Turner Books

I've been crocheting for over 2 years now, and I still pick up this book whenever I need extra guidance or a quick reminder on how to perform a specific stitch. I have acquired many crochet books in the past 2 years, but the Beginner's Guide to Crochet is the one book I consistently grab when I sit down to start a new project.

M's Turner always does a great job in her books, so it's no big surprise that she does with this book. If you want to learn how to crochet or if you want to teach crochet, this is an excellent book to start your journey. The instructions are clear and concise and help make the learning process much easier.

I recommend this book highly for beginners.

In a seemingly seamless weaving of four authors'contributions, the publisher has made available an invaluable resource for preachers and also for for those who listen to them. The major contribution is an in depth interviewing of those who hear sermons; a corrolary contribution is the recognition that people hear the same sermon differently (shades of Roshomon). They interviewed persons from 28 different congregations and grouped their responses in "clusters" or "patterns of listening that are present even in the same congregation." The description of these patterns and the last chapter with suggestions about dealing with this phenomenon alone are worth the price of the book.

'Believing in Preaching: What Listeners Hear in Sermons' is the latest book in a four-part series on developing an understanding about how people listen to and respond to sermons and homilies. Supported by the Lilly Endowment, this project has involved many scholars at my seminary and elsewhere. 'Hearing the Sermon: Relationship/Content/Feeling', the second volume by Ronald J. Allen, professor of preaching and New Testament at my seminary, was published in fall 2004. The first volume, 'Listening to Listeners' by many authors, was published in summer 2004.

This series is of homiletical (preaching) resources designed to aid those who preach understand more about the way their sermons are heard and understood. The scholar team brought together a diverse group of people from 28 area congregations to be part of the study. The purpose of this study, this volume and the others forthcoming, could be formed out of the statement in the preface to the first volume, which the scholar team said to the congregation members -- 'Teach us how you listen to sermons so that we can help ministers become more effective preachers.'

This particular volume clusters material gleaned from the interviewing process around ten particular topics, each contained in its own chapter. Much of the material is taken directly from quotes given in the interviews, without too much editing (so that the quotations preserve the nuances of the interviewee's own speaking styles). One of the benefits of this process is the recognition of diversity even within particular congregations. 'Indeed, the authors of this book no longer speak of _the_ way people listen to sermons, as if all of us hear sermons in the same way.'

In terms of formatting, each chapter introduces the topic, including definition or clarification of important terminology. Questions used during the interview process are presented, and answers are given in clusters and sub-clusters - clusters are identified by bold-face type, and sub-clusters are identified by italics. Each chapter ends with a section intended for preachers for assistance in understanding how their own sermons can be strengthened.

Topics identified include some brought up in previous volumes of this series - the purpose of preaching, scriptural authority, embodiment, listener's relationships the preacher, pluralism, and more. Some areas might surprise a preacher - in the chapter on 'Controversy and Challenge in the Preaching Moment', contributing author Dawn Ottoni Wilhelm shares one interviewee's response that congregation members don't have to agree with the stand the preacher is making to believe the pulpit is the right place for such topics to be addressed. Even so, interviewees were better able to identify how these areas might be a problem than they were at what might make them hear such topics in sermons better.

The communal aspect of the preaching/listening experience is brought out in the chapter 'How Preaching Shapes the Faith Community' by Mary Alice Mulligan. Mulligan highlights some things that should be obvious (but often aren't) - that preaching is different from one-on-one conversation, so preachers should not be surprised if the congregation members hear things differently. Again, not all people clustered in the same way, as there were individual, aggregate, and communal identity listeners among the respondents. Mulligan draws on the work of Bonhoeffer, de Tocqueville, and Buttrick to show ways in which preaching and listening/responding can help form community.

In the chapter on 'Embodiment of the Sermon', contributor Diane Turner-Sharazz looks at many aspects such as eye contact, voice, gestures and movement, attire, and other physical aspects, but also the interesting item of 'perceived preacher preparation'. I recall from my own experience having a congregation member once tell me, 'I hate it when a preacher begins a sermon with something like, "On my way over here today I was thinking..."'. This speaks to this issue. If the preacher can't invest enough time in preparing the sermon, why should the listeners?

Among the chapters Ronald Allen contributed is 'Listeners Respond to Preaching in Diverse Ways', which is related to the chapter Allen and Mulligan collaborated on, 'Preaching and Pluralism in the Congregation.' In both of these chapters, a sensitivity to the diversity of listeners is cultivated, not just in terms of gender, race, socio-economic background, and other such aspects, but also in terms of how people listen and that for which they are listening. Allen identifies six broad clusters of responses to sermons (deepening in faith, thoughts, feelings, actions, cumulative responses over time, and negative responses). These responses are not mutually exclusive of each other. In both chapters, the need for preachers to be open and diverse enough in their own methods and styles is called for - 'This pluralism in qualities of preaching that motivate listeners to make positive responses to sermons suggests that a preacher cannot rely on one type of sermonic content to connect with the congregation, but needs to be able to develop sermons that present clear and persuasive ideas, that stir significant feelings, and that represent the preacher as a trustworthy person.'

This is a fascinating volume in the series, not least of which because it does bring together such a diverse body of responses from many voices, woven together with care in the chapters, themselves written by different people.

Victor Turner wrote the forward to this book.

He is not its designer

A book of its time (60s-early 80s), but I'm glad I finally came to it. Generally it contrasts the theories and practices of western innovators (Stanislavski et. al., Brecht, Grotowski, Brooks) against the rituals and traditions of eastern institutions (Kathakali, Noh, Kabuki, ritual events of Bali, India, especially Ramlila). Fascinating diagrams accompany the discussion of performance theory. Loved the essays on performance in "Restoration of Behavior," and "Transported and Transformed." And for both the actor and director, the argument that performance exists somewhere between the "not-me and not-not-me" is compelling.

This book, like most personal accounts of WWII offer insight that you cannot get out of a history book with just facts. Mr. Turner's book is written in very readable prose with a conversational tone that makes you feel your Grandpa is sitting there telling you a story.

In addition to the stories, Mr. Turner offers excellent information about engagements while flying escort, sweeps, recon, navigation, tactics, and more. The info is there if you are knowledgeable about aviation/fighter/etc. but not in any way cumbersome if you are not.

One example is where he went out to find two lost Squadron-mates. He found them far from the nearest base low on fuel and instructed them to climb to a certain altitude, turn down the prop RPM to ~1400 and the manifold pressure up as much as the engine could handle. If that means something to you, it's exciting, if not you just read right through it to the end where they make it to base with fumes in their tanks...still exciting!

This is a great book to pick up and save from a dusty shelf somewhere!

The copy of this book that I have was given to my grandfather by the author.My grandfather is mentioned in the book a few times and is pictured on page 62,photo 12,second from the left.This book gives me some insight into what my grandfather was going through and the people that he was surrounded by.I read this book fairly often and every time I can picture my grandfather telling me old war stories when I was a young boy.

Turner's is a well-summarized, well-written introduction to the tradition of so-called critical cultural studies. This can draw a lot of attention from undergrads to phd-to-bes, from all across the social science and hmanities fields--such as mass media, communication, literature, aesthetics, philosophy, criticism, popular culture. If you believe that there's something missing in the US mainstream social science and humanities, this is the book you must start with.

I mark this book as a required text to my students in my Cultural Studies Course.

Despite, or rather because of it's professed limitation to British Cultural Studies, Turner demonstrates a lot of sensitivity to what is and what is not British Cultural Studies, making any reader immediately aware of how other Cultural Studies traditions may differ. His extremely cogent and clear account takes the reader easily into the heart of Cultural Studies- what quarrels does British Cultural Studies have with other disciplines and what is so unique about its orientation as a discipline?

I loved this book. I felt like I was getting the real inside scoop on the dirty tricks in the auto business. For the first time in my life, I was able to go out and buy a car, without feeling like I was being taken to the cleaners. I was in control! I loved the way the book was written, too. Mr. Raisglid really has a great sense of humor!

I cannot believe that I had so much fun buying my Acura. Using the Books suggestions I paid only $100 over cost and saved alot on my insurance. OH YEA, You will love the Directory chapter with hundreds of auto related discounters... parts, service, insurance, reviews of web sites! I never thought buying a car could be this good!I know what I am getting my auto buying and leasing friends for the Holidays. Good Luck!

This is a wonderful catalogue that accompanies the landmark exhibition that was held at the Beyeler Foundation in Basel, Switzerland in 2004, and at the Phillips Collection in Washington. Apart from the groundbreaking comparative study of both artists, which is very well written and highly informative (a trove of previously unpublished documents), the illustrations are fantastic. One of the most moving series by Miro, the Constellations, some 40 watercolors painted in 1941, are wonderfully echoed in a three-dimensional space by Calder's delicate mobiles of the same period. Highly recommended.

it is always interesting to see how artists and friends influence one another and here is another brilliant examination. alexander calder and joan miro couldn't have been more different, yet, it seems that this factor propelled their friendship. they true friends from the beginning the artists, and their families, remained close throughout their careers. often collaborating on works, sharing ideas or simply exchanging artistic gifts their friendship shines through to their art. this show brings commonalities and collaborations together under one roof (some for the first time ever) and explores the influences behind the objects. bravo to the curators for bringing this to our attention and thanks for the fantastic catalogue that accompanies it!

I found this book very amusing and a lot of fun to read. It is a well-depicted "guide" to a country that is believable and reminiscient, to me, of Tolkien's Shire. It tells the history of the country, describes the inhabitants, and even has a bookmark with the alphabet printed on it. I fully enjoyed reading it, even as a 12-year-old, and highly recommend it to all kids.

This book was fascinating. It had all the information you would ever need to live in the utopia-gone-bad world of the three counties. I liked it and I'm sixteen years old, so it's not just for kids!

R.A. Forczyk's review is very thorough and accurate. I would simply like to emphasize that the Osprey series of books are excellent and this volume on the momentous Battle of Cambrai is very well researched and supported with photos, excellent maps and awe-inspiring artwork. These books are concise, handy reference resources. You do not need to read longer, drawn out books on the Battle of Cambrai because the essential details are cleanly presented by Osprey's authors. This volume is essential to any World War One collection and is of great value to anyone studying the genesis of the tank's application in battle. Another good resource to check out would be Ironclads of Cambrai: The First Great Tank Battle a somewhat dated book but still of great value. For a "cockpit", aerial perspective of this battle, you may wish to check out Arthur Gould Lee's book NO PARACHUTE. He devotes a chapter to his experiences flying ground support missions during the Battle of Cambrai.NO PARACHUTE: A FIGHTER PILOT IN WORLD WAR I

British military historian Alexander Turner, a serving officer in the Irish Guards, provides a valuable and in-depth look at the landmark Battle of Cambrai in 1917. This battle was remarkable both for the first massed use of tanks by the British and by the first large-scale use of Stosstruppen tactics by the Germans on the Western Front. Although many accounts focus too heavily on the tank aspect of this battle - which was really only significant in the first 3 days of an 18-day fight - Turner does a great job filling in the combined arms picture on the contributions of infantry, artillery, cavalry and air units. Furthermore, Turner does not carried away with hand-wringing `might have beens' about the failure to use the initial success of the attack to lead to greater exploitation in depth. As Turner sees it, a big breakthrough was never in the cards and the real issue was whether or not improved artillery and infantry tactics, supported by tanks and close support fighters, could defeat fortified trench systems at a reasonable cost in lives. The answer found on 20 November 1917 was a qualified `yes.' Overall, this volume is a good addition to a First World War library.

In standard Osprey format, the opening sections discuss the origins of the campaign, the opposing leaders, opposing forces and opposing plans. The 9-page section on plans is very good and lays out how the British expected the battle to go (German counterattacks were expected after H+48) and how the Germans expected to use their new defense in depth tactics. The author provides a detailed 3-page order of battle for both sides and also has a table listing British artillery available. Only the section on opposing commanders is a bit weak, listing only 2 British and 2 German senior leaders, but no corps or division leaders.

The campaign narrative itself is 52 pages and covers the fighting in considerable detail. Readers should be able to follow most of the action on the maps provided. The author tends to discount the `tank shock' used in some other accounts and instead stresses the role of British combined arms tactics in quickly crushing most German objectives on the first day. Indeed, he notes that the Germans quickly adapted to tanks and began issuing armor-piercing ammunition to their front-line troops early in the battle. A great deal of the narrative focuses on the attritional battle for Bourlon Woods - another one of those tactical slugfests like Hougomont in 1815 or the Stalingrad Tractor Factory in 1942 that quickly causes the attacker to forget their original intent. The author faults the British intelligence effort for failing to detect the German counterattack preparations that ultimately robbed the British of much of their initial gains, as well as Field Marshal Haig for continuing the fight at Bourlon Woods for days, thereby draining British infantry reserves. In retrospect, the author also suggests that the British Army of 1917 was unready for mobile warfare when it had a brief window of opportunity on 20-21 November and was too focused on consolidating the initial objectives.

Cambrai 1917 has four 2-D Maps (3rd Army Objectives for the Cambrai Operation; British 3rd Army attacks against Bourlon Woods and Fontaine, 27 November; German counterattacks 30 November - 1 December 1917; Final Front-line positions, 7 December 1917) and three 3-D Maps (Flesquieres Ridge and a foothold in Fontaine, 20-21 November 1917; the Lunge for Canal Crossings, 20-21 November 1917; the Battle for Bourlon Wood, 23-25 November 1917). The volume could have used an extra 2-D map, showing initial attack boundaries for each British Division, as these are not depicted on the otherwise very good 3-D maps. However, the 3-D maps are focused enough to add visual impact for discrete parts of the battle. The author also includes a nice 2-D sketch map depicting tank tactics against trenches. The three battle scenes by Peter Dennis (A Tide of Iron - the advance of III Corps on 20 November 1917; the crippling of "Bandit II" in Fontaine, 23 November 1917; Stosstruppen on Canal du Nord, 1 December 1917) are superb, particularly the one showing German infantry close-assaulting the British tank `Bandit II' inside the village of Fontaine. The B/W photographs throughout the volume, mostly from the Imperial War Museum and the Tank Museum, are very good. The volume also has a short bibliography, an index and notes on the battlefield today.

"Of all the gin joints in all the towns in all the world, she walks into mine." Unrequittted love? No one knows it better than Ingrid Bergman and Humphrey Bogart. Paris, Casablanca, does it matter where love meets up again? Reality intrudes, and makes these two face facts. This is the ultimate love story of the century. What this world truly means. Unrequited love, and our responsibility to everyone else. "Fall in love all over again." And I always thought that quote was so corny. Until I saw this. Watch this. You'll really fall in love with Ingrid and Humphrey, and cry at their nobility and their own love. And what they'll do for love. See it. Understand it. There is nothing better.

This commemorative book, published in 1992, certainly does its job of commemorating the movie Casablanca. It's a slender book with tons of photos of the actors, sets, and posters from the movie, and packed with everything you seemingly would want to know about it.

You find out about what led to Casablanca's production, its inspiration, how the actors were chosen, the history occurring at the time that helped it along, the quarrels on set, the difficulties with budget and timing, the process for coming up with the ending of the movie. You learn about the director's accent and odd way of speaking that sometimes confused everyone. (When he asked for a "poodle" and such a dog was brought, he angrily tried to clarify that what he wanted was a "puddle". ) You learn about Bogart's standoffishness to Ingrid Bergman, and Peter Lorre's continual playing of practical jokes on the cast. There's a bio about each actor, and how the movie affected his or her career, and a listing of movies that were intended copies or spinoffs. This is a great book if you love Casablanca, its actors, or want to know about moviemaking of that era.