This handbook is easy to approach. It provides general information about infectious diseases, although not comprehensive in detail. For medical students and those who are not specialists of infectious diseases, this book is the one that you can buy and read.

A Practical Approach to Infectious Diseases offers the medical resident and ID fellow a thorough yet accessible and practical resource for dealing with commonly encountered ID problems. The section of STD's is particularly informative as are the sections on Bone and Joint Infections and UTI's.

The major texts for ID are often cumbersome to find the exact information needed. This text however is easily referenced with discrete chapters and excellent references at the end of each chapter if a more comprehensive review is desired.

I recommend A Practical Approach to Infectious Diseases for medical residents and ID fellows. These individuals need easily accessible, concrete and precise information which this text provides very nicely.

For more than four decades Stanley Kauffmann has been the film critic for the New Republic. Now after three decades of the reign of Martin Peretz over that journal he is that rarest of creatures, a truly non-ideological critic. He is consistently sensible and sane, and always worthy to be read. For those who think that Roger Ebert is too vulnerable to the slick products of Hollywood, or that the late Pauline Kael was too voluble and dogmatic, Kauffmann is always available as an alternative.

This collection of reviews covers 1993-2000 and is somewhat more selective than his previous books. There is praise of Abbas Kiarostami and much enthusiasm for Emma Thompson. Michelangelo Antonioni is given a final review, there is a touching obituary for Marcello Mastroianni, and another touching, and very brief, one for James Stewart. Neil LaBute and Todd Solondz are praised for their ruthlessly unsentimental approach. Pulp Fiction is treated somewhat warrily. Forrest Gump goes completely unmentioned. Fargo and All About my Mother get very guarded praise. Eyes Wide Shut and The End of the Affair are subjected to special criticism. Among foreign films Kauffmann singles out for praise Ken Loach, Gianni Amelio, Zhang Yimou, Daniel Bergman's film of his father Ingmar's autobiography, and Erick Zonca.

I find myself disagreeing more with Kauffmann in this collection. I myself do not think that Amistad is a better film than Kundun. Kundun may be excellent, it may be overly respectful, but in my view Amistad is little more than competent and worthy. It strikes me as odd that in American Beauty Kauffmann should praise Annette Bening's acting, since the script caricatures her character as a spiteful gargoyle. (Still, Kauffmann has the movie right: "at the finish of the picture, we're left feeling that Ball has had a trial run with them: now he needs to go back and really use them to some enlightening and organically whole purpose.") At one point in his praise of Schindler's List, he notes the scene of a child hiding in a latrine and says it is mememorable in the same way as the famous photograph of a child being marched away from the Warsaw ghetto. I would argue that Spielberg's shot cannot be memorable as the original photo, since it is obviously been too clearly designed to resemble it. Another weakness of the collection is that there are fewer dismissive reviews. His criticism is actually one of his strengths, as one sees in the pans he wrote last year of Moulin Rouge and The Man Who Wasn't There.

Nevertheless, Kauffmann is an intelligent and literate man, and he is properly pessimistic about the future of film, as the students he tought earlier in the last decade are too impatient and spoiled to recognize the virtues of silent movies, or black and white movies or subtitled ones. They often have no sense of history, either of the movies as an art form or of the wider society. Kauffmann, who quotes Shaw and Graham Greene several times to good effect, is depressed but not desponsdent. And so one should look at, among other things, a fine essay on adapting Mozart to the screen, a surprisingly undeferrential review of Touch of Evil, and a review of the European background and soil of Billy Wilder.

This collection of six years' (1993-98) of thoughtful and passionate criticism (movie reviews and film theory, and related book reviews) is a delight, and a wonderful primer - on thinking and writing about movies. An elegant and informative Foreword by Michael Wood provides biographical material on Stanley Kauffmann, a lifelong theater and film critic, film and theater professor, and essayist.

Kauffmann sent his first (unsolicited) film review to The New Republic in 1958, and has been their film critic since then. Kauffmann : "The mere physical act of film-going is part of the kinesis of my life- the getting up and going out and the feeling of coming home, which is a somewhat different homecoming feeling from anything else except the theater...To have my life unpunctuated by the physical act of film going is almost like walking with a limp, out of my natural rhythm."

This terrific collection has been divided into a few sections: "Reviews," "Reviewings," "Comment," and "Books." The reviews are written deceptively simply, one of Kauffmann's many subtle abilities. He draws you into his view of a film and its possibilities (realized or not) with gentleness and assuredness. He is never noisy, flippant, or condescending. When he objects to something (and he does, often) he lays it out clearly - and humanely. It's a pleasure.

Kauffmann can be funny, too, and has an innate sense of what is worth re-telling. Kauffmann's wonderful review of Kevin Brownlow's biography of director David Lean starts off: "David Lean began life as a dunce. His kindergarten teacher told his mother that she was afraid he would never be able to read and write. He managed to disprove that prediction, buy otherwise there was little sparkle." Of course Lean, raised a Quaker in London, discovered movies at age 13, and everything changed.

Kauffmann eagerly promotes his favorites (Emma Thompson is one, he has much respect for Warren Beatty, and pays close attention to smaller, unsung filmmakers) and is painstakingly fair to actors and filmmakers -in consistently thoughtful uses of his pulpit. He begins his review of a small Iranian film, "Through the Olive Trees," by expressing his thanks to the friend who prompted him to first have a look at its director's work, and then he thanks the director himself. Kauffmann is a man who loves the medium, and reveres its potential to provide hope and transformation - along with a lot of fun.

These great pieces are definitely worth reading and rereading.

"Heartbreak House" is typical Shaw in character, plot and commentary. His heroine is as easy to like as his villian. The main conflict between daughter and father run a symbolic parallel to the father's break with the entire family. Shaw seems to cut to the chase with his chastisement of the Salvation Army to which he deals the final death blow at the very end.

Though it is a comedy it is very dark and cold. The funny moments are "laugh out loud" funny while a cold tone continues to brood underneath. Unlike the other Shaw I have read, the humour never quiet catches and quenches the icy tone of the play. As with most Shaw, the play ends on an "up". But the rather chilly last scene underscores his social comment on society.

For a fan of Shavian comedy, this play is a thrifty buy.

This is a great Italian play. Written by Luigi Pirandello, Nobel prize in Literature in 1934.
Although the play has been written in 1918 it is a deep psychoanalytical play that could have been written today.
It is the story of three people (Mr. Ponza, Ms. Ponza, Ms. Frola) that move to a new town because their previous town has been destroyed by an earthquake.
Town people become suspicious because Ms. Ponza never leaves her home. So they start asking around. Mr. Ponza says: Ms. Ponza never leaves her room of her own volition. She is putting up a scene for the benefit of Ms. Frola, that would go mad if she was to know the truth about Ms. Ponza's identity.
Ms. Frola says that, indeed, Ms. Ponza is not leaving her room of her own volition, but that the scene she is putting up is for the benefit of Mr. Ponza. HE would go mad if he was to know the truth.

Pirandello uses this play to explore the nature of truth (Does the truth exists? Is the truth unique? Can the truth be known?), the nature of identity (what does it mean to say that a person IS Ms. Ponza and not someone else? what does define a person?) and the nature of mental illness (Who is mad? Mr. Ponza? Ms. Frola? or perhaps is it Ms. Ponza? or all three of them? or whom?) and of the suffering it brings.
These are three major themes in Pirandello's work and come back time and again in most of his work.

I read the play in Italian, but I left my copy in Italy, so when I bought this translation for a present I did not resist and re-read it. The translation is decent. I think the translation is actually good, but Pirandello is especially difficult to translate because he uses ambiguous expressions on purpose. The ambiguity sometimes gets lost in the translation when the translator is forced to choose a meaning over another. For example, the original title of the play is "Cosi' e' (se vi pare)" the translation offered here is "Right You Are (If You Think You Are). This is definitely one of the possible meanings in Italian, but there are at least another two meanings "Right you are (If you like to think you are)" and "This is it (Because you like it this way)". All three meanings matter in the play but the translator had to choose one. Unfortunately, this is a recurrent problem.

The best thing about this book is that it summarizes all the equations in boxes throughout the book. Therefore you don't have to hunt down the equations you need, unlike with many other statistics books. The book's explanations are clear and to the point, and therefore makes a great desk reference.

The one sole downside to this text is its price. $90 is a bit steep for this small light weight volume.

Levy and Lemeshow's text provides practitioners with precise formulas and terrific insights into alternative sampling methods. The exercises at the end of the chapters are particularly useful.

This book collects the hot issues on the very recent deep submicron (less than 0.18um) semiconductor process technology, such as EUV lithography, high and low k materials, CMP, and 300mm wafer. It seems to provide a good guideline to anyone who wonders what it is going on in the semiconductor process industry.

This well written reference book is highly recommended to anyone interested in the technology used to manufacture deep-submicron MOSFETs, i.e., MOSFETs requiring lithography in the 1/4 to 1/8-micron range. The first chapter nicely identifies several practical problems that appeared during the evolution of the MOSFET to ULSI, and the remainder of the book discusses processing solutions to those problems.

Major processing topics include thin gate oxides, self-aligned silicides, high- and low-k dielectrics, double and triple level metal interconnects, dual damascene copper interconnects, copper seed and electroplating technology, deep uv photoresists and tools, chemical-mechanical planarization, and processing issues unique to 300-mm wafers. State of the art CMOS topics including super-steep retrograde channel doping, punchthrough-control implants, source/drain engineering, shallow trench isolation, and more are used to illustrate the integration of deep-submicron processes into manufacturing. Increasing use of Si-Ge heterojunction bipolar transistors and silicon-on-insulator is anticipated and discussed.

This up-to-date book is one of a kind. It is simply required reading for those in the business.

I throughly enjoyed this book. The people are very 4 dimensional in their personalities. The plot line is well thought out and the author knows well how to structure the plot so there are many surprises. To think that a man wrote the book from a woman's stand point is awesome. I hope there is a sequel in the works very soon. Monica is a very believable character, someone I would like to know in the real world. A main charcter with sassiness, morals and humor.

I really enjoyed reading Skulker. This book will have you wondering "what if this really happened", especially with what is going on in our world today. It will have you pondering "how much can we really trust the powers that be??" It is very entertaining and it will have you wondering about what the future holds for us or what it "could" have in store for us. I would recommend for any and everyone to read this book...

Este libro es una referencia seria acerca del estudio de las redes sociales, ya que aborda al tema desde una perspectiva académica y formal, no es muy bueno para aquellos que se están introduciendo al tema, ya que les puede resultar demasiado densa la lectura, sin ambargo para aquellas personas que se dedican a la ciencia e investigación y buscan un tema frontera para iniciar una investigación es excelente.

This volume offers a comprehensive introduction to the field of Social Network Analysis. It's bibliography is extraordinarily complete.

This is the complex and at times frustrating story of a creative genius. Stanley Spencer was a gifted artist with a passion for two women - one who loves him dearly, the other who wishes to be associated with his fame. Stanley veers between the two with a vigour that is tragic. Pam Gems has done a marvellous job of revealing the creative mind of Stanley, while retaining sympathy for his wife. The final scene of this play was one of the most emotional ones I have ever read (or seen at its lengthy run at the Royal national Theatre, London). A brilliant play

I am a theatre student, and absolutely love reading plays. I picked up this play on a whim after my teacher recommended Pam Gems, and started reading. At first, I absolutely HATED this play. With a passion. I thought the language was forced and that Pam Gems was trying to use big words just for the sake of using big words. There was really nothing about the play I liked. But then.... MY LORD!!! I don't know what happened, but I couldn't put the play down. It started to upset me. The characters are incredibly intriguing, the plot is complicated but certainly comprehensible, and the actual play is very theatrical. I would love to see it performed. I highly recommend this play. It is worth the money. **Bottom Line: Out of the many plays that I have read this summer, Stanley is the one that I cannot stop thinking about

I love this book...

hope you could send me a sample copy of it..

hi
i nedd som books for learn about network
lan,wan

as we all know, now is the key time in determining the future of our criminal justice policy. any new soft on crime approaches in the juvenile justice system such as legalizing runaways, parent "training" or even something benevolent as expanding gun tracing would definately cause a totalitarian society in the US to result. It would probably take just a few months. Nuclear war would follow immediately, killing all life on the planet

The orwellian future is something that we see it today is something that can be Abated, however the nationalizing of The 17 cities program. A technichal data base which will not only resualt in the totlaitarian state, but the end of all human exisistence through a bloody INdo-Pak Nuclear war. This war will encompass all of asia and cause a direct russian Russian nato expansion as predicted by Daniel Silver, Justin Oberman, Lucas Cioffi and David Glass of Edgemont Debate