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• Sales Rank: #960381 in Books
• Published on: 2014
• Binding: Paperback
• 653 pages

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[N269.Ebook] Download Exploring Wine: Completely Revised 3rd Edition, by Steven Kolpan, Brian H. Smith, Michael A. Weiss, The Culinary Institute of America (CIA

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The essential wine reference for food and wine aficionados, students, and professionals

Written by the experts who train today's leading chefs and sommeliers, this invaluable guide thoroughly demystifies wine, from the basics of wine production to the nuances of wine lists, wine marketing, and wine service.

Completely revised and updated, this new edition of the critically acclaimed guide features more comprehensive coverage of the wine regions of the world, grape varietals, winemaking, purchasing, tasting, service, and pairing. The expanded food and wine pairing section doesn't just list good pairings, but explains why particular wines and foods pair well with each other. In addition, the book includes easy-to-use and informative charts, tables, and maps, as well as beautiful full-color photographs..

• Packed with the most comprehensive, up-to-date information on wines of the world from the top professionals in the field
• Includes more tasting notes for each region, updated information on the health effects of wine, and an expanded food and wine pairing section
• Features excellent study resources for food and wine students

Expanded, revised, and better than ever, Exploring Wine is a comprehensive resource and ideal companion for wine lovers and students alike.

• Sales Rank: #24822 in Books
• Brand: Wiley Publishers
• Model: #N/A
• Published on: 2010-09-14
• Original language: English
• Number of items: 1
• Dimensions: 11.04" h x 1.98" w x 8.96" l, 6.88 pounds
• Binding: Hardcover
• 800 pages

Amazon.com Review
Amazon Exclusive: Q&A with Author Steven Kolpan

What makes a wine a great “fall wine”?
Much like the season itself, a great “fall wine" should be both bracing and fresh; not as light as a summer sipper, but not as full-bodied and complex as a winter warmer. To me a great “fall wine" could be a full-bodied white – think Chardonnay right off the bat - or a medium-bodied red – think Pinot Noir. These, of course, are familiar, even “safe choices” for the season.

What are your favorite wines for the fall season, and why?
Wines that come to mind are dry whites from Alsace, France – especially Gew�rztraminer and Pinot Gris – because they are substantial wines with lots of floral and spice notes, which reminds me of falling leaves on a windy day. I also love dry Sherry – especially Fino or Manzanilla – in the fall, as it is a wonderful, if under-appreciated, wine with cheeses, soups, fish and seafood, and a terrific match with dishes such as eggplant with garlic sauce, mu shu pork, and other Chinese take-out favorites.

There are so many red wines that provide a warm glow on a chilly evening, and some of my favorites include:

• From the United States: Perhaps my #1 choice for an awesome autumn wine is Zinfandel from California, especially from the Dry Creek Valley in Sonoma County. Good Zin is hearty, but with loads of black fruit and spices on the palate. Seek out those wines with less than 14% alcohol, and save the big-alcohol Zins for the winter months. I also like Pinot Noir from the Willamette Valley of Oregon and the Central Coast appellations of California; wines of balance and finesse.

• From Italy: Dolcetto and Barbera from Piedmont; Chianti and Morellino di Scansano from Tuscany; Valpolicella Ripasso from Veneto; Cannonau from Sardinia.

• From Spain: Rioja , especially the lighter Crianza bottlings, as well as wines from Bierzo (made from the Mencia grape), and Navarra (which, like Rioja, focuses on the Tempranillo grape). These wines are tremendously food-friendly with white meats, lighter red meats, and cheeses.

• From France: Fall is a great time for Beaujolais-Villages, or the under-appreciated Cru Beaujolais (such as Moulin-�-Vent or Brouilly). These wines are great with grilled fish as well as white meats and lean red meats, and will certainly enhance the flavors of seasonal root vegetables. Of course, the Pinot Noir wines of Burgundy are great during this time, but focus on the more accessible, simpler, less expensive wines (Bourgogne, C�te de Beaune-Villages, Mercurey, for example), which are excellent matches for a wide range of foods, from roasted vegetables to beef. Also, try the red wines of the Loire Valley that fly under the radar – Chinon, Bourgueil, or Saumur-Champigny; all of them made from the Cabernet Franc grape, and all of them will work beautifully with roasted white meats.

What new trends are you seeing in wines this year?
A welcome trend is balanced wines with lower alcohol levels, which in a time of climate change/global warming and the resulting super-ripe fruit is a tough trick to pull off. It is important to achieve balance in the wine if it is to play its part at the table as an accompaniment to food, not as a tool to make you drunk.

Another trend that I like is less emphasis on oak to carry the aromatics and flavor profile of the wine, especially white wines, and specifically Chardonnay. We see a lot more unoaked Chardonnay, or when oak is used, the winemakers seem to be exhibiting a lighter touch.

Perhaps the most welcomed trend I’ve observed has to do with the price point of wines. Although hard economic times has led to too much suffering by far too many people, when it comes to wine pricing, we are seeing a “new normal.” That is, good wines are more affordable than ever before, and wine drinkers are discovering that they don’t have to spend a lot of money to enjoy wine. This is a trend that even after our nation returns to good economic health – whenever that is – will, I believe, remain in place. The United States is already the largest consumer of wine in the world (based on dollars spent), and reasonably priced wine as a daily beverage with meals, or even as an “affordable luxury,” will only enhance that standing.

Any recommendations for dishes to pair with this fall’s top wines?
In the fall, thoughts turn to Thanksgiving, and the traditional holiday feast is a blessing for both white and red wines. I love Gew�rztraminer with turkey and all the accompaniments – sweet potatoes, stuffing (that’s “dressing” down South), cranberries, etc. Chardonnay will work well, too, but with less of a wow factor. For reds, I love Zinfandel, especially if there’s sausage and sage in the stuffing/dressing, and plenty of dark meat from the turkey. For subtlety and balance, go with Pinot Noir or Gamay (the grape of Beaujolais).

What can people learn about other seasonal wines and trends in Exploring Wine?
The completely revised new edition of Exploring Wine goes into great depth about current trends in the international wine market, from California to China, from Italy to India, from Germany to Greece, from Canada to Cyprus. We consider the wines of all of these countries, and many more (France, Spain, Portugal, etc), complete with beautiful maps indicating the wine regions of each nation.

In Exploring Wine’s chapter on wine and food pairing, we emphasize the “how” and “why” of matching food and wine, and that, of course, includes notes on enjoying foods and wines “in season.” While wine may not technically be a “seasonal” beverage, clearly our enjoyment is enhanced when we think of it that way; lighter wine with lighter foods in warm weather, more complex and full-bodied wines to accompany heartier foods when the weather gets colder and the snow begins to fall.

Tips from Exploring Wine

Understanding Wine Color
Understanding Wine Barrels
Understanding Food and Wine Pairings

From Library Journal
Why another wine book? First, this one is by wine educators from the Culinary Institute of America, whose other fine works (The New Professional Chef, LJ 8/91) and outstanding reputation lend it gastronomical authority. Second, Exploring Wine has an unfettered clarity, whether explaining formulas to calculate a reasonable price range or steps to produce the most beneficial wine-tasting experience or ways to select from the deluge of international choices. Third, there is a superb chapter on matching food and wine, full of tables and menus, which simultaneously honors classical principles of experimentation and personal preference. If these reasons aren't sufficient, there's the concise background information on wine-making, the world tour of producers, the coffee-table-book photographs, the section devoted to collecting, appendixes of American appellations and official classifications of Bordeaux, and a 12-page glossary. Definitely not just "another wine book." Highly recommended.
Wendy Miller, Lexington P.L., Ky.
Copyright 1996 Reed Business Information, Inc.

Review
"...lively guide..." (New Yorker, 10 December 2001)

Most helpful customer reviews

46 of 47 people found the following review helpful.
A Must Have For Wine Lovers/Learners
By A Customer
I cannot even begin to describe how fantastic this book is. I've been working in gourmet restaurants for about three years now and have checked out many books on wine to try and understand every nook and cranny of wines; most of the time I still felt a little confused. The way the book is organised helps you to easily understand every aspect of wine including the varietals (grapes), laws of appellations for each country and so much more. It's so easy and detailed to understand (studying is still required, trust me) and also uses graphs, maps and tables to make the information even more clear. Yes, the book can be considered a bit pricey, but if you are a student, in the industry or want to know more about your hobby, I can't think of a single reason why this wouldn't be a worthwhile investment. There are cheaper books out there, but the information they provide is no where near the quality you can get with this book; believe me, I've got a mini-wine library where most of the books will now be collecting dust because all the information I need is in this book.
Also recommended: The Oxford Companion to Wine (detailed definitions to wines, regions, etc...); Wine Lover's Companion (nice pocket guide for quick definitions to wine)

17 of 17 people found the following review helpful.
Encyclopedic, informative, and loads of fun.
By Miles D. Moore
If you're looking for a step-by-step guide to the winemaking process, or to the myriad types of wine the world offers, there's no better choice than "Exploring Wine." It's also a great resource for such arcana as the wine industry in Texas, the different estates of Pomerol or an exhaustive list of the prestige cuvees of the various champagne houses. "Exploring Wine" gives you all the minutiae of the history, business and esthetic properties of wine, without ever becoming dull. This being a production of the Culinary Institute of America, "Exploring Wine" even gives you detailed charts of recommended wine and food pairings, as well as sample menus pairing national cuisines with indigenous wines (including South Africa, South America and the Middle East as well as the different regions of France, Italy and California). There's also an informative chapter on the health benefits of wine. "Exploring Wine" is an invaluable resource for the dedicated enophile as well as the average reader with a casual, but real, interest in wine.

16 of 16 people found the following review helpful.
Possibly the best Wines text in the world
By A Customer
I an currently enrolled at the Culinary Institute of America and taking the management of wines and spirits course given by the authors of this wonderful book, Michael Weiss and Steven Kolpan. With, what I would call, a more extensive background of wines and spirits than most CIA students, this book has taught me so much more. It has truly inspired me. The authors have truly inspired me. I can't wait to open its pages every day. "Exploring Wines" has absolutely and undoubtedly "consumed" me. Best wishes. Lynn Pritchard, CIA '97

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Exploring Wine: Completely Revised 3rd Edition, by Steven Kolpan, Brian H. Smith, Michael A. Weiss, The Culinary Institute of America (CIA PDF

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[Q834.Ebook] Download Ebook Rethinking Canada: The Promise of Women's HistoryFrom Oxford University Press

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The fourth edition of Rethinking Canada is representative of the most interesting work done in Canadian and women's history. Including sixteen new essays, this volume boasts the strongest English collection in terms of women and Quebec history and the history of First Nations Peoples. In addition, there are articles on Japanese picture brides, Mennonite refugee women and migrant workers, civilian women during the Second World War, women in northern Canada, and lesbian women in Chatelaine magazine. Recent additions to the text also address the significance of globalization for women's international politics. The editors have carefully balanced the considerations of region, class, and ethnicity, as well as, time period to achieve a collection that covers the broadest possible sweep of Canadian history.

• Sales Rank: #13729048 in Books
• Published on: 2003-09-18
• Original language: English
• Number of items: 1
• Dimensions: 7.00" h x .90" w x 8.90" l,
• Binding: Paperback
• 432 pages

About the Author
Veronica Strong-Boag, Professor in the Department of Educational Studies, University of British Columbia. Mona Gleason, Assistant Professor in the Department of Educational Studies, University of British Columbia. Adele Perry, Assistant Professor of History at St. Paul's College, University of Manitoba.

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[B191.Ebook] Download PDF So You Want to Be a Producer, by Lawrence Turman

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Few jobs in Hollywood are as shrouded in mystery as the role of the producer. What does it take to be a producer, how does one get started, and what on earth does one actually do? In So You Want to Be a Producer Lawrence Turman, the producer of more than forty films, including The Graduate, The River Wild, Short Circuit, and American History X, and Endowed Chair of the famed Peter Stark Producing Program at the University of Southern California, answers these questions and many more.

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• Sales Rank: #83197 in Books
• Brand: Turman, Lawrence
• Model: 1762854
• Published on: 2005-09-06
• Released on: 2005-09-06
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .64" w x 5.20" l, .49 pounds
• Binding: Paperback
• 288 pages

Review
“Turman has made smart, superior films for forty years. This is a no B.S., straight-forward, and clear guide to being a producer.” —Paul Newman, Oscar-winning actor

“A smart, savvy survivor’s guide to the glamorous (and treacherous) producing game.” —Peter Bart, editor in chief, Variety

“Far more than a simple how-to book, Larry tells you what it really takes to get a movie made—and how you can make a career of making movies.” —Jeffrey Katzenberg, cofounder of DreamWorks and executive producer of Shrek 2 and Shark Tale

“It’s worth four years of film school.” —David Brown, four-time Oscar-nominated producer of Chocolat, The Verdict, A Few Good Men, and Jaws

“Whether you’re just starting in this business or a seasoned professional, there is something to be learned from Larry’s book. This is a must-read!” —Jane Rosenthal, cofounder and producer of the Tribeca Film Festival

About the Author
Lawrence Turman has produced more than forty films, including The Graduate, The River Wild, Short Circuit, and American History X, and is the Endowed Chair of the famed Peter Stark Producing Program at the University of Southern California.

Excerpt. � Reprinted by permission. All rights reserved.
WHY BE A PRODUCER?

This [RKO Studio] is the biggest electric train set any boy ever had! —Orson Welles

Why not be a producer? Would you rather sell shoes for a living? Or be an accountant? Both are honorable occupations, but wouldn’t you like to wake up eager to go to work, use every part of yourself while at work, and maybe, just maybe, have a tiny impact on the world? That’s why I’m doing it.

We all like movies. Heck, that’s why you bought this book. We’re all critics, too; we know what is a good movie, and we know what isn’t. A lot of times we even think we know why. I know I do. Indeed, I felt that way long before I got into the movie business. So, how about a job where you’re the one who decides what movie to make, and how it should be made? A producer. That sounded exciting to me a long time ago, and it still does. What’s more, producing is that rare profession where you can start at the top—if you control a super, terrific, dynamite script.

There are many levels and categories of producing: line producers, executive producers, co-producers, associate producers, assistant producers. Line producers are physical production specialists. Executive producers get their credits for anything from arranging the money, to controlling the property, to being manager of the star or director, to being the studio executive overseeing the film. The associate producer title is a catchall, bestowed upon anyone the producer deems worthy. But the real deal is the producer. He or she runs the show. It’s the producer, and only the producer, who accepts the Academy Award for best picture.

I actually feel the same today as I did in 1967, when I was interviewed by a young kid writing for the now-defunct Cinema magazine. That young kid was Curtis Hanson, who has since entered the top echelon of writer-directors with an Academy Award best-screenplay win, plus best-director and best-picture nominations, for L.A. Confidential (after having directed The River Wild for me). When Hanson questioned why I chose to go into filmmaking, I replied: “Nothing could be more rewarding or stimulating. I think everyone in the business feels the same way. If every salary were cut in half, not one person would leave. I chose producing because it would coalesce both my background experience and modicum of ability in business with what I immodestly and laughingly thought of as my good taste and judgment. Boy, what fun to decide whether a picture should be made, to decide or influence a decision that something should be done this way instead of that way, and to see if I can get this artistic quality here within the framework of that kind of budget money there. Each day has new challenges, new battles, new struggles, new frustrations, new satisfactions. Each day as I wake up I figure I’ll walk into the office and get hit with a right to the heart and a left to the kidney, but I love it. It’s uphill all the way because it’s so competitive and ephemeral and frustrating. There are many frustrations within the framework, but the satisfactions are just enormous. Even the complainers love it.”

There’s hardly a better job around. A producer is the person who decides an idea, a character, or a story is worth telling. I initiate every single film project upon which I work; most of them would not have seen the light of day had I not decided to make them.

I really believe that there are things nobody would see unless I photographed them. —Diane Arbus

That’s exactly how I feel about most of the films I’ve produced. I’m the “starter” and also the “finisher,” and am therefore involved in every aspect and most details of production. It may begin with an original idea of mine (Caveman), a book (The Graduate, The Flim-Flam Man), a play (Mass Appeal, The Best Man), reading a play prior to its production (The Great White Hope, Tribute), an original screenplay (Full Moon on Blue Water, Second Thoughts), or an idea a writer brings to me (Running Scared). In all cases, I arrange for the financing, without which a project can’t get off the ground. I work closely with the writer structuring and detailing the story. I select the director and, with him or her, select the actors and consult about the look and style of the picture, as well as the actual production of the film, including hiring the crew, editing, selecting the composer, and discussing what kind of music is to be used and where it should be placed in the film. I am also involved in the ad campaign and the overall marketing and distribution strategies. As producer, I am the editor and sounding board for all the other creative talents, hopefully enhancing their work and coalescing all into a unified whole.

As a producer, you use every part of yourself. It’s always challenging; you’re never bored. It’s creative, it’s working with interesting, diverse people, exercising your taste, your judgment. You also get to meet and know unusual, accomplished people—in my case, everyone from Wernher von Braun, father of the space program, to Noel Coward, to Henry Kissinger. The job involves travel to unusual places, for me from the Kentucky Derby to the car races in Le Mans. Each movie project becomes a journey of discovery. Each has different types of characters; each is in a different setting or environment; each deals with things you haven’t seen or heard before—you’re learning and growing all the time. And each movie involves a new, different set of collaborators—all worldly, creative, and stimulating—and many will become lifelong friends.

I love making movies . . . so much. I mean, there’s plenty of pain and heartache, and every day is a roller coaster. . . . I will never retire. I am a person who wants to discover and learn, and that sort of drives me. . . . The experience of every movie is a different experience of the variables in that equation, and that’s not only exciting and dynamic, but it’s challenging in that trial and error, hopefully, if you’re aware, moves you to a better, more evolved place the next day. —Brian Grazer (Academy Award–winning producer of A Beautiful Mind)

What could be more gratifying? Very little, I think. And I’ve just been talking about the icing on the cake. The cake for me is my personal expression. The idea or theme behind each film I choose to do is my conscious or, sometimes, unconscious signature, through which I express my values to my peers and to the world. I like to think—I do think—that I can affect the world, or at least a few people in it. My concerns, my themes, seem to be consistent. American History X, a film I executive produced, made audiences confront how destructive hate can be. It’s the story of an American racist neo-Nazi skinhead who ultimately rejects that way of life, but whose own brother is murdered as a consequence of his actions. The Great White Hope, which I produced thirty years earlier, was also about racism. It was the story of the first African American heavyweight boxing champion, Jack Johnson, who, by merely holding the title of world’s best, inflamed not only the white boxing establishment but many people throughout America. When Muhammed Ali visited the set, he told me, “That’s my story!”

The idea of getting to sit in a room with a cup of coffee and talk about a story for a few hours is really one of the privileges and pleasures. There’s nothing more fun than talking about some movie like Memoirs of a Geisha, and you sit around with some really smart writer, and you’re talking about how some woman might behave in 1920s Kyoto. And then, literally a half-hour later, you’re talking about Custer and how he changed American history. I just love a day that takes you from ancient Rome to the Old West. —Doug Wick (Academy Award winner for Gladiator)

Even the seemingly “guns and giggles” Running Scared (Billy Crystal’s first screen role), which I co-produced, had a serious underlying theme: two cops (Gregory Hines is the other) who are near retirement decide to play it “safe” and avoid getting hurt by not tempting danger. Except all hell breaks loose and they succeed by reverting to their true natures, by not “running scared.” The moral? You’ve got to try your hardest all the time, whether you’re a cop, athlete, or producer.

The Best Man, based on Gore Vidal’s play and which I co-produced, is a political movie about compromises, backroom deals, distortions of the truth, the power of the press, and the glare of public life, all of which are as pertinent today—if not more so—than decades ago when we made the film. Those themes are pieces of myself. I’d like the titles of those films, plus others I’ve produced, engraved on my tombstone. (Well, there are a couple I’d like excised.)

Is there anything more exhilarating than completing a film that began life as an idea in your head and then sitting in a crowded movie theater, hearing the audience laugh, or hold its collective breath, seeing tears flow, and perhaps hearing some applause? For me, no—unless it’s seeing my sons grow and flourish. But they also began life as an idea in my head.

Is it a roller-coaster ride? For sure. One reason to be a producer is that it’s a damn exciting life. I guarantee you’ll never be bored. But you’ll also never be relaxed. As the great baseball player Satchel Paige said, “Don’t look back. Someone might be gaining on you.” It’s not that it’s a competition with your fellow producers. There are just so few movie slots at each studio, and so many—too damn many—producers chasing them. That’s why you have to be creative. And isn’t using your creativity in trying to make movies, and then actually making them, the biggest reward? I think so. You’re constantly using your imagination, your ingenuity, and your brain power. Each day at work you’ll be living to the fullest. So why not play the game, where you decide what movie to try to make, and sometimes get it made? What beats that? Maybe scoring the winning touchdown in the Super Bowl . . . but even that takes less creativity than producing movies.

Each movie presents a genuine new challenge. On every movie I feel like you learn something you need to know, that I didn’t know. It never gets dull. —Christine Vachon (Far from Heaven, One Hour Photo, Boys Don’t Cry, Happiness)

If your imagination is fired about becoming a producer, I say go for it. Or go for whatever your dream is because if you don’t, you’ll live to regret it. “I shoulda; I coulda,” are words you do not want to even think, much less utter, five or ten years down the road. My favorite line in all of musical literature was written by Oscar Hammerstein, in Carousel: “I let my golden chances pass me by.” Or, as the poem by Whittier says, “Of all sad words of tongue and pen, the saddest are these, it might have been.” However, if someone—family or a friend, perhaps—can talk you out of it, beware . . . you probably won’t make it. It is tough and it is competitive. If you’re not prepared to give 100 percent, just about all the time—and I mean more than an eight- or nine-hour workday—forget about it. But if you are, if you do, I guarantee it’s worth it.

Until one is committed, there is hesitancy, the chance to draw back, always ineffectiveness. Concerning all acts of initiative (and creation), there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one’s favor all manner of unforeseen incidents and meetings and material assistance, which no man could have dreamed would have come his way. Whatever you can do or dream you can, begin it. Boldness has genius, power and magic in it. Begin it now. —J. W. von Goethe

Most helpful customer reviews

0 of 0 people found the following review helpful.
Great book, highly recommendable for anyone who has an interest in producing
By thekushner
If you want to know the basics of producing, this is a great way to get started. Fantastic read. I had to buy it for a film school producing class and honestly wish I had bought this book and not taken the class.

6 of 9 people found the following review helpful.
Great Book for New or Experienced Producers
By Miami Boy
Whether you are an aspiring or experienced producer, this is the book for you. The author packs a lot of information into the 250+ pages. The book is part "motivational," part "how-to," and part "memoir." It all sums up to one of the best and most entertaining producing books I've ever run across. I particular like the author's suggestion that you can maintain your morals and ethics and still be successful in the movie business.

12 of 12 people found the following review helpful.
good information
By T. Neely
This book was great for being in the shoes of a producer. I wouldn't buy this book for tips on HOW to be a producer because you simply won't find any. That said, I enjoyed the book as a means to understand if I would want to subject myself to a producer's lifestyle. Lots of work, little recognition, ego management, gambling for a paycheck. I would recommend this book to anyone considering a career in producing.

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[U476.Ebook] Free PDF The Battle of Gettysburg, by Frank Aretas Haskell

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.

As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

• Published on: 2015-12-04
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x .56" w x 6.14" l, 1.08 pounds
• Binding: Hardcover
• 222 pages

Most helpful customer reviews

1 of 1 people found the following review helpful.
A very personal story.
By therover
Since visiting Gettysburg recently, I read this book as a follow up to see a more personal view of the battle. This book was very informative and an interesting read. I will look for others of this style on other war stories in the future.

1 of 1 people found the following review helpful.
Worth It
By Faustus Rex
Expected more volume and substance but a quick read and from a key participant and witness to the peak moment of Pickets - Pettigrew Charge which makes it a "must" read to the serious Civil War student.

0 of 0 people found the following review helpful.
An excellent description of the battle at Gettysburg
By Leba Hoenig
Colonel Haskell gives readers a very readable account of the three day battle at Gettysburg. This book also containes a very good introduction, preface, and many comments by generals and others about Haskell who died during the battle of Cold Harbor.

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[O944.Ebook] Download The Many Altars of Modernity: Toward a Paradigm for Religion in a Pluralist Age, by Peter L. Berger

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This book is the summation of many decades of work by Peter L. Berger. It outlines a new paradigm for understanding religion and pluralism in an age of multiple modernities. Along the way, Berger addresses a wide range of issues spanning individual faith, inter religious societies, and the political order. The book also includes responses from three eminent scholars of religion: Nancy Ammerman,Detlef Pollack, and Fenggang Yang.

• Sales Rank: #193211 in Books
• Published on: 2014-08-19
• Original language: English
• Number of items: 1
• Dimensions: 9.30" h x .60" w x 6.30" l,
• Binding: Hardcover
• 147 pages

About the Author
Peter L. Berger, Boston University, Boston, MA, USA.

Most helpful customer reviews

17 of 19 people found the following review helpful.
Secularization as Seen by a "Nervous" Christian Sociologist
By Wayne Lusvardi
In his new book sociologist Peter Berger’s recants half of his original single factor theory that societal modernization inevitably leads to secularization. Berger writes we don’t live in an age of unbelief but of doubt that often leads to extremes of moral relativism and fundamentalism of both secular and religious varieties. However, Berger believes most people live in the “pragmatic middle” between fanaticism and nihilism.

To Berger it “doesn’t make sense to talk about pluralism if people don’t talk to each other”. Wherever they do this talking pluralism “cognitively contaminates” their worldview.

Reversing the modernist notion that religion is a form false consciousness Berger says: “what is needed is a theory of secular false consciousness (‘why you are an a___hole’) and of cognitive privilege (‘why I am not’)”. He says some of the secular attempts at such theories are “quite funny”.

Berger describes those non-pragmatic secularists as: “deracinated, individuated, sophisticated, BUT very nervous” and ipso facto threatened by religious persons. Secularists seem to want pluralism less than those who are religious and are surrounded by secularism everywhere.

To Berger, “fundamentalism Balkanizes a society” but “relativism undermines the moral consensus without which no society can survive”. Although Berger doesn’t say this, it may be surmised from his book that in a modern pluralistic society religious institutions are often more secular and secular institutions more religious like.

Sociologist Detlef Pollack (Germany) writes that Berger’s theory is “unconvincing” because secularization still “undermines” religious belief and thus isn’t much different than conventional secularization theory. Contra Berger, Pollack says:

1) “in a widely secularized society many do not make a religious choice at all;
2) Berger’s “Compatibility Theory”of the co-existence of religious and secular discourse is like a married couple who refuse to talk politics because they have different political party allegiancs; and 3) in modern countries religious beliefs are “vague, diffuse and indetermined” rather than falling into the “fundamentalist” or “relativist” camps.

But Pollack’s criticisms seem to support rather than refute Berger’s theory. Contra Pollack, one may not need religion but one can choose it especially at times of life when an “other reality” invades one’s everyday reality, such as love or death. Married couples that are politically incompatible may nonetheless complement each other. Berger says that most people live in the pragmatic middle of the vagueness of civil religion.

Purdue sociologist Fenggang Yang says Berger’s new pluralization theory was already in place 20 years ago in the work of sociologist R. Stephen Warner who wrote that religion in the U.S. is “an open market system” (“Work in Progress Toward a New Paradigm for the Sociological Study of Religion in the U.S.” – 1993). However, over 50 years ago Berger wrote a prescient article “A Market Model for the Analysis of Ecumenicity” in the journal of Social Research (1963, Vol. 30, Issue 2). Berger has been the lead proponent that religious pluralism and institutional market-like competition augments and mediates modernization and secularization long before 1993.

1 of 1 people found the following review helpful.
Great insights as usual
By William S Jamison
As usual great insights, though to some extent this is because they are the usual insights - if you have read In Praise of Doubt for example, it seems there is many repeats. But it is great Berger and clearly the drooling stage of his career is not yet evident!

2 of 10 people found the following review helpful.
English Has 80,00 Plus Words, Ancients Struggled With 5,000: How Is IT We Are So Certain?
By Proctor S. Burress, Jr.
Will someone one please comment as to why in Berger's works or reviews of such there is no mention of the quest for
"certitude" in religion and religious commentary.

Jack Mendohlson wrote of such many decades ago. Why is this seeking of certitude in a contingent world not seen as
essential and explanatory of something in characterizing religious views? Why do we ignore 'certitude' in offering ponderous
explanations of modernism and post modernism?

Yes, yes there is an abundance of discussion of relativism. But how can so many of the illuminati offer their condemnations...mostly...
of 'relativism' in the modern world without contrasting the 'certitude' we inherit from the ancient world? Is it easier to make a living by teaching and preaching about the one and not the other?

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[V394.Ebook] Ebook Download A First Course in the Finite Element Method, by William B. Bickford

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A First Course in the Finite Element Method, by William B. Bickford

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• Sales Rank: #3592114 in Books
• Published on: 1994-03
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x 6.75" w x 1.25" l,
• Binding: Hardcover
• 672 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Good Starting point for beginners.
By A Customer
As the title says, this is a book for beginners in the finite
element method. Gives a fairly good introduction to the
subject taking care to explain all the details. Draws examples
from various fields of mechanical/civil engg. Exercises are
helpful. Upon completion, the reader should be able to code in order to solve
many engg. problems of interest. The book
describes the popular Variational & Galerkin principles
mainly. Would highly recommend it to anyone new to the
subject of finite element.

0 of 0 people found the following review helpful.
A great book!
By engineer
Makes an otherwise complex subject seem simple by the way it is presented.I found it to be an exceptionally well written text, and would encourage anyone who is interested in the subject to buy it. A great book!

See all 2 customer reviews...

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