While I commend J.L. Austin's attempt in How to Do Things With Words to liberate language from the metaphysical pretensions that the logical positivists imposed upon it by investing it with a certain phenomenological value, i.e., via the notion of "the speech act," I cannot help but wonder if Austin's reevaluation of the nature of language carries with it certain puzzling implications, particularly with regard to speaker, she who commits the speech act.

Austin's argument concerning the characteristics of a performative utterance are informed by a specific assumption concerning the origin and evolution of language: to wit, that language in its primitive stage was simply a collection of one-word utterances that are inherently ambiguous in terms of their individual senses. Thus, in order to refine the sense of these one-word utterances, a whole array of supplementary parts of speech evolved, and language became consequently more complex and sophisticated (71). In Austin's nomenclature, the force of a given one-word utterance was too diffuse vis-à-vis the context in which it is uttered and thus quite ambiguous from the addressee's position. In other words, a primitive one-word utterance does not provide the addressee any certainty about how she is to construe it. Therefore, the increasingly sophisticated iterations of language indicate an ongoing effort to refine the sense of an utterance, to give the force of the utterance a more specific and unambiguous valence.

However, Austin also maintains that an unintended consequence of this evolution of language is that it reaches a point where it becomes too sophisticated and thereby re-introduces the very uncertainty it was originally intended to mitigate. He claims that the various parts of speech, and the words that comprise them "lend themselves to equivocation and inadequate discrimination; and moreover, we use them for other purposes, e.g., insinuation," and thus concludes that "the trouble about all these devices has been principally their vagueness of meaning and uncertainty of sure reception" (76). In other words, there is a definite yet non-localizable threshold that an utterance must not cross if it is to remain teleologically oriented toward the clarity and accurate construal on the part of the addressee.

The speech act therefore always navigates between the Scylla and Charybdis of inadequately directed signifying force resulting from the primitiveness of the utterance on one hand, and the over-complexity of the utterance on the other. As a result, the clarity of a given utterance depends almost exclusively on the intention of the speaker; she must in some way remain cognizant of the above-mentioned threshold and therefore deploy the force of her utterance in a way that avoids being too diffuse or unmanageably polyvalent. This is not to claim, however, that the clarity of a given utterance is reducible to some Aristotelian mean; rather the clarity of an utterance depends on how well it reflects the earnestness or sincerity of the speaker. This notion of the speaker's earnestness is deduced from the circumstances surrounding the utterance, as well as the utterance's delivery, e.g., the enveloping context, the speaker's particular emphases, diction and enunciation, etc. The addressee thereby "triangulates" the speaker's specific intention through interpreting the above-mentioned features of the utterance. In short, it is absolutely essential to Austin's project that the speaker mean what she says.

It appears then that Austin's fundamental supposition is tautological: the addressee deduces/approximates the speaker's degree of sincerity through the amount of sincerity the speaker conveys in her utterance, which in turn reflects ipso facto the speaker's sincerity (as a subjective condition). In short, the speaker is found to be in earnest because she is in earnest. Only an utterance of the utmost sincerity-what Austin terms an "explicit performative"-carries with it the closest thing to a guarantee in terms of a clear and accurate construal. This further implies that clarity of utterance is ultimately an ethical consideration, rather than a linguistic or grammatical one, because the speaker's responsibility to her addressee obliges her to be earnest and therefore quite literal in her expression (see Habermas on this point). Unless of course the context in which the utterance is made is one in which it is assumed, either through mutual agreement or convention, that explicit or pure performatives are not necessarily expected nor pertinent, e.g., a comical monologue, a play, etc.

Thus, while Austin's argument in How to Do Things with Words is elegantly schematic, it nevertheless implies a somewhat simplistically idealized and unitary notion of the speaker's subjectivity. In other words, Austin's claims cannot adequately accommodate instances of insincerity that, while perhaps unanticipated, are not exactly inappropriate-such as ironical observations on an immediate situation-because such self-abrogation of the speaker's sincerity renders the utterance "infelicitous" almost to the point of being diabolically caustic with regard to the addressee's apprehension.

At many points, J.L. Austin's How to do Things with Words reads more like a linguistic textbook than a philosophy text. Whether you count this as a benifit or a distraction will depend on your disposition (it certainly beats reading Kant), but whatever your views on the subject, the work is a useful introduction to Speech Act Theory. How to do Things with Words examines a part of language that philosophy has traditionaly ignored, what he dubs the performative utterance. There are certain instances in language where to say something is do perform the very act you say, promising being the perinial example. If I say, under ordinary circumstances, "I promise to do x" then I have promised to do x. Using this seemingly magical fact as his starting point, Austin goes reach profound conclusions about the nature of language and philosophy. Though the tasks Austin sets out to accomplish are largely left uncompleted (he himself admits this) the book will give you the grounding you need to pursue other works in the field, such as those of Searle or Grice. Happy reading!

The mysterious force of language revealed by Austin is one of the most important discoveries in the modern language theories.

There are few books I dislike, but this book was one of the few that came close. While I enjoyed some of Austin's imagery, it seemed she went around in circles and never get to a destinaton. It was like reading a bunch of settings, but never getting any plot. The highlight of the book was Seyavi, the basket maker but the book itself seemed to be lacking. If you're looking for nature writing, read Linda Hogan's "Dwellings." It's a lot more personal.

I used to live write down the street from Mary Austin's old house in the Owen's Valley. I found her life very interesting and maybe from reading this book you get more of an inside on what her life was like.

Austin lived in the Owens Valley during a turbulent period at the turn of the century, and she observes the people and wild things dwelling there with a novelist's eye. But what sets this gem above all the rest is simply her writing, the plain beauty of her voice and phrasing. She achieves a tone that is somehow at once wistful and tinged with levity, very gently ironic yet always loving. Her words caress their subjects like -- well, like the pen and ink drawings that graced the original publication in 19-ought-whatever. They evoke all the richness of the place, its austerity, its pathos, its beauty, with a gentle affection that is sweet but never cloying, sometimes sad but never downcast. It has a kind of Zen translucency, filtered through the gently humorous, sensitive lens of a literary genius.

this is a good read. fast moving, read it in two sittings. don't know anything about the writer! no bi on book cover or inside! but well worth the time finding and reading it

This book was given to me for Xmas. I like it very much . . But a strange book. I know nothing about the writer, but she is a looker from the photo. And never new what the story was about untill it unfolded. It was well worth the read. Thank you Paul for the book.

This was a bone-chillingly great book, and I consider it number one on my recommended summer/fall reading list. The plot moved at a great pace and just when I thought I knew "who done it," there were more surprises in store for me. For those who love suspense fiction, this book will leave you very satified. Wendy DeVere Austin's book is also written under the title "Still Waters Run Deep." I was so gripped by this book that it left me with a nervous butterfly feeling hours after I finished, wishing there was more to read! To be continued...I hope!

I can't say where this story first went wrong, but it was certainly at the point where Kitty Pryde wants to end her suffering and it takes a little child like Franklin Richards to talk her out of it. However the way he does it is done with over-written dialoge and a climax that makes the movie Batman and Robin look great by contrast.Claremont should just stop writing comics period. he has nothing to say anymore.

This mini-serie is as close to perfect storystelling as you can get . The 'Reed's diary plot' is incredible . It seems to me the FF were created only to have this one story told . The Ben Grimm/Thing pages are terrific ,highly emotional . Claremont at his very best . Plus Jon Bogdanove pencils and Terry Austin inks !

For anyone dissatisfied with Chris Claremont's current work on FF, or thirsting to see some classic Claremont work on both X-Men and the Fantastic Four, read this series. The characterization of both teams is excellent, and Claremont excels at telling an intriguing tale involving the very origin of the Fantastic Four and a vital turning point in the life of Kitty Pryde. Franklin Richards is the focus of this book, and his take on his family and on the plight of Kitty Pryde is fantastic. Read it.

Completely absent are good details about points of interest and restaurants, especially in sections for Florence, Venice, Oxford. Many authors means varied levels of expertise, so while the Barcelona section pointed us to some good, non-touristic restaurants, the Italy section was appalling.

Example: The only restaurants Florence has to offer the independant traveller, per this guide, are a handful of places with Japanese on the menu (dead give-away locals aren't wasting their lira there), overpriced... I was glad to have my Europe by the Back Door with me, or I'd never have found the good authentic places in my brief stay there. In Rome, the restaurant choices are simply glossed over (oh, they do get specific about where to find McDonalds).

Simply, the guide just wasn't enough for our five country, six week stay. Was so glad for the other guides I brought along. A waste & a shame. LP has spread itself too thin... they are great for Asian destinations (and I have blindly and happily used them for many Asian travels), only sporadically good for Europe. Paris LP is excellent, for example.

Recientemente hice mi primer viaje a 8 ciudades europeas (Londres, Bruselas, Berna, Roma, Florencia, Barcelona, Madrid y Paris) usando este libro, usando sus recomendaciones en hoteles, museos y otras atracciones, lo único que deberían mejorar son los mapas, pero se complementa bien con los mapas que regalan en las agencias de información turística. Muy buen libro, muy actualizado.

Extremely happy with Western Europe (from Lonely Planet). Glad my friend showed it & recommended it to me. I especially like the fact that it's very brief but includes many towns/cities. Not very comprehensive, but who wants to carry around a 5-volume of European cities? Sometimes, you happen to be in an area that you don't plan to visit, but would like to know if the area has anything to offer. And this book gives you such insight! Great in terms of having campsites of all the cities, as well as other reasonable accommodation. Highly recommend it to all. Wish I had found out about it sooner.

The book was good, but a little boring... after reading it once, I gave it away.

Book reminds you of what is important in life. Wonderful idea for a gift, especially for someone who is going through rough times.

I liked this book a very lot

I bought this book on the basis of the above review and was looking forward to a gripping tale of Napoleon's retreat from Moscow. Instead, I found a book bogged down with with the author's attempt to document too many minute details. The writing style is choppy and confusing. I'm sure as a reference book it is very well researched, but it is not at all what I would call a "good read". I gave up after several chapters.

This excellent volume, superbly documented, paints a realistic, grim, and completely readable picture of the Grande Armee's retreat from Moscow. Much new information has been uncovered and used, and this is one of the best books on the subject available today in English. The third of three books by the same author on the Russian campaign, it tells the tale of one of the most tragic and gripping events of the Napoleonic Wars.

The retreat was gruesome. During it, Napoleon reached his nadir as a soldier, but somewhere, possibly during one of the running fights with Cossacks or other Russian irregulars, he regained his identity and courage, and got the remnants of his army out of Russia, the survivors he later proudly nicknamed his 'men of bronze.'

Without a doubt, the French and allied survivors were the toughest men in the Grande Armee by virtue of their getting out of Russia. The best and proudest moment for all concerned, except the Russians of course, was the assault crossing of the Berezina River, the last obstacle facing the Grande Armee on its way home.

Chased by two, and the river line held by another Russian army, the professionalism and stark fighting qualities of Napoleon's soldiers sorted themselves out and they executed a flawless operation, defeating two Russian armies and outrunning a third. Building the bridges they needed as they went, they fought their way across against almost overwhelming numbers of men and guns, the French and their trusted allies, Swiss, Germans, and Poles, outfighting their Muscovite opponents and leaving Russia as victors.

This story has many eyewitnesses, doctors, privates, generals, colonels, and one French actress. They tell of the horror and suffering, of high deeds, and the hopelessness of the snow covered vastness that is Russia in the winter.

This book is excellent, and along with its two partners, deserves wider reading. It is a superb reference for study or fun, and all three have now been produced in one volume.

In this final volume of the trilogy horror is piled on horror as the remnants of the Grand Armee, of its camp followers, and of the pathetic survivors of the pre-war French colony in Moscow struggle westwards through snow and ice, dogged at every step by swarms of Cossacks and the focus of converging Russian armies. Almost every page finds heights of human heroism and sacrifice contrasted with extreme examples of cowardice, selfishness and cruelty. One always knew that the Retreat from Moscow was an unparalleled disaster, but until one reads this fusing of so many first-hand accounts once never realised just how bad it was. The collapse of discipline, hope and decency is graphically depicted yet in the midst of it perhaps the greatest surprise is how effectively some units, not always necessarily elite ones, still managed to stage effective defensive and rearguard actions, without which the disaster would have even more total. (Readers will inevitably find close and indeed uncanny echoes of Anthony Beevor's recent "Stalingrad"). The story is inevitably dominated by Marshal Ney, who comes across as an even more magnificent battlefield-commander than even his "Bravest of the Brave" title suggests, but Prince Eugene Beauharnais, runs him a close second as a splendid, resourceful and indomitable leader in adversity. The pace of the narrative never lets up and indeed the chapters surrounding the loss of the Berezina bridge to the Russians and the subsequent efforts to get the survivors across by improvised field bridging, in appalling conditions, achieve an almost unbearable level of suspense. It is a measure of the writing that, though one knows the outcome, one still hopes page by page that some miracle will still happen. Many of the personalities whose accounts feature in the earlier volumes appear here again, adding to the reader's sense of familiarity. Like its predecessors, this volume cannot be too highly recommended - it is a magnificent achievement and must surely assume classic status.

I am a hadware design engineer by living and purchased this
book hoping to learn more about pc bus standards, and pc
architecture. However, I quickly gave up on reading this
book. There is a lot of very detailed information in the
book - for example several pages of oscilloscope waveforms.
They fatten up the book. But, not much information is really
conveyed by them. A chapter on the AGP bus is very poorly
written. Did anybody knowledgable actually edit or review this
book before it was published? I was very disappointed
and ultimately had to obtain my information from other sources.
It seemed like the book tried to take a big standard, such as
AGP, and select random bits of detail from it to present. The
problem is that the book tries to go to far in depth for
the amount of text devoted to each subject and the effect is
a jumble of random, very detailed information which does not
make much sense. Furthermore, I found a LOT of editorial
mistakes which were very serious. Using the wrong term in
some contexts makes key information hard to decipher.

This is a great book on the PC architecture. The guy above seems to doubt the title with "Although the book says it's advanced". I found it to be advanced in the respect that it does not baby you through PC architecture basics and goes straight into the details and doesn't hold anything back. It's well written and doesn't leave anything out. I found the information to be current, covering Pentium 3 cpus and Hub-based motherboard architectures and making reference to newer Pentium 4s. (AMD's line of processors as well). The book also has programming examples and sample programs in C and Assembly, though not making it a major focus of the book. I found it to be a great buy!

I bought this textbook as a supplementary resource book for a Microprocessor class at school. It can be used as either a textbook for undergraduate and graduate courses in PC Architecture or as a general resource guide for practicing engineers. It provides a comprehensive, practical coverage of PC architecture in an easy-to-read writing style. Although the book says it's advanced and provides advanced topics, it also provides a good simplified foundation to understanding the components of the PC.

The format of the book is intuitive and modernized. There are many functional block diagrams of various configurations and interesting boxed notes throughout the book. There are also many remarkable data and facts items conveniently located all through the book. You'll also find many insightful comparison lists, tables, and diagrams that help clarify concepts. Overall I like the writing style, format, and layout of the book.

The book describes each of the main PC processors and compares their performance. It also observes the different types of main interface devices and shows how they work with the complete system. Past, current, and future motherboards are discussed in detail so that students and professionals can understand how data is passed around the PC. The text illustrates general PC Architecture principles and design methodologies. It is written on the premise that the student may know the basic components of a computer system but may have not had any formal training. The authors have done an admiral job at providing a complete picture of the workings of a PC.

SOME (but not all) of the topics covered in each chapter include:
1) The History of computers. How computers have evolved. Which computers have flopped and which have been successful. Top Achievers and Under-achievers.
2) PC Basics, Buses, Interrupts, Interfacing, How Bios works
3) Introduction to Intel Processors, A close-up look at the Processor. The 8088. Memory addressing.
4) 8086 Basics, Assembly language elements, timing, and moving data around in Memory.
5) 80486. Specifics about the processor, data definition, equates, memory, and timing.
6) Bus Cycles, Bus Controller and Direct Memory Access.
7) CMOS, Memory and I/O, and Ports
8) Universal Asynchronous Receiver Transmitter (UART) and Programmable Interrupt Controller (PIC)
9) Programmable Peripheral Interface (PPI) and Programmable Timer Controller (PTC)
10) Introduction to the Pentium. Overview, Development and Terminology. Also details the Pentium II and Pentium Pro.
11) Transaction Phase Signals and additional Pentium Pro Signmals
12) Memory basics, subsystems, and errors.
13) MMX Technology. Also profile of Pentium II.
14) Instruction Execution in general. The Pentium II block diagram, execution implementation, bus features, etc. Other transaction types and phases.
15) SC242 Signals and other signals.
16) Processor Developments. Various Processors. Detail of x84-64 Architecture
17) Interface Buses. The PC, ISA, and other Legacy busses. Comparisons of different interface bus types.
18) PCI Bus. Bus cycles, PCI operation, functional signal groups, cycle timing diagrams, pins, and faults. I/O Addressing
19) IDE Section. Tracks and Sectors, The IDE interface and communication. Hard Disks, Optical Storage, File systems, and Magnetic Tape.
20) SCSI types, Interface, Operation, and Commands.
21) PCMCIA (PC Card). Registers and various types and Pin Connections.
22) USB and Firewire,
23) Games Port, Keyboard and Mouse,
24) AGP and more PCI. AGP Connections, Configuration. Register and Pin Descriptions.
25) RS-232. Programs, communications between nodes, and Interface
26) Parallel Port. I/O Addressing. Interrupts, Interface, Data Handshaking, and ECP/EPP Mode.
27) PC Motherboards. Different motherboards such as the Intel HX, TX, 450NX PCIset, and 450KX PCIset.
28) Hub-based Architecture. 810E, 820, and 840 Chipsets.

Cryptic, unnecessarily mysterious. This is the kind of work that turns people off from poetry. I tried to get something from the poems, but mainly I got a headache. There was one poem about Jesus I liked and that was it.

I think this is the product of MFA programs. The thinking is that if you don't have something to say, craft it as well as you can, and then it will look like you have something to say.

Austin Hummell's The Fugitive Kind is an example of what lyric poetry should be. The music of the book is beautiful and the imagery stark and imaginative. I would recommend this work to any serious poet or reader of serious poetry. An example of lyric poetry at its best.

These poems have a great range for an initial collection. The dynamic between language, the world, and the imagination is original and moving. You should get this book so that you can say you heard of Austin Hummell before any of your friends did.

This book was awful. I couldn't finish it, it made me sodisgusted. A woman in an agonizing, no win love affair with a violentman who makes continous bad choices. How could this woman love this man and give up everything for him? His stupidity brought her much pain and despair. It's a story of pain and suffering and I lost all respect for the warrior whose thirst for blood seemed to be more dominating than his love of this poor girl. There is no happiness in this book. None. Yuck Yuck Yuck.

I loved this book! It's a great way to escape from personal problems and stresses. There is plenty of action, adventure and romance in this novel. I've read it at least 5 time since I got it! It is definately a great "bath tub" book.

Azalee La Fontaine is sixteen years old. But by the strict rules of Creole society in 1814 New Orleans, she is still considered a child, not even permitted to join the dancing at parties. Rebelling against the rules, she dances with Lieutenant Johnny Trent, a handsome young American soldier. But when she breaks the rules one too many times, putting herself and others in danger, Azalee's father and grandmother decide to banish her to her aunt's remote plantation. But the journey turns dangerous when the British capture her. Will anyone come to rescue her in time? And will Johnny ever see her as more than a spoiled girl who he believes led him on? I highly recommend this historical romance to teenage girls. It's really too bad that it's out of print and hard to find.