einen umfassenden �berblick �ber aktuelle Methoden im Risiko-Management. Besonders n�tzlich: die skizzierten Beispiele als fertige Excel-Tabellen zum besseren Nachvollziehen sowie weitere Materialien wie Checklisten und Tools auf dem Portal RiskNET.

Die dritte Auflage des Praxishandbuches ist wieder komplett �berarbeitet und aktualisiert. Es�bietet eine F�lle von bew�hrten Entscheidungshilfen f�r unternehmensweites Risiko-Management.

Aus dem Inhalt


- Wert- und risikoorientierte Unternehmensf�hrung
- Strategische Chancen und Risiken von Investitionen
- Risiko-Management von Preisen im Einkauf und im Verkauf
- Risiko-Management in der Produktion
- Quantifizierung von Risiken im Finanzbereich
- Management von Marken- und Vertriebsrisiken
- Steuerung von Projektrisiken
- Management von IT-Risiken
- Mathematische Grundlagen des Risiko-Managements

Die Zielgruppe

Unternehmensleitung, Leiter und Mitarbeiter Risikomanagement, Leiter und Mitarbeiter (Risiko-)Controlling, Gesch�ftsf�hrer, Vorst�nde und Aufsichtsr�te in allen Branchen, Wissenschaftliche Institutionen, Unternehmensberater.

Die Autoren

Frank Romeike ist gesch�ftsf�hrender Gesellschafter der RiskNET GmbH und z�hlt international zu den f�hrenden Experten im Bereich Risiko- und Chancenmanagement.

Dr. Peter Hager ist Gr�nder und Gesellschafter der RiskNET Advisory – Romeike, Hager & Partner und verf�gt �ber ausgewiesene Expertise im Finanz- und Bankmanagement. Er hat wesentlich den Cash-Flow-at-Risk-Ansatz (Planung und Simulation in Bandbreiten) entwickelt.

About the Author

Frank Romeike ist gesch�ftsf�hrender Gesellschafter der RiskNET GmbH und z�hlt international zu den f�hrenden Experten im Bereich Risiko- und Chancenmanagement.

Dr. Peter Hager ist Gr�nder und Gesellschafter der RiskNET Advisory – Romeike, Hager & Partner und verf�gt �ber ausgewiesene Expertise im Finanz- und Bankmanagement. Er hat wesentlich den Cash-Flow-at-Risk-Ansatz (Planung und Simulation in Bandbreiten) entwickelt.

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Jumat, 22 Februari 2013

[G553.Ebook] PDF Ebook I Am Not Your Victim: Anatomy of Domestic Violence (SAGE Series on Violence against Women) 2nd edition

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I Am Not Your Victim: Anatomy of Domestic Violence (SAGE Series on Violence against Women) 2nd edition

  • Sales Rank: #1747580 in Books
  • Published on: 1705
  • Binding: Paperback

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Minggu, 17 Februari 2013

[D320.Ebook] Ebook Download A Break with Charity: A Story about the Salem Witch Trials, by Ann Rinaldi

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A Break with Charity: A Story about the Salem Witch Trials, by Ann Rinaldi

Susanna desperately wants to join the circle of girls who meet every week at the parsonage. What she doesn't realize is that the leader of the group, the malicious Ann Putnam, is about to set off a torrent of false accusations leading to the imprisonment and execution of countless innocent people. When Susanna puts the pieces together, she faces a painful choice. She can keep quiet and let the witch-hunt panic continue, or she can "break charity" with the group-and risk having her family named as witches.

  • Sales Rank: #13955 in Audible
  • Published on: 2013-05-01
  • Released on: 2013-05-01
  • Format: Unabridged
  • Original language: English
  • Running time: 433 minutes

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28 of 31 people found the following review helpful.
Educational, Easy Read, Excellent
By A Customer
I am a 13 year old who read this book because I was very interested in the Salem Witch Trials. I am a very picky reader and I consider it one of the best books I have ever read. It had a lot of educational information about the trials but at the same time it was not at all boring. At no point in this book did I feel that it was dragging on. This book I could not put down and spent an entire day reading it. I encourage this book to all young adults. Ann Rinaldi is an excellent author and has a real talent for writing!

14 of 14 people found the following review helpful.
Ann Rinaldi at her best
By Amazon Customer
I consider "A Break with Charity" to be Ann Rinaldi at her best. She provides an insider's depiction of the Witch Trials using the perspective of a fourteen year old living in Salem, MA. The facts and characters are well-researched. Although the main character, Susanna English, is fictitious, she is a believable and sympathetic character. I heard alot about the witch trials as I grew up outside of Boston and was surprised to learn so much from Rinaldi's attentive detail. This book is intended for young adults and I, as a not so young adult, thoroughly enjoyed every word....it is a page turner that evokes many emotions.

6 of 6 people found the following review helpful.
Wonderful historical novel set during a very fascinating time in Colonial America...
By CoffeeGurl
Salem, Massachusetts, 1692. This was a terrible time for the families of those who were executed at the Salem Witch trials. If only one of them, one who had a family member in peril, even if done in private, had the power to prevent further tragedies...

And that is what Susanna English does, or at least according to Ann Rinaldi's fascinating retelling of this historical occurrence. Her brother William is lost at sea, and she wants news about his return from any source. And that is what brings her to Tituba, a slave at Mr. Parris's parsonage. It has been rumored that Tituba deals with the black arts and is a fortune teller, and even though visiting with such person is a sin, Susanna is so desperate to hear about her brother that she throws propriety aside and pays her a visit. Little had she known the chains of events that would occur afterwards. She witnesses the members of the circle, including Ann Putnam, the youngest and most mean-spirited of them all, attending the parsonage while the reverend is gone. She knows all of the things that would make the girls' stories and accusations seem inconsistent, and yet she keeps quiet, for Ann Putnam has threatened to accuse her family of witchcraft if she says a word. But when her mother and father are taken anyway, it is time to take action...

Rinaldi's version of the events is well written, well researched and well crafted -- except for the part about Susanna staying behind when her family flees to New York and she stays with Joseph Putnam. I find it hard to believe that her parents would simply leave her behind, even if it is with people they trust. I know this plot turn is necessary for the story, but still. Other than that, I very much enjoyed this insightful and wonderful historical novel. The Salem Witch trials have always fascinated me, and I have always wanted to read a fictional account on life as a Puritan. Were those people happy with the rules placed upon them? Rinaldi does a wonderful job giving her take on the subject. Historical novels, good and accurate ones, set in the middle to late seventeenth century America are few and far in between. I am so glad I found one by an author who knows her American history quite well.

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Sabtu, 16 Februari 2013

[P271.Ebook] Download Ebook On War, Indexed Edition, by Carl von Clausewitz

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On War, Indexed Edition, by Carl von Clausewitz

On War is the most significant attempt in Western history to understand war, both in its internal dynamics and as an instrument of policy. Since the work's first appearance in 1832, it has been read throughout the world, and has stimulated generations of soldiers, statesmen, and intellectuals.

  • Sales Rank: #34525 in Books
  • Published on: 1989-06-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 6.00" w x 1.25" l, 2.33 pounds
  • Binding: Paperback
  • 732 pages
Features
  • On War, Carl Von Clausewitz

Review
"Undoubtedly one of the most useful books ever written."--The New Republic

Language Notes
Text: English, German (translation)

Most helpful customer reviews

357 of 367 people found the following review helpful.
Unsurpassed classic of its field.
By Rachel Simmons
"On War" is essential reading for the professional military and for historians, and is of great value to those with an interest in public policy.
That said, it is not easy to read. There are three primary reasons for this:
First, it is unfinished. The first chapter ("book" as Clausewitz called it) is sharp, well-organized and focused, other chapters are so-so, and still others are almost formless collections of notes.
Second, Clausewitz is thinking philosophically. Most people, including many or most in his target audience, are unaccustomed to thinking this way, and find it difficult to re-orient themselves.
Third, parts of it are firmly locked in a particular time and place. The reader must work to determine what (if any) lessons in those parts are of enduring value and must understand references that, however clear they would have been to his contemporaries, are today obscure.
So, given all of the above, it is fair for the reader to ask why he should bother. The reason is the power of Clausewitz's answers to:
(1) What is the nature of war itself?
(2) What is war's relation to the larger world in which it exists?
(3) How can success in war be achieved?
Clausewitz's answer to question (1) is that war in itself is a duel on a large scale, which unless acted on from the outside, tends towards the maximum possible amount of violence. This discussion of "pure war" has probably been responsible for more mis-interpretations of Clausewitz than anything else he wrote. He is writing philosophically - trying to understand the nature of the thing, and some readers mis-read him as writing prescriptively - that because "pure war" (or "ideal war") tends towards maximum violence, that those conducting war should employ maximum violence.
Clausewitz's answer to question (2) is one of the major reasons why "pure war" doesn't, can't, and shouldn't exist in the real world. First, real war occurs over time - not as a single event but as a series of events. This provides the opportunity for other forces to act upon it. The most important outside force acting upon it is political - war it is only a means - and the end is the political purposes which the war serves. The means cannot and must not trump the end. This is his famous dictum "War is a continuation of policy by other means". The level of effort is conditioned by the end which the war serves as well as all the other ends the state is pursuing which may or may not be compatible with the war.
It is in his answer to (3), how success in war can be achieved, that Clausewitz is at his most period-bound. He draws heavily from examples that would have been as familiar to his contemporaries as the Gulf War is to us, but time has rendered them often obscure. Further, many of his recommendations are completely tied to how war was conducted on land in the early 19th century. Those who say that they got little out of Clausewitz are often referring to this subject area.* There is quite a bit of value here, but it is obtained at effort - the reader must back up to the principals that govern Clausewitz's thinking, and re-apply them to the current technical means. Because of this, there is the irony that Clausewitz would have contributed much more here if he had written much less. Of course, he might have done so if he had finished his manuscript, but on this we can only guess.
It is in the sum of (1), (2) and (3) that the value of Clausewitz is felt. The reader who makes the effort will find that he has acquired a systematic approach for thinking about war, a unified framework that includes the public policy perspective of when, whether, and how to employ it, as well as the military perspective of how to fight it.
---
* For at least topic (3), ideally the modern reader should have read at least short military histories of the Seven Years War (in Europe - not North America) as well as the Napoleonic Wars, as these two conflicts dominate Clausewitz's references. What you want to know is the names of the major battles, the sides, and the outcomes. Maps are invaluable.
Having a somewhat more in-depth reference handy can also be beneficial, though not necessary. If I had to recommend in-depth references, I would suggest, for the Napoleonic Wars, David Chandler's "The Campaigns of Napoleon" or Esposito and Elting's "A Military History and Atlas of the Napoleonic Wars". Both are readily available and well worth having. For the Seven Years War, I don't know of anything that is good and in-print, although Christopher Duffy's "The Military Life of Frederick the Great" is just what you want if you can find a copy.

156 of 162 people found the following review helpful.
The Classic on war
By seydlitz89
This is not an easy book to understand. It takes sustained attention, several readings of the most important parts, guidance from supplementary articles, time and interest. After the required investment, the diligent reader will come to understand Clausewitz's system and the remarkable way that it stills aides in understanding the phenomenon of war. Readers who know of what I speak will agree that the results of the recent NATO war against Serbia over Kosova can be explained very accurately in Clausewitzian terms. Much has been made of the fact that Clausewitz died before he could complete the work. We will never know what added insights the Prussian philosopher may have been able to come up with or the additional nuances that he may have added to the framework that he had established. While true, this attitude detracts from what he was able to accomplish. The only finished portion of the book, Part 1 of Book 1 is also the most important. The rest of Book 1, Book 2, Book 3 and Book 8 (the last) are in Bernard Brodie's words, "pure gold". The other books have relevant information for our times too, but one must shift through much which belongs to the past. Clausewitz's theory of war considered war to be "a remarkable trinity" of rational action (policy), irrational action (passion) and the play of chance (friction versus genius). These three points act as poles above which "theory" itself is suspended like a magnet. Alan D. Beyerchen has pointed out that Clausewitz was talking about a non-linear system in that the course the magnet will take as it hovers above and in and out of the three fields of attraction produces an irreproducible trajectory highly sensitive to the initial conditions which set it in motion. In addition we have other important concepts such as the duel nature of war, the importance and uses of theory, friction, war's psychological element, tactical and strategic centers of gravity, and of course the primacy of policy over purely military concerns in strategic planning. All of these are still of interest today. Not bad for a work that was published initially in 1832!
One additional note. I recommend the Everyman's Library Edition of On War. First it is the Michael Howard / Peter Paret translation which is the best in English. Second it contains four interesting and enlightening articles by Howard, Paret and Bernard Brodie and last it is a hard cover book printed and bound in Germany and of excellent quality.

142 of 147 people found the following review helpful.
Great Book--get the right edition.
By Hughfritz Cadwallader
Clausewitz's ON WAR is certainly the greatest exploration of the subject, but we are often misled by sloppy or hostile summaries--especially those by British military historians, who have evolved a truly sophisticated culture of misrepresenting it. E.g., Clausewitz supposedly preaches "total war." In fact, that phrase appears only twice in the book, once while discussing the "total war area," i.e., the geographic theater of war, and once noting that "total war, the pure element of enmity unleashed," would be "pointless and devoid of sense." Most such misconceptions would be cleared up if writers would bother to read past the abstract first half of the first chapter to see what Clausewitz, an immensely experienced practical soldier, really thought. And forget the absurd distinctions between Jomini's "chivalrous" wars and Clausewitz's alleged war on civilians--the two men experienced and described exactly the same wars.
Likewise, to say that Asian warfare differs in some fundamental way from Western war, or from war in general, is nonsense, as is the idea that Sun Tzu--whose all-knowing general controls events far more than either Clausewitz or historical experience would suggest is possible--somehow represents a "decentralized" approach. Sun Tzu is extremely valuable, but he and Clausewitz are best understood together. Read Michael Handel on that.
There are several English translations of ON WAR, in many editions, and these vary greatly in value. Amazon's listings often confuse the different versions, so be careful. The version edited by biologist/musician Anatol Rapoport is particularly worthless. His lengthy, lunatic, 1968 introduction is actually about Kissinger, not Clausewitz. He used the hoary old 1873 Graham translation and severely abridged Clausewitz's own text, but weirdly retained the anachronistic Social Darwinist insertions of an earlier editor. The best and standard translation is Howard and Paret's, Princeton U. Press, 1976 (rev.1984). Knopf's elegant "Everyman's Library" hardcover (ISBN 0-679-42043-6) is the same translation with some useful added appendices and sidebars--and a better buy as well. Get more background at "The Clausewitz Homepage."

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[T817.Ebook] PDF Download Kursk: Hitler's Gamble, 1943 (Stackpole Military History Series), by Jr. Walter S. Dunn

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Kursk: Hitler's Gamble, 1943 (Stackpole Military History Series), by Jr. Walter S. Dunn

  • The story of history's largest armored battle
  • Descriptions of Tigers, Panthers, and T-34s in combat
  • Based on declassified Russian documents and captured German records
  • A significant turning point of World War II, the battle of Kursk in the summer of 1943 was the Germans' last major offensive on the Eastern Front. Marked by pitched clashes between German Tiger tanks and Soviet T-34s, the engagement began well enough for the Germans, but the Soviets delayed them long enough to bring their reserves forward, counterattack, and force Hitler to call off the attack. Hundreds of thousands lay dead or wounded on both sides, but the Soviets won the battle and seized the initiative for the rest of the war.
    • Sales Rank: #1612282 in Books
    • Published on: 2008-08-10
    • Original language: English
    • Number of items: 1
    • Dimensions: 9.07" h x .67" w x 6.14" l, .87 pounds
    • Binding: Paperback
    • 208 pages

    From the Publisher
    10 b/w photos

    About the Author
    Walter S. Dunn Jr., a recognized authority on the Soviet Union in World War II. He lives in Wisconsin.

    Most helpful customer reviews

    7 of 7 people found the following review helpful.
    Proficient Tactical Overview of the Offensive
    By Dave Schranck
    I gave this book four stars for I'm very interested in the topic and enjoyed the ground covered by the author but I'll concede the rating may be a little generous for some readers.
    If you are looking for a "short version" of the offensive or you find reading the full length books by Mark Healy's "Zitadelle" or David Glantz's "The Battle of Kursk" too intimidating then Mr Dunn's book is a very good choice. The book is written for the tactical or operational aspects of the battle; there will be no personal experiences included. If you have read any of Mr Dunn's other books you will know that even though there are only 200 pages devoted to the battle, this is a relatively serious review of the battle. I say relative because the author highlights certain aspects of the battle and while those areas covered provide good information, the book is not comprehensive. However, in Chapters four and five, the Order of Battle is the equal of the other two books mentioned. This is the chapter that contains the only map in the book. It shows the starting deployments for both sides. It clearly shows the superior forces the Russians had in defending the salient but its too bad the author didn't provide a series of maps to reflect German progress before the Operation was canceled.

    Besides the deployment coverage, the author did a good job of describing the defense lines the Soviets had built as well as informing the reader where the current German advance was in regards to which defense zone was being assaulted. Other features that were liked include: The author frequently stressed the difference between counting completely destroyed panzers from ones that could be recovered and repaired. The Germans had an efficient system of recovering damaged vehicles from the battlefield and many of those panzers the Soviets claimed were destroyed were actually repaired and back on the field in days. A descriptive timetable of when and where Soviet reinforcements entered the battle was also helpful. It must have looked to the Germans that they were fighting an enemy of inexhaustable supplies of men and tanks. This battle also shows the Soviets had improved their tactical planning and execution as well as their logistics. Another interesting point discussed is that Manstein and Hoth believed the key to victory was a quick rolling up of the front defenses before the Soviets could regroup and reinforce. While this is true to a small degree, it was not entirely true for the Soviets were prepared much better than the Germans imagined but if the Germans believed it why didn't Hitler allow the 24th PzC with 17th PzD and Wiking to enter the fray on day two ( not on day nine as Manstein intended) when they were already behind schedule. One key issue regarding the impact of no reserves was Kempf's Group was always behind the 2nd SS PzC in their drive north which forced Tokenkopf to devote much of their resources to protecting the east flank instead of fully assisting Das Reich and LAH in driving forward. It would be interesting to play "What if" scenarios if the German weakened 24th PzC was brought up early in the operation.

    A brief chapter outline follows:
    The Strategic Position, April 1943: The author explains Operation Uranus and the Kharkov counteroffensive by Manstein in how the salient was formed. He also covers AGA's withdrawal from the Caucasus as well as the Rzhev offensive. The author has accumulated a wealth of information over his lifetime and includes many statistics that will help you get an understanding of casualties, number of tanks, the disposition of units and more. Its quite impressive.
    Rebuilding the Red Army: In addition to mobilization of troops, the most pertinent area discussed is the reorganization and enhancement of tank brigades and tank destroyer brigades
    The German Rebuild: After losing 6th Army, Germany did everything possible to put 800,000 men into uniform and to improve their weapon production. Women were put to work as well drafting men from other countries or to work the assembly line.
    The German Order of Battle: A detail discussion of which units and exact deployment on the Kursk salient.
    The Soviet Order of Battle: Through intelligence sources the Soviets knew that the coming offensive would be led by panzers and in this chapter the deployment of Soviet assets is discussed.
    The Soviet Defense System: is an extension of the previous chapter, describing in greater detail the extraordinary efforts made to counteract the armored offensive.
    Breaking through in the South: The battle begins and describes how the first defensive belt is penetrated in the south. Three quarters of the battle action pertains to the southern boundary where most of the panzer corps were deployed.

    This completes the first phase; the introduction and setup for the coming battle. It takes up half of the book and it was very informative and interesting. It explains why Hitler chose to attack the salient and why he thought it could be captured. It explains Hitler's concern when the Allies attacked North Africa. It explains the restoration of forces and the preparations made on both sides. It explains why Hitler moved forces from Western Europe to take part in Citadel. A general observation of the tank battles near Prokhorovka and much more was presented. The rest of the book covers the offensive to July 15th.

    Cracking the Second Defense Line: Breaking through the second line on their way to Oboyan and Prokorovka.
    Fighting for the Third Defense Line: This involves the 2nd SS PzC's tank battle at Prokorovka.
    Stalemate in the South: Against Manstein's wishes, Hitler calls off the offensive.
    The North Shoulder: This is an overview of Model's offensive on the northern salient.
    Conclusion: Discusses how this was Germany's last offensive and that the initiative was now with the Soviets. It also discusses how Manstein wanted to use the 2 panzer divisions in reserve to close and liquidate the pocket of the two Soviet armies that were between the 2nd SS PzC and 3rd PzC near the Donets River.

    A Notes section, a few photos and a helpful Index complete the book.

    This book is dry and contains a few typos but if you're a Kursk buff and interested in the tactical aspect of war, you will enjoy and learn from it. Its also a book in a series by Mr Dunn that not only describes a campaign but also includes the Soviet's attempts in improving their Armed Forces and their battle technique. Though its not the overall equal of "The Battle for Kursk" or "Zitadelle", it has tactical coverage the others don't have and would make a good supplement for those who want to know all their is about the campaign. Mr Dunn has studied the war on the Eastern Front for decades and many of us could probably learn from his dedication. Its highly recommended for the operationally minded.

    9 of 11 people found the following review helpful.
    Insufficient graphics
    By Robert Berke
    The author gives an extremely detailed account of the preparation, planning, and final execution of this monumental battle. His work would have been much more useful if he had included maps and graphics to a greater extent. The sheer volume of information would be better served with use of visual aids due to the geographic nature of the material.

    7 of 9 people found the following review helpful.
    Prokorovka or Bust
    By Michael L. Shakespeare
    For only 192 pages, Walter Dunn's "Kursk: Hitler's Gamble, 1943" is a exhausting, dense work. The author puts the armies that fought at Kursk under the microscope in an accurate and precisely detailed examination of the greatest tank battle in history. The Battle of Kursk took place in the wide open steppes of Russia in the summer of 1943. By then the war was four years old, Russia's war industries were reaching full output, and the front lines were log jammed into an ugly bulge near the railroad town of Kursk.

    Despite Dunn's caution against trusting German and Russian historians who misstated the scale of the battle for modern political reasons, one cannot avoid tallying up the loses. On the very first day of a struggle that was to last fifteen days, some 90 German tanks were out of action. Add to this the losses in armor suffered by the Russians, multiply them over the course of the battle, not to mention the number of killed and wounded on all sides that easily exceeded a quarter of a million, according to most sources.

    The mind staggers in trying to comprehend this cold fact. Here is the ultimate message of "Kursk." If one reduces the story to mere statistics, as Dunn has done, you will discover the truth about the battle. If there is any fault in this book, it is an understandable one. In 192 pages of narrative, the author admirably analyzes the German and Russian sides of the battle, but the voices of the soldiers on the battlefield are missing.

    The Eastern Front author of Stalin's Keys to Victory: The Rebirth of the Red Army in World War II (Stackpole Military History Series), Soviet Blitzkrieg: The Battle for White Russia, 1944 (Stackpole Military History Series), and Hitler's Nemesis: The Red Army, 1930-45 (Stackpole Military History Series), Dunn is uniquely positioned to scrutinize both armies. However, one needs time to study this intense book. I suggest it be taken in small doses. To do otherwise, invites shell shock.

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    Jumat, 15 Februari 2013

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    Feel the Fear (Ruby Redfort, Book 4), by Lauren Child

    Ruby Redfort: Undercover agent, code-cracker, and 13-year-old genius. The fourth book in the scarily awesome Ruby Redfort series, by multi-million-copy bestselling author Lauren Child.

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    • Sales Rank: #210575 in Audible
    • Published on: 2014-12-04
    • Format: Unabridged
    • Original language: English
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    Senin, 11 Februari 2013

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    The Invention of Hugo Cabret, by Brian Selznick

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    The Invention of Hugo Cabret, by Brian Selznick

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    The Invention of Hugo Cabret, by Brian Selznick

    Orphan, clock keeper, and thief, Hugo lives in the walls of a busy Paris train station, where his survival depends on secrets and anonymity. But when his world suddenly interlocks with an eccentric, bookish girl and a bitter old man who runs a toy booth in the station, Hugo's undercover life, and his most precious secret, are put in jeopardy. A cryptic drawing, a treasured notebook, a stolen key, a mechanical man, and a hidden message from Hugo's dead father form the backbone of this intricate, tender, and spellbinding mystery.

    • Sales Rank: #3402 in Books
    • Brand: Scholastic Press
    • Published on: 2007-01-30
    • Ingredients: Example Ingredients
    • Original language: English
    • Number of items: 1
    • Dimensions: 8.50" h x 5.75" w x 2.00" l, 2.80 pounds
    • Binding: Hardcover
    • 533 pages

    Amazon.com Review
    Book Description:
    Orphan, clock keeper, and thief, Hugo lives in the walls of a busy Paris train station, where his survival depends on secrets and anonymity. But when his world suddenly interlocks with an eccentric, bookish girl and a bitter old man who runs a toy booth in the station, Hugo's undercover life, and his most precious secret, are put in jeopardy. A cryptic drawing, a treasured notebook, a stolen key, a mechanical man, and a hidden message from Hugo's dead father form the backbone of this intricate, tender, and spellbinding mystery.

    Amazon.com Exclusive

    A Letter from Brian Selznick

    Dear readers,

    When I was a kid, two of my favorite books were by an amazing man named Remy Charlip. Fortunately and Thirteen fascinated me in part because, in both books, the very act of turning the pages plays a pivotal role in telling the story. Each turn reveals something new in a way that builds on the image on the previous page. Now that I’m an illustrator myself, I’ve often thought about this dramatic storytelling device and all of its creative possibilities.

    My new book, The Invention of Hugo Cabret, is a 550 page novel in words and pictures. But unlike most novels, the images in my new book don't just illustrate the story; they help tell it. I've used the lessons I learned from Remy Charlip and other masters of the picture book to create something that is not a exactly a novel, not quite a picture book, not really a graphic novel, or a flip book or a movie, but a combination of all these things.

    I began thinking about this book ten years ago after seeing some of the magical films of Georges M�li�s, the father of science-fiction movies. But it wasn’t until I read a book called Edison's Eve: The Quest for Mechanical Life by Gaby Woods that my story began to come into focus. I discovered that M�li�s had a collection of mechanical, wind-up figures (called automata) that were donated to a museum, but which were later destroyed and thrown away. Instantly, I imagined a boy discovering these broken, rusty machines in the garbage, stealing one and attempting to fix it. At that moment, Hugo Cabret was born.

    A few years ago, I had the honor of meeting Remy Charlip, and I'm proud to say that we've become friends. Last December he was asking me what I was working on, and as I was describing this book to him, I realized that Remy looks exactly like Georges M�li�s. I excitedly asked him to pose as the character in my book, and fortunately, he said yes. So every time you see M�li�s in The Invention of Hugo Cabret, the person you are really looking at is my dear friend Remy Charlip, who continues to inspire everyone who has the great pleasure of knowing him or seeing his work.

    Paris in the 1930's, a thief, a broken machine, a strange girl, a mean old man, and the secrets that tie them all together... Welcome to The Invention of Hugo Cabret.

    Yours,

    Brian Selznick



    Amazon.com Exclusive

    Brian Selznick on a "Deleted Scene" from The Invention of Hugo Cabret

    This is a finished drawing that I had to cut from The Invention of Hugo Cabret. I was still rewriting the book when I had to begin the final art. There was originally a scene in the story where this character, Etienne, is working in a camera shop. On one of my research trips to Paris I spent an entire day visiting old camera shops and photographing cameras from the 1930's and earlier, as well as the facades of the shops themselves. I researched original French camera posters and made sure that the counter and the shelves were accurate to the time period. I did all the drawings in the book at 1/4 scale, so they were very small and I often had to use a magnifying glass to help me see what I was drawing. After I finished this drawing I continued to rewrite, and for various reasons I realized that I needed to move this scene from the camera shop to the French Film Academy, which meant that I had to cut this picture. I tried really hard to find ANOTHER moment when I could have Etienne in a camera shop, but, as painful as it was, I knew the picture had to go. I'm glad to see it up on the Amazon website because otherwise no one would have ever seen all those tiny cameras I researched and drew so carefully!

    --Brian Selznick

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    The Boy of a Thousand Faces

    From Publishers Weekly
    Starred Review. Here is a true masterpiece—an artful blending of narrative, illustration and cinematic technique, for a story as tantalizing as it is touching.Twelve-year-old orphan Hugo lives in the walls of a Paris train station at the turn of the 20th century, where he tends to the clocks and filches what he needs to survive. Hugo's recently deceased father, a clockmaker, worked in a museum where he discovered an automaton: a human-like figure seated at a desk, pen in hand, as if ready to deliver a message. After his father showed Hugo the robot, the boy became just as obsessed with getting the automaton to function as his father had been, and the man gave his son one of the notebooks he used to record the automaton's inner workings. The plot grows as intricate as the robot's gears and mechanisms [...] To Selznick's credit, the coincidences all feel carefully orchestrated; epiphany after epiphany occurs before the book comes to its sumptuous, glorious end. Selznick hints at the toymaker's hidden identity [...] through impressive use of meticulous charcoal drawings that grow or shrink against black backdrops, in pages-long sequences. They display the same item in increasingly tight focus or pan across scenes the way a camera might. The plot ultimately has much to do with the history of the movies, and Selznick's genius lies in his expert use of such a visual style to spotlight the role of this highly visual media. A standout achievement. Ages 9-12. (Mar.)
    Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

    From School Library Journal
    Starred Review. Grade 4–9—With characteristic intelligence, exquisite images, and a breathtaking design, Selznick shatters conventions related to the art of bookmaking in this magical mystery set in 1930s Paris. He employs wordless sequential pictures and distinct pages of text to let the cinematic story unfold, and the artwork, rendered in pencil and bordered in black, contains elements of a flip book, a graphic novel, and film. It opens with a small square depicting a full moon centered on a black spread. As readers flip the pages, the image grows and the moon recedes. A boy on the run slips through a grate to take refuge inside the walls of a train station—home for this orphaned, apprentice clock keeper. As Hugo seeks to accomplish his mission, his life intersects with a cantankerous toyshop owner and a feisty girl who won't be ignored. Each character possesses secrets and something of great value to the other. With deft foreshadowing, sensitively wrought characters, and heart-pounding suspense, the author engineers the elements of his complex plot: speeding trains, clocks, footsteps, dreams, and movies—especially those by Georges M�li�s, the French pioneer of science-fiction cinema. Movie stills are cleverly interspersed. Selznick's art ranges from evocative, shadowy spreads of Parisian streets to penetrating character close-ups. Leaving much to ponder about loss, time, family, and the creative impulse, the book closes with a waning moon, a diminishing square, and informative credits. This is a masterful narrative that readers can literally manipulate.—Wendy Lukehart, Washington DC Public Library
    Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

    Most helpful customer reviews

    450 of 477 people found the following review helpful.
    Curiouser and curiouser
    By E. R. Bird
    No one can really summarize a book any better than the author proper. So what is, "The Invention of Hugo Cabret" anyway? "... this is not exactly a novel, and it's not quite a picture book, and it's not really a graphic novel, or a flip book, or a movie, but a combination of all these things." In short, what you have is a book that can't really be lumped into a single genre. With the rising popularity of the graphic novel, authors have been looking at how to let the visual elements of a given story complement the text. Some will weave graphic novel elements in and out, panels on one page, text on another. Others prefer a kind of "Captain Underpants" melding with cartoonish pictures. And while all these books are fun reads, none of them have ever really had the (for lack of a better word) gravitas you'd find in a classic text-only children's novel. Until now, that is. "Hugo Cabret" is a risk. A 500+ page book that's told just equally by pictures as it is by text. It is also like nothing you've ever seen before. No other children's book has even come close.

    Without Hugo Cabret, none of the clocks in the magnificent Paris train station he lives in would work. Though he's only a kid, Hugo tends to the clocks every day. But there's something even more important in the boy's life than gigantic mechanics. Hugo owns a complex automaton, once his father's, that was damaged in a fire and it is his life's goal to make the little machine work again. To do so, he's been stealing small toys from an old shopkeeper in the station. One day the man catches Hugo in the act, and suddenly the two are thrown together. Coincidences, puzzles, lost keys, and a mystery from the past combine in this complex tale of old and new. The story is told with pictures that act out the action and then several pages of text that describe the plot elements. The final effect is like watching a puzzle work itself into clarity.

    Selznick is juggling so many different elements and inspirations in this book that you honestly expect the result to be a muddle. Okay. So you have a story involving old-timey movie-maker Georges Melies (he's the old shopkeeper) whose image in this book was modeled on children's book author Remy Charlip (also an influence). You have an automaton, the history of automatons, and the history of movies themselves. There are photographs of old films mixed in with some bizarre sketches. Then you throw all of this together and add in a story about a boy, a girl, a one-eyed man, toys, keys, and a train station. Boom! Instant book. The fact that this title ISN'T a mess is downright bizarre.

    They say that the mark of a good musical depends on how well the songs advance the story's plot. You can't just have your characters burst into song and then act like nothing ever happened. The case could be made too for books like "Hugo Cabret". If there is a picture in this story, it has a purpose. Nothing here was included on a whim. When the book breaks from word to image, it has to be done just right. It has to feel natural. At one point in "Hugo Cabret" our hero is nearly trapped by the Station Inspector. The book reads, "The Station Inspector saw the bandages and loosened his grip, at which point, like a wild animal, Hugo escaped." What follows is a thirty-six page chase sequence that comes across like a black and white film. And the real star of this show, in the end, is Selznick's art. The man is doing things with mood and lighting that give the book just the right mysterious feel. Selznick's pictures are done, for the most part in graphite with plenty of shading involved. At the same time, he knows how to get the viewer involved in what they are seeing. There are moments where the "camera" is zooming in on a particular shot and instantly gets your attention. In the book's opening, we begin with a shot of the moon that pulls back and follows young Hugo. Then suddenly, we see Hugo look over his shoulder and the picture hits you hard. We're on the eighteen or nineteenth page and already we're deeply interested in what we're seeing. We want to know more. Hugo does have some magnificent bags under his eyes at times, and he and the old man's granddaughter Isabelle sometimes look rather similar, but on the whole it's hard to find anything wrong with what Selznick has chosen to place in this book.

    Admittedly, not everything works as smoothly as it might. Selznick has to keep everything in this story moving constantly. Nobody wants to see picture after picture of people just sitting around and talking, after all. So really, the downside to this kind of book is that some degree of characterization and description is lost in favor of plot and theme. The kids in this book go from liking one another, to hating, to liking again in a manner that feels a tad awkward. Motivations are sometimes murky, even if they're explained later down the line.

    But the allure of this book for kids can't be stressed enough. Selznick is most familiar to children, at this point in time, because of his covers of such Andrew Clements books as "Frindle" and "School Story". When kids see a Selznick cover, they know to grab it. Children who like big thick Harry Potter-sized tomes will pluck the multi-colored "Hugo Cabret" from its shelves without hesitation. Ironically, though, this is a perfect title for reluctant readers. Though the page count will scare off some, those who've been shown the insides will appreciate this unfamiliar form of storytelling. Unlike a graphic novel or a picture book, however, you can't understand "Hugo Cabret" through pictures alone. You can try, I guess, but you end up with a very different tale from the one Selznick has written. The nice thing is that in spite of all the complicated details and influences at work here, the story itself is straightforward and interesting.

    Extra kudos for the spine of this title, by the way. Publishing houses too often forget that sometimes the spine of a book is all a customer is ever going to see of a title. And if there were a Best Spine of the Year Award, I think I know who the winner might be. The spine and back are of Hugo's face, lit from the side. Just his left eye and part of his cheek are visible on the spine, with the title, author, and publisher information shoved to the bottom. It's haunting. Does haunting sell? You bet your sweet bippy it does.

    It's hard to say whether or not this kind of format would work with any other book. Really, it's the fact that so much of "Hugo Cabret"'s plot revolves around black and white movies that allows this book to jump so easily between image and text. If you did something similar with a story about, oh I dunno, a lion in the jungle, it might feel odd. But given Selznick's subject matter and his careful use of both his own illustrations, movie stills, and sketches, the book holds together. The writing is second to the illustrations, but it's still heads and tales better than most of the crummy kidlit you'll stumble across. Sometimes you hold a book in your hands and it feels like a classic from day one. "The Invention of Hugo Cabret" radiates that feeling.

    143 of 150 people found the following review helpful.
    A rich sensory experience...
    By Andi Miller
    The Invention of Hugo Cabret, by Brian Selznick, is a children's novel weighing in at an intimidating 533 pages, but the reader brave enough to dive headlong into its pages will find a multi-layered text that consists of not only a delightfully written tale, but rich illustrations that take over the telling of the story at regular intervals. Selznick's creation navigates the grey area between picture book and graphic novel in what certainly constitutes a visual and narrative achievement and a truly original book.

    Hugo is a 12-year-old boy strapped with responsibility beyond that which a child should have to shoulder. After his uncle--a hopeless drunk in charge of tending the station's clocks--disappears, Hugo takes it upon himself to maintain the clocks in hopes that his uncle won't be missed and he can keep his dwelling and enjoy the freedom of coming and going, living within the walls, and repairing an artifact cherished by both Hugo and his late father. The artifact at the center of the tale is a forgotten automaton discovered among the dust and rot of a museum storage room. It is a mechanical man, pen in hand, poised to deliver a message; Hugo feels certain that if he can repair the automaton by using his late father's notes, the mechanical man will write a message from beyond the grave. Hugo resorts to stealing toys from the toy booth in the train station, and soon finds himself working off his debt to the shopkeeper, a man with secrets of his own. What follows involves a stolen notebook, an oddly familiar drawing, unlikely friends, the magic of silent film, and a giant in cinema, Georges Melies (the most recognizable of his films being A Trip to the Moon or Le Voyage dans la Lune, 1902).

    While the novel largely defies categorization, it closely resembles a silent film in many respects, and fittingly so. In addition to the novel's rich illustrations, Selznick employs photos and movie stills to show the reader his story as opposed to simply telling it. In the tradition of graphic narrative (or sequential art, whatever your term of choice), the illustrations play as integral a role in the overall story as the text. The use of illustrations is hardly gratuitous, for the pictures quite literally take over and carry out the narrative when the text disappears. And, really, who would care if the illustrations were gratuitous? They're gorgeous.

    The Invention of Hugo Cabret is full of magic...for the child reader, for the adult reader, the film lover, the art lover, for anyone willing to give it a go. If you're scared of the size or the concept, don't be. Open your mind, pour Selznick's creation in, and be reminded of the dream of childhood.

    0 of 0 people found the following review helpful.
    Apparently, Its a good read from the 9 years olds...
    By Tutts
    My 9-year old read this book with her 3rd-grade class last year. She loved the book so much she begged me to buy the book so she can read it at home. That was in May. She hasn't started yet... I'm planning to read it with her as before bed each night once the school year starts. I will update my review once we finish the book.

    See all 779 customer reviews...

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    Minggu, 10 Februari 2013

    [O569.Ebook] PDF Download Interpreting The Scriptures, by Kevin Conner and Ken Malmin

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    Interpreting The Scriptures, by Kevin Conner and Ken Malmin

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    Interpreting The Scriptures, by Kevin Conner and Ken Malmin

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    Interpreting The Scriptures, by Kevin Conner and Ken Malmin

    Interpreting the Scriptures introduces the reader to the science of hermeneutics by listing qualifications of an interpreter, the methods of interpreting, and a brief history of interpreting. The authors explore seventeen basic principles for interpreting any passage of Scripture. Any student of the Word will find this book to be a very helpful guide in his studies as well as a veritable gold mine of truth.

    • Sales Rank: #27242 in Books
    • Brand: City Christian Publishing
    • Model: 1055177
    • Published on: 1983-10-01
    • Original language: English
    • Number of items: 1
    • Dimensions: 11.02" h x .38" w x 8.27" l, 1.20 pounds
    • Binding: Paperback
    • 168 pages

    About the Author
    Ken Malmin is the Dean of Portland Bible College in Portland, Oregon where he also serves as an elder at City Bible Church (formerly Bible Temple), a large growing church that is having a powerful impact on the entire Christian community. Ken has been teaching since 1971 and is noted for his wisdom and deep understanding of the Word of God. Ken has authored several books that are used in Bible Colleges and leadership training programs around the world. He has a burning desire to see the principles that were established by Christ experienced today.

    Most helpful customer reviews

    0 of 0 people found the following review helpful.
    This book is great for new students who may be studying Hermeneutics for ...
    By Amazon Customer
    This book is great for new students who may be studying Hermeneutics for the first time, very easy to follow, also there is plenty of depth for older or advanced students

    1 of 1 people found the following review helpful.
    Highly Recommend for those entering ministry
    By S. Caruthers
    This is a great reference book for preachers and teachers. I highly recommend this book as part of the cirriculum for those entering the ministry. It is a very easy to read and informative book. This book will aide you in rightly dividing the Word of Truth.

    7 of 7 people found the following review helpful.
    The Best Hermeneutics Guidebook
    By N. H. Chapa Gonzalez
    You'll find two unique values in this book: First, several hermenuetics patterns for interpreting the Bible; Second, an extensive analysis of each one of it. Other books on the same topic usually covers one way of understanding figures and types of the Bible, but in this book you'll find several. The solid biblical knowledge and divine revelation of Kevin Conner is reflected in this work. This book is a must for theology students who like to go deep in the revelation of the Word of God.

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