Sabtu, 29 Juni 2013

[A185.Ebook] PDF Download The Practices of a Healthy Church: Biblical Strategies for Vibrant Church Life and Ministry, by Donald J. Macnair, Esther Lightcap Meek

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The Practices of a Healthy Church: Biblical Strategies for Vibrant Church Life and Ministry, by Donald J. Macnair, Esther Lightcap Meek

The Practices of a Healthy Church: Biblical Strategies for Vibrant Church Life and Ministry, by Donald J. Macnair, Esther Lightcap Meek



The Practices of a Healthy Church: Biblical Strategies for Vibrant Church Life and Ministry, by Donald J. Macnair, Esther Lightcap Meek

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The Practices of a Healthy Church: Biblical Strategies for Vibrant Church Life and Ministry, by Donald J. Macnair, Esther Lightcap Meek

Timeless and fresh insights into the priorities, practices, and strategies of vibrant, ministering churches.

  • Sales Rank: #1097894 in Books
  • Published on: 1999-06-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .62" h x 5.51" w x 8.52" l, .71 pounds
  • Binding: Paperback
  • 253 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Solid principles
By D. G. Monreal
I enjoyed this book and he goes over many clear principles to developing a healthy, growing church. His terminology is focused on Reformed/Presbyterian churches. This isn't a criticism, just an observation. For those in other groups may find it off putting but hopefully if that is you that you will push through and see the clear biblical principles underneath.

0 of 0 people found the following review helpful.
Excellent!
By Kykye
Great condition and Excellent book. Trustworthy seller.
Needed information to further the church in a healthy
way. Important informatin every pastor should read.

4 of 4 people found the following review helpful.
Church growth versus church health
By John Stevenson
The authors set out at the forefront to show that there is a difference between church growth versus church health. Viewing themselves as spiritual athletics trainers, they set forth six practices of a healthy church: (1) It retains its commitment to the Scriptures without compromise, (2) it engages in regular, vibrant worship as its motivation for personal and corporate growth, (3) it trains and utilizes shepherd leadership, (4) it utilizes gifts member initiative with ordained elder accountability, (5) it has a continually modified vision and plan unique to that church body that focuses and implements its purpose and mission and (6) it prayerfully seeks the grace of God as it builds commitment to Biblical health.

These practices are examined, first under the heading of "Body Basics," then by setting forth specific strategies for shaping Biblical leadership, and finally by gaining and implementing a vision.

The book is well-paced as it continually moves from principles to practical application on a regular basis, constantly illustrating both principle and practice with situations from the author's experiences.

We are reminded from the outset of the book that God is more concerned with how we live than in what we produce. The point of this book is not so much about church growth as it is about church health. On the other hand, it is a simple fact that a healthy church is generally a growing church.

When we come to chapter 9, the author switches gears from the merely theoretical to the completely practical as the reader is directed in the steps of finding and implementing a unique vision for his own particular and unique church. The truth is that every church already has a vision, even if it has not been directly voiced or put on paper. At the same time, each church is urged to be deliberate in understanding and determining what is their own unique vision.

"In difficult times as well as in delightful times, God calls us to faithful obedience. He's more concerned about how we live than about what we produce. Yes, in God's time and covenant faithfulness, He does grant wellness. But our part is the process; His is the product" (Page 11).

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The Practices of a Healthy Church: Biblical Strategies for Vibrant Church Life and Ministry, by Donald J. Macnair, Esther Lightcap Meek PDF
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[J827.Ebook] PDF Ebook The Search for the Unified Field Theory (Football Version), by Craig Ross

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The Search for the Unified Field Theory (Football Version), by Craig Ross

This is the author's personal journey as an unauthorized sports reporter and how this led to private conversations with University of Michigan Coach Lloyd Carr and some of his assistant coaches, including description of the kind of meetings that reporters never get to attend. The book also relates an odd turn, taking iconic coach Bo Schembechler's last autograph (on a helmet) to Warren Buffett in Omaha. In addition, the author explores certain statistical metrics, including some unusual ones, and Coach Carr's reactions to these ideas. Ross takes a new look at the transition in coaches at Michigan--- from Carr to Rich Rodriguez--- and details the history of offensive football from 1895 to present day, with a focus on explaining the basics of current spread offenses. The book is marginally gonzo and fun.

  • Sales Rank: #157331 in Books
  • Published on: 2014-07-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.05" w x 6.00" l, 1.36 pounds
  • Binding: Paperback
  • 464 pages

About the Author
Craig Ross is an attorney who lives and practices law in Ann Arbor, Michigan. He does some free-lance sports writing and is honored to share radio time with Brian Cook (MGoBlog) and Ed Feng (The Power Rank) on WTKA. This is his second book on Michigan sports, the first titled The Obscene Diaries of a Michigan Fan (2005).

Most helpful customer reviews

0 of 0 people found the following review helpful.
Hilarious, Insightful and Unique Perspective on Michigan Football
By MHG 712
Now that our savior (Jim Harbaugh) has arrived, you should read this book. Craig loves Michigan football and has been a glorified hanger on for many years. He has a wealth of inside stuff and hilarious stories plus insightful analysis. Even Lloyd Carr was impressed with Craig's unusual theories and insights. Craig takes Michigan football seriously but not himself. That makes this sometimes rambling but always entertaining and hilarious book a must read for all fans of Michigan football. It is a unique perspective on Michigan football and football in general.

1 of 1 people found the following review helpful.
Five Stars
By John Reed
Thanks Craig for another hilarious classic! Go Blue!

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Sabtu, 22 Juni 2013

[F135.Ebook] Download Ebook Membership Website Blueprint For Newbies: Learn Step

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Tags: passive income, e-commerce, membership sites, online business, make money online, business ideas, business start-ups, work from home

  • Sales Rank: #415278 in eBooks
  • Published on: 2014-07-21
  • Released on: 2014-07-21
  • Format: Kindle eBook

Most helpful customer reviews

4 of 4 people found the following review helpful.
This book has a lot of great and useful info and I can easily say that ...
By Rick Morgan
After deciding to move forward with a membership site that I've been contemplating I came across this book. This book has a lot of great and useful info and I can easily say that it is an invaluable reference for anyone thinking of building a membership site with no clue of how to go about it.

3 of 3 people found the following review helpful.
... a book that I downloaded for free but I recommend this book
By honiev
I wasn't expecting much from a book that I downloaded for free but I recommend this book... it got my creative juices flowing. Lots of good info for making money online with membership websites

Honie V

3 of 3 people found the following review helpful.
Helpful and inspiring read.
By Mike Fishbein
Helpful and inspiring read. This book provided some great advice on making a membership website. There are so many opportunities to make money online. This book provides another great example.

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Kamis, 20 Juni 2013

[S238.Ebook] Free Ebook Making Love Real: The Intelligent Couple's Guide to Lasting Intimacy and Passion, by Danielle Harel, Celeste Hirschman

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  • Sales Rank: #103538 in eBooks
  • Published on: 2015-11-23
  • Released on: 2015-11-23
  • Format: Kindle eBook

About the Author
Sex and Relationship Experts Danielle Harel, Ph.D and Celeste Hirschman, M.A, have worked with thousands of clients helping them realize their full sexual and emotional potential. They are the creators of the experiential and cutting edge Somatica Method of sex therapy and relationship coaching and are training other professionals in this revolutionary method. You can find out more about them at www.celesteanddanielle.com

Most helpful customer reviews

6 of 6 people found the following review helpful.
The tools and techniques they present in this book are practical and easy to understand
By Tom Callanan
Danielle and Celeste very clearly know their stuff when it comes to sex and relationships. The tools and techniques they present in this book are practical and easy to understand, even for a guy like me. Why wasn’t I taught this stuff 20 years ago?

5 of 5 people found the following review helpful.
Every couple needs to read this!
By Megan Duchek
Making Love Real is a must-read for anyone craving renewed passion in their love life, a deeper connection with their partner, or simply a better understanding of their own secret desires for love. This book is true to its title! A brilliantly realistic guide to helping couples connect in unthinkable new ways, this book provides insightful tools for every type of relationship to find its own version of REAL love and intimacy. It not only shows readers how to openly and honestly explore their deepest individual desires, but further teaches couples how to create the mutual trust and understanding necessary to share these innermost passions and uncover a greater happiness. Authors, Danielle and Celeste, offer a refreshing perspective on love, and their combined knowledge of sex and relationships is expertly transmitted through relatable stories and an abundance of practical exercises. Entertaining, informative, and thought-provoking from beginning to end…every couple should read this!

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Disappointment is normal, who knew?
By Alley Warren
This is the first book I ever read that deals head on with the challenging topic of what to do if things don’t go the way you want them to in a relationship. The Authors dedicate a whole segment covering what to do with the inevitable disappointments. What I liked most about it was that it pointed out that challenges in relationships are normal and that everything does not have to be perfect all the time in order for a relationship to be a good one. This gave me a renewed sense of hopefulness that challenges can be worked through and they offered great ideas as to how to face them.

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Making Love Real: The Intelligent Couple's Guide to Lasting Intimacy and Passion, by Danielle Harel, Celeste Hirschman PDF

Making Love Real: The Intelligent Couple's Guide to Lasting Intimacy and Passion, by Danielle Harel, Celeste Hirschman PDF
Making Love Real: The Intelligent Couple's Guide to Lasting Intimacy and Passion, by Danielle Harel, Celeste Hirschman PDF

Rabu, 19 Juni 2013

[T626.Ebook] PDF Download The Woman in Black: A Ghost Story, by Susan Hill

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The Woman in Black: A Ghost Story, by Susan Hill

The Woman in Black: A Ghost Story, by Susan Hill



The Woman in Black: A Ghost Story, by Susan Hill

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The Woman in Black: A Ghost Story, by Susan Hill

The classic ghost story from the author of The Mist in the Mirror: a chilling tale about a menacing spectre haunting a small English town. Now a major motion picture starring Daniel Radcliffe. 
 
Arthur Kipps is an up-and-coming London solicitor who is sent to Crythin Gifford—a faraway town in the windswept salt marshes beyond Nine Lives Causeway—to attend the funeral and settle the affairs of a client, Mrs. Alice Drablow of Eel Marsh House. Mrs. Drablow’s house stands at the end of the causeway, wreathed in fog and mystery, but Kipps is unaware of the tragic secrets that lie hidden behind its sheltered windows. The routine business trip he anticipated quickly takes a horrifying turn when he finds himself haunted by a series of mysterious sounds and images—a rocking chair in a deserted nursery, the eerie sound of a pony and trap, a child’s scream in the fog, and, most terrifying of all, a ghostly woman dressed all in black. Psychologically terrifying and deliciously eerie, The Woman in Black is a remarkable thriller of the first rate.

  • Sales Rank: #71700 in Books
  • Brand: Vintage
  • Model: 9780307745316
  • Published on: 2012-01-03
  • Released on: 2012-01-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .56" w x 5.17" l, .39 pounds
  • Binding: Paperback
  • 164 pages
Features
  • Great product!

Review
"A rattling good yarn, the sort that chills the mind as well as the spine." --The Guardian

"Excellent. . . . magnificently eerie. . . . compulsive reading." --Evening Standard

"The most brilliantly effective spine chillder you will ever encounter." --The Daily Telegraph

"[A] highly efficient chiller. . . . Nerve shredding." --The Daily Express

About the Author
Susan Hill has been a professional writer for over fifty years. Her books have won the Whitbread, the John Llewellyn Prize, and the W. Somerset Maugham Award, and have been shortlisted for the Booker Prize. Her novels include Strange Meeting, I`m the King of the Castle and A Kind Man, and she has also published collections of short stories and two autobiographies. Her ghost story, The Woman in Black, has been running in London’s West End since 1988. Susan is married with two adult daughters and lives in North Norfolk.

Excerpt. © Reprinted by permission. All rights reserved.
Christmas Eve

It was nine-thirty on Christmas Eve. As I crossed the long entrance hall of Monk's Piece on my way from the dining room, where we had just enjoyed the first of the happy, festive meals, toward the drawing room and the fire around which my family were now assembled, I paused and then, as I often do in the course of an evening, went to the front door, opened it and stepped outside.

I have always liked to take a breath of the evening, to smell the air, whether it is sweetly scented and balmy with the flowers of midsummer, pungent with the bonfires and leaf-mold of autumn, or crackling cold from frost and snow. I like to look about me at the sky above my head, whether there are moon and stars or utter blackness, and into the darkness ahead of me; I like to listen for the cries of nocturnal creatures and the moaning rise and fall of the wind, or the pattering of rain in the orchard trees, I enjoy the rush of air toward me up the hill from the flat pastures of the river valley.

Tonight, I smelled at once, and with a lightening heart, that there had been a change in the weather. All the previous week, we had had rain, chilling rain and a mist that lay low about the house and over the countryside. From the windows, the view stretched no farther than a yard or two down the garden. It was wretched weather, never seeming to come fully light, and raw, too. There had been no pleasure in walking, the visibility was too poor for any shooting and the dogs were permanently morose and muddy. Inside the house, the lamps were lit throughout the day and the walls of larder, outhouse and cellar oozed damp and smelled sour, the fires sputtered and smoked, burning dismally low.

My spirits have for many years now been excessively affected by the ways of the weather, and I confess that, had it not been for the air of cheerfulness and bustle that prevailed in the rest of the house, I should have been quite cast down in gloom and lethargy, unable to enjoy the flavor of life as I should like and irritated by my own susceptibility. But Esmé is merely stung by inclement weather into a spirited defiance, and so the preparations for our Christmas holiday had this year been more than usually extensive and vigorous.

I took a step or two out from under the shadow of the house so that I could see around me in the moonlight. Monk's Piece stands at the summit of land that rises gent-ly up for some four hundred feet from where the little River Nee traces its winding way in a north to south direction across this fertile, and sheltered, part of the country. Below us are pastures, interspersed with small clumps of mixed, broadleaf woodland. But at our backs for several square miles it is a quite different area of rough scrub and heathland, a patch of wildness in the midst of well-farmed country. We are but two miles from a good- sized village, seven from the principal market town, yet there is an air of remoteness and isolation which makes us feel ourselves to be much further from civilization.

I first saw Monk's Piece one afternoon in high summer, when out driving in the trap with Mr. Bentley. Mr. Bentley was formerly my employer, but I had lately risen to become a full partner in the firm of lawyers to which I had been articled as a young man (and with whom, indeed, I remained for my entire working life). He was at this time nearing the age when he had begun to feel inclined to let slip the reins of responsibility, little by little, from his own hands into mine, though he continued to travel up to our chambers in London at least once a week, until he died in his eighty-second year. But he was becoming more and more of a country-dweller. He was no man for shooting and fishing but, instead, he had immersed himself in the roles of country magistrate and churchwarden, governor of this, that and the other county and parish board, body and committee. I had been both relieved and pleased when finally he took me into full partnership with himself, after so many years, while at the same time believing the position to be no more than my due, for I had done my fair share of the donkey work and borne a good deal of the burden of responsibility for directing the fortunes of the firm with, I felt, inadequate reward-at least in terms of position.

So it came about that I was sitting beside Mr. Bentley on a Sunday afternoon, enjoying the view over the high hawthorn hedgerows across the green, drowsy countryside, as he let his pony take the road back, at a gentle pace, to his somewhat ugly and over-imposing manor house. It was rare for me to sit back and do nothing. In London I lived for my work, apart from some spare time spent in the study and collecting of watercolors. I was then thirty-five and I had been a widower for the past twelve years. I had no taste at all for social life and, although in good general health, was prone to occasional nervous illnesses and conditions, as a result of the experiences I will come to relate. Truth to tell, I was growing old well before my time, a somber, pale-complexioned man with a strained expression-a dull dog.

I remarked to Mr. Bentley on the calm and sweetness of the day, and after a sideways glance in my direction he said, "You should think of getting yourself something in this direction-why not? Pretty little cottage-down there, perhaps?" And he pointed with his whip to where a tiny hamlet was tucked snugly into a bend of the river below, white walls basking in the afternoon sunshine. "Bring yourself out of town some of these Friday afternoons, take to walking, fill yourself up with fresh air and good eggs and cream."

The idea had a charm, but only a distant one, seemingly unrelated to myself, and so I merely smiled and breathed in the warm scents of the grasses and the field flowers and watched the dust kicked up off the lane by the pony's hooves and thought no more about it. Until, that is, we reached a stretch of road leading past a long, perfectly proportioned stone house, set on a rise above a sweeping view down over the whole river valley and then for miles away to the violet-blue line of hills in the distance.

At that moment, I was seized by something I cannot precisely describe, an emotion, a desire-no, it was rather more, a knowledge, a simple certainty, which gripped me, and all so clear and striking that I cried out involuntarily for Mr. Bentley to stop, and, almost before he had time to do so, climbed out of the pony trap into the lane and stood on a grassy knoll, gazing first up at the house, so handsome, so utterly right for the position it occupied, a modest house and yet sure of itself, and then looking across at the country beyond. I had no sense of having been here before, but an absolute conviction that I would come here again, that the house was already mine, bound to me invisibly.

To one side of it, a stream ran between the banks toward the meadow beyond, whence it made its meandering way down to the river.

Mr. Bentley was now looking at me curiously, from the trap. "A fine place," he called.

I nodded, but, quite unable to impart to him any of my extreme emotions, turned my back upon him and walked a few yards up the slope from where I could see the entrance to the old, overgrown orchard that lay behind the house and petered out in long grass and tangled thicket at the far end. Beyond that, I glimpsed the perimeter of some rough- looking, open land. The feeling of conviction I have described was still upon me, and I remember that I was alarmed by it, for I had never been an imaginative or fanciful man and certainly not one given to visions of the future. Indeed, since those earlier experiences I had deliberately avoided all contemplation of any remotely nonmaterial matters, and clung to the prosaic, the visible and tangible.

Nevertheless, I was quite unable to escape the belief-nay, I must call it more, the certain knowledge-that this house was one day to be my own home, that sooner or later, though I had no idea when, I would become the owner of it. When finally I accepted and admitted this to myself, I felt on that instant a profound sense of peace and contentment settle upon me such as I had not known for very many years, and it was with a light heart that I returned to the pony trap, where Mr. Bentley was awaiting me more than a little curiously.

The overwhelming feeling I had experienced at Monk's Piece remained with me, albeit not in the forefront of my mind, when I left the country that afternoon to return to London. I had told Mr. Bentley that if ever he were to hear that the house was for sale, I should be eager to know of it.

Some years later, he did so. I contacted the agents that same day and hours later, without so much as returning to see it again, I had offered for it, and my offer was accepted. A few months prior to this, I had met Esmé Ainley. Our affection for one another had been increasing steadily, but, cursed as I still was by my indecisive nature in all personal and emotional matters, I had remained silent as to my intentions for the future. I had enough sense to take the news about Monk's Piece as a good omen, however, and a week after I had formally become the owner of the house, traveled into the country with Esmé and proposed marriage to her among the trees of the old orchard. This offer, too, was accepted and very shortly afterward we were married and moved at once to Monk's Piece. On that day, I truly believed that I had at last come out from under the long shadow cast by the events of the past and saw from his face and felt from the warmth of his handclasp that Mr. Bentley believed it too, and that a burden had been lifted from his own shoulders. He had always blamed himself, at least in part, for what had happened to me-it had, after all, been he who had sent me on that first journey up to Crythin Gifford, and Eel Marsh House, and to the funeral of Mrs. Drablow.

But all of that could not have been further from my conscious thought at least, as I stood taking in the night air at the door of my house, on that Christmas Eve. For some fourteen years now Monk's Piece had been the happiest of homes-Esmé's and mine, and that of her four children by her first marriage, to Captain Ainley. In the early days I had come here only at weekends and holidays but London life and business began to irk me from the day I bought the place and I was glad indeed to retire permanently into the country at the earliest opportunity.

And, now, it was to this happy home that my family had once again repaired for Christmas. In a moment, I should open the front door and hear the sound of their voices from the drawing room-unless I was abruptly summoned by my wife, fussing about my catching a chill. Certainly, it was very cold and clear at last. The sky was pricked over with stars and the full moon rimmed with a halo of frost. The dampness and fogs of the past week had stolen away like thieves into the night, the paths and the stone walls of the house gleamed palely and my breath smoked on the air.

Upstairs, in the attic bedrooms, Isobel's three young sons-Esmé's grandsons-slept, with stockings tied to their bedposts. There would be no snow for them on the morrow, but Christmas Day would at least wear a bright and cheerful countenance.

There was something in the air that night, something, I suppose, remembered from my own childhood, together with an infection caught from the little boys, that excited me, old as I was. That my peace of mind was about to be disturbed, and memories awakened that I had thought forever dead, I had, naturally, no idea. That I should ever again renew my close acquaintance, if only in the course of vivid recollections and dreams, with mortal dread and terror of spirit, would have seemed at that moment impossible.

I took one last look at the frosty darkness, sighed contentedly, called to the dogs, and went in, anticipating nothing more than a pipe and a glass of good malt whisky beside the crackling fire, in the happy company of my family. As I crossed the hall and entered the drawing room, I felt an uprush of well-being, of the kind I have experienced regularly during my life at Monk's Piece, a sensation that leads on naturally to another, of heartfelt thankfulness. And indeed I did give thanks, at the sight of my family ensconced around the huge fire which Oliver was at that moment building to a perilous height and a fierce blaze with the addition of a further great branch of applewood from an old tree we had felled in the orchard the previous autumn. Oliver is the eldest of Esmé's sons, and bore then, as now, a close resemblance both to his sister Isobel (seated beside her husband, the bearded Aubrey Pearce) and to the brother next in age, Will. All three of them have good, plain, open English faces, inclined to roundness and with hair and eyebrows and lashes of a light chestnut brown-the color of their mother's hair before it became threaded with gray.

At that time, Isobel was only twenty-four years old but already the mother of three young sons, and set fair to produce more. She had the plump, settled air of a matron and an inclination to mother and oversee her husband and brothers as well as her own children. She had been the most sensible, responsible of daughters, she was affectionate and charming, and she seemed to have found, in the calm and level- headed Aubrey Pearce, an ideal partner. Yet at times I caught Esmé looking at her wistfully, and she had more than once voiced, though gently and to me alone, a longing for Isobel to be a little less staid, a little more spirited, even frivolous.

In all honesty, I could not have wished it so. I would not have wished for anything to ruffle the surface of that calm, untroubled sea.

Oliver Ainley, at that time nineteen, and his brother Will, only fourteen months younger, were similarly serious, sober young men at heart, but for the time being they still enjoyed all the exuberance of young puppies, and indeed it seemed to me that Oliver showed rather too few signs of maturity for a young man in his first year at Cambridge and destined, if my advice prevailed with him, for a career at the Bar. Will lay on his stomach before the fire, his face aglow, chin propped upon his hands. Oliver sat nearby, and from time to time a scuffle of their long legs would break out, a kicking and shoving, accompanied by a sudden guffawing, for all the world as if they were ten years old all over again.

Most helpful customer reviews

0 of 0 people found the following review helpful.
setting the stage for a wonderfully traditional ghost story
By Books, Vertigo and Tea
The Woman in Black is one of those rare instances of watched film before reading book. It doesn’t happen often. And I feel confident in saying that in this case it had no affect on my experience. Admittedly, it has been several years since I have watched the film, but still I think that my previous statement would hold true regardless of time passed. I may re-watch this weekend to test that (no scratch that – nonhusband is leaving for week, no ghost stories. Probably will anyways. I live to torment myself apparently.)

Told through the recounting of a very pragmatic narrator Arthur Kipps, this is a classic tale of the paranormal. Attending the funeral of Mrs. Drablow and her estate affairs at Eel Marsh house, the young solicitor is visited by an unwelcome guest, the Woman in Black. As Mr. Kipps discovers the purpose of this visit and its significance, it soon comes to a conclusion in one final moment that will forever alter his life. Now, years later he has decided to commit the events that transpired during his time in Crythin Gifford to pen and tell his story.

“I have sat here at my desk, day after day, night after night, a blank sheet of paper before me, unable to lift my pen, trembling and weeping too.”

I find it important to mention that while this is a dark and eerie tale, it moves at a very slow but not intolerable pace. This is not a thriller. We are gifted with a writing style that is elegant and effortlessly transports the reader into Victorian era England, setting the stage for a wonderfully traditional ghost story. The author utilizes all elements available to construct a remarkably atmospheric and melancholic read.

Admittedly this is not the “terrifying” read one might expect. Shelving it as horror is an undoubted stretch. But do not discredit its merit as far as ghost stories are concerned. First published in 1983, the author has brilliantly established the air of a true classic read. While it does not harbor the gruesome components we have come to know and expect from such a story today, if you allow yourself to be fully immersed within the successful world building and story telling, you soon discover that the underlying plot of revenge is haunting enough in its own right.

“It was true that the ghastly sounds I had heard through the fog had greatly upset me but far worse was what emanated from and surrounded these things and arose to unsteady me, an atmosphere, a force – I do not exactly know what to call it – of evil and uncleanness, of terror and suffering, of malevolence and bitter anger”

Cleverly narrated and written to read as having been authentically conceived in the 19th century, there is a lot to be appreciated and admired within the pages of this chilling tale of revenge. And therein lies the real accomplishment of The Woman in Black. This somewhat Gothic tale is likely to find a welcomed home among the many fans of Poe and more classic tales of fright. A slow burn with a dramatic ending, I can only recommend experiencing The Woman in Black personally to fully understand all that it has to offer. This is what ghost stories are made of.

0 of 0 people found the following review helpful.
Points for Originality, but Not Spooky
By Babychub
This is a book with a haunted house, a small town of fearful residents, a young man who insists on staying in the haunted house overnight, and so forth. You know the drill. One thing I liked was the setting, which was on bare flat ground partially underwater and running to the sea. The haunted house wasn't stuck in a spoooooky forest or on a forbidding cliff. Points for beautiful real estate! It's pictured so well that you half fall in love with it yourself. A lot of the story takes place during the day, even a lot of the haunting, which made a pleasant change. And the young man accepts early on that there is a ghost, so we don't have to spend chapters with him denying the evidence. I liked his common-sense attitude. But this book is not in the least creepy, scary, spooky, or chilling. I am a complete chicken, ready to shriek and dive for the lights with the slightest provocation. I probably should not read ghost stories in the first place. But this book left me unaffected. The mystery of the ghost is very easy to piece together after the first hint. Well, the narrator puzzles over it, but he's kind of obligated to be befuddled, being the narrator. After the narrator describes being terrified by the ghost's presence, you'll find yourself thinking, "Eh, maybe you had to have been there." And after knowing the ghost's terrible secrets, I found myself thinking she had a point with her sad but boring revenge. Are you supposed to root for the evil ghost? I'm not sure if that's a feature or a bug here. I'd have liked to have heard more about the nasty old woman the ghost originally haunted, but she's kept an enigma. It's just Sheeted Betty and the Boy, so to speak. I heard this made a frightening play and a scary movie, so bravo to the people who wrote this into that. But unless you have someone to sneak up and yell boo at you as you read, don't expect much from the book.

3 of 3 people found the following review helpful.
A modern novel written in a classic style... and NOT the movie
By Aisling D.
I bought this after seeing the movie starring Daniel Radcliffe. I wanted to see what the director and scriptwriters had started with.

I was astonished. This book could have been written in the mid-20th century, or much earlier. The style is very gothic and dark, and -- in some ways -- a throwback to the 19th century. I liked it.

In fact, I liked it better than the movie, though the film was extremely stylish and Daniel Radcliffe did a remarkable job with a role involving little dialogue.

The book is a different story. It contains similar elements, and shares a lot of plot elements with the movie, but... it's a different story with a different outcome.

If you're a fan of gothic novels by Mary Stewart, Victoria Holt, Phyllis A. Whitney, and so on, you'll probably like this book, too. It doesn't have the romance of those authors, but the darkness and suspense are definitely in the same genre.

This story is told in the first person, with considerable style. Some sentences run on forever. Others are clipped short. The emotions are conveyed as much by the words as the writing style itself.

This book isn't for everyone. If you hate, say, Dickens or novels by the Brontes, this may not be your cup of tea.

Otherwise, if you like dark tales and sweeping gothic suspense, this is a good choice.

See all 426 customer reviews...

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Minggu, 16 Juni 2013

[T455.Ebook] Ebook Free VBA for AutoCAD 2002: Writing AutoCAD Macros, by Jeffrey E. Clark

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VBA for AutoCAD 2002: Writing AutoCAD Macros, by Jeffrey E. Clark

VBA for AutoCAD 2002: Writing AutoCAD Macros helps you leverage the full power of AutoCAD and VBA to automate complex design tasks, integrate design data across the enterprise, and solve more challenging problems than ever before. Discover how AutoCAD and VBA work together in the real world�and apply VBA�s power to everything from 2D and 3D graphic objects to dimensioning, PaperSpace to database, and Web integration!

  • Sales Rank: #3842084 in Books
  • Color: Cream
  • Published on: 2001-12-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.10" h x 1.60" w x 6.90" l, 2.28 pounds
  • Binding: Paperback
  • 752 pages

From the Back Cover

The practical, realistic guide to AutoCAD problem solving with VBA.

  • Make AutoCAD do more than you ever thought possible!
  • Automate your most complex design tasks
  • Integrate design data with enterprise systems, databases, and the Internet
  • Control PaperSpace, Viewports, and plotting
  • Build a complete AutoCAD database application—step-by-step

AutoCAD 2002 isn't just the world's #1 design and drafting tool. It's a powerful, programmable platform for automating complex design tasks, integrating design data with enterprise information systems, and solving a wide range of technical and business problems. The key to all that power is Visual Basic for Applications. And the key to AutoCAD VBA programming is in your hands: VBA for AutoCAD 2002: Writing AutoCAD Macros.

Clark ties together AutoCAD's key tools and VBA's capabilities as never before, showing how AutoCAD and VBA work together in the real world — and helping you create real-world applications faster than you ever thought possible. One step at a time, you'll:

  • Take control of AutoCAD: master the fundamentals of automation, COM, and object-oriented programming
  • Get comfortable with AutoCAD's VBA Interactive Development Environment
  • Go under the hood with DXF to understand the structure of AutoCAD's drawing database
  • Master the AutoCAD object model: documents, user interface, file management, collections, objects, and beyond
  • Automate 2D and 3D graphic objects, external references, entities, modeled solids, dimensions, and events
  • Use VBA to control PaperSpace, Viewports, and plotting
  • Extend VBA to communicate with other applications and across the Internet

Deepen your skills with a start-to-finish case study application that integrates an AutoCAD drawing with a Microsoft Access database using Microsoft's Data Access Objects (DAO) technology. VBA for AutoCAD 2002: Writing AutoCAD Macros also contains concise references to AutoCAD system and enumerated variables, object inheritance, and graphical entities. If you're ready to leverage all the power built into AutoCAD 2002, this is the book you've been searching for!

About the Author

JEFFREY E. CLARK is project manager with a national consulting and systems integration firm specializing in facility management. He writes Visual Basic/VBA code on a daily basis to help create and maintain facility databases. An AutoCAD user for over 15 years, Clark has developed several commercial AutoCAD applications. His work has been featured in publications ranging from Cadalyst to Facilities Design & Management to PC Magazine.

Excerpt. � Reprinted by permission. All rights reserved.
Preface

Data management has been a central focus of mine throughout most of my 30-plus-year career. As an architect engaged mostly in working with business managers, helping them define their project needs (Should I build, lease, expand, or what? ... And how much do I need?), I needed a computer early on. I began using BASIC in 1970, on a timesharing network, to manage the data I collected and to produce reports.

Thus began my involvement with the BASIC language. I have used many dialects, from the line-numbered, Beginners All-purpose Symbolic Instruction Code that came out of Dartmouth University around 1960, to the modern versions of VB and VBA. These are now among the favored languages for communicating with relational databases such as Oracle, SQL Server, and the like, and for creating content for the Internet.

BASIC was so-named because, as an interpreted language, it was easy to learn by incrementally developing a program, entering a few lines of code at a time, and then testing the result. At the time, however, many professional programmers thought it to be something of a toy. Mr. Gates, on the other hand, was a strong supporter of the language, introducing three levels of BASIC with the first IBM PC in 1981. Cassette BASIC was hardwired into the machines' ROM, and you could only save files to a cassette tape. (I never actually did that!)

The disk and advanced levels were built into Microsoft's first version of its operating system: MS-DOS 1.0. A BASIC compiler (BASCOM) was introduced shortly thereafter, which produced executable programs in .EXE format.

Late in the 1980s, QuickBasic was introduced with the first Interactive Development Environment (IDE) for DOS. This was followed in 1991 by Visual Basic 1.0, in both DOS and Windows versions. Visual Basic (VB) continues its growth in popularity.

Microsoft Word and Excel were the first components of Microsoft Office, and each had its own internal functionality for creating macros, essentially scripts that allowed certain procedures to be automated within the application. Visual Basic for Applications (VBA) was first introduced in Excel in 1993. With the addition of Access, PowerPoint, and other products to the mix, VBA now provides an object-oriented programming environment common to all the Office components. This not only allows the creation of macros within each of the applications, but macros that allow Access, for example, to actually start up and communicate with Excel.

The AutoCAD World

AutoCAD is and always has been a database program. Underlying its graphic interface are lists within lists that define the entities that make up your drawing. During its evolution into a fully Windows-compatible product, many new data-oriented features were added.

Initially conceived as a drafting package and written by engineers, AutoCAD was designed with an accessible data structure that allows both the manipulation of its graphic entities as well as the attachment and extraction of textual and numeric data. Attribute extraction using AutoLISP was at first the only means of manipulating the data within the drawing, and this method was widely used in the DOS days of the mid-1980s, when I began using the application. The AutoCAD SQL Extension (ASE), introduced with Release 12 in the early 90s, provided a rudimentary interface to databases such as DBASE and PARADOX.

AutoCAD was recast in object-oriented C++ with Release 13 and the introduction of the AutoCAD Runtime Extension (ARX). Using ARX requires a programmer capable of creating DLLs using C++, which the average AutoCAD user is not. About the same time, however, AutoCAD users began experimenting with programs written in Visual Basic 3.0 using Dynamic Data Exchange (DDE). Curiously, support for a more robust connection between VB and AutoCAD had been provided in Release 12, but was dropped in Release 13. Autodesk added support for Microsoft's ActiveX Automation interface standard to Release 14, first allowing VBA access to AutoCAD objects.

Autodesk initially released AutoCAD 2000 in the spring of 1999, fully incorporating VBA. Further enhancements focusing on Internet functionality were a feature of the 2000i release in the summer of 2000. The development environment has a look and feel identical to that of any Microsoft Office component. With this convergence, the ability to write AutoCAD macros and communicate with other VBA-enabled applications is now fully accessible to the user.

Now, with the release of AutoCAD 2002, Autodesk has adopted a policy of regular releases, incorporating "technology extensions" in the form of incremental upgrades. The extensions added over each period of time will be incorporated into the latest modular release.

Who This Book Is For

AutoCAD 2002 is the flagship product of Autodesk, which, according to the company's web page "is the world's leading supplier of PC design software and digital content creation." Since its initial release in 1982, well over two million copies of AutoCAD have been shipped. There are nearly 1000 Autodesk Training Centers worldwide, and over one million students are trained on Autodesk products each year.

Eighty five percent of the companies in the Fortune 500 are Autodesk customers, and the firm's products are available in 19 languages. There are, according to Autodesk, over 200 user groups worldwide, along with almost 3000 registered developers.

There are also countless unregistered developers who have no formal relationship with Autodesk. They produce add-ons and customizations both for sale and for their own and their companies' use. The CAD Manager who needs to convert the layers of several hundred drawings received from another consultant is a potential AutoCAD developer. The Facility Manager who needs to link drawing attributes representing occupied and available areas to an Excel spreadsheet can now use VBA to accomplish this.

Automation using VBA allows the user to work on the AutoCAD side, or the Excel side, or in some other application, whichever he or she is more comfortable with. I have routinely used VBA to write SQL scripts to populate database tables, as well accessing and modifying drawings in AutoCAD. I used to do many of these things in AutoLISP, which was the only act in town for 15 years.

This book is for the AutoCAD and Office user who has problems to solve. Users who are already programmers can use it to familiarize themselves with the AutoCAD object model. Users who are not programmers will be able to get started by studying the book's examples.

My paramount goal, more than just presenting the components of VBA, is to tie together the disparate elements of AutoCAD with which you must be reasonably comfortable in order to use VBA effectively. The AutoCAD documentation treats, in unrelated discussions, many of those features that need to work in concert to get a job done. Understanding the DXF file representation, for example, together with some of the basic syntax of AutoLISP as it relates to the underlying database structure, provides the keys to unlocking the AutoCAD drawing and manipulating its data. It is the purpose of this book to provide those necessary links.

What's in the Book?

VBA for AutoCAD 2002: Writing AutoCAD Macros is divided into three major sections:

  • The AutoCAD VBA Environment (Chapters 1-4)
  • Using the AutoCAD Object Model (Chapters 5-17)
  • Communicating with Other Applications and the Internet (Chapters 18-20)
  • There are four appendices containing additional reference material as well as some supplemental utilities and examples. Part Two, Using the AutoCAD Object Model, is by far the longest section, in which the application's numerous collections and objects will be discussed in detail.

    The following outline gives you an overview of what you can expect to see in each chapter.

    Part One: The AutoCAD VBA Environment

    Chapter 1, Taking Control of AutoCAD, introduces you to some of the concepts of Automation and Microsoft's Component Object Model (COM). In it we will talk about what we mean by object-oriented programming; its tripartite foundation of encapsulation, inheritance, and polymorphism; and define such terms as class, interface, and binding. We will look at a programming example that reads data from an Excel worksheet and creates an AutoCAD drawing with it, without either application being visible, in 30 lines of code. Finally, we will introduce a system that we will use to chart all of AutoCAD's methods, properties, and events, categorizing them in a concise reference format that will be used throughout the book.

    Chapter 2, The VBA Environment, shows you how to use the Interactive Development Environment (IDE); how to create, edit, and save VBA projects; and differentiates between global and embedded projects.

    Chapter 3, DXF: Key to the Drawing Structure, goes into some necessary detail about DXF that will add to your understanding of the drawing database. Subclass markers, which are the reflection of AutoCAD's internal object structure, are introduced. We will develop two small VBA projects. One lets you look at selected DXF entity data within an AutoCAD drawing (DWG) file, and the other searches for specified entities in a DXF file. At the end of the chapters we will look at two tiny procedures that do the same thing, one in VBA and one in AutoLISP. You can decide for yourself which is the more accessible of the two languages.

    Chapter 4, Elements of the Object Model, introduces the AutoCAD object model. We will talk a little more about Automation interfaces, but will concentrate on taking a high-level view of the collections and objects that VBA offers within AutoCAD.

    Part Two: Using the AutoCAD Object Model

    Chapter 5, Documents and the User Interface, begins our top-down examination of the object model in detail. In the first part of the chapter we will talk about file management: creating, opening, saving, closing, importing, and exporting drawings. Then we will turn our attention to the user interface, discussing how to control your display and how to handle views and viewports.

    Chapter 6, Collections and Objects, continues our traversal of the object model with a discussion of the Application and Document objects. We will discuss such document-related functions as layer management and then look at how to manage Collections and access the data within the Objects they contain.

    Chapter 7, Utility Objects, concludes our introduction of the AutoCAD object model. In this chapter we will concentrate on functions related to creating and editing drawing data, such as Selection Sets: How to select entities in the drawing in order to do something to them. The utility object includes methods for acquiring and converting the formats of data and accessing the Internet.

    Chapter 8, Blocks and External References, prefaces Chapters 9-11, which deal with the AutoCAD graphic objects, or entities, both two- and three-dimensional. Blocks are complete AutoCAD drawings that have been inserted into other drawings, as symbols in many instances. We discuss Attributes in this chapter, which provide one of the means by which alphanumeric data can be stored and accessed in AutoCAD drawings.

    External References, which are similar to blocks, exist when other drawings are not actually inserted, but references to them are created so that changes appear automatically when the referenced drawings are updated. In Chapter 8 we will create procedures to rename and redefine XRefs, as they are called, while preserving their insertion instances.

    Chapter 9, Entities, covers all 23 basic AutoCAD Entities exclusive of the modeled solids and dimensions. We will dwell at some length upon some of the more interesting ones such as the Multiline, seeing how it is constructed and how to create multiline styles using DXF representation. Both kinds of meshes are treated in detail. We will create a Polyface Mesh from a data table stored in a text file and a Polygon Mesh using an Excel VBA macro and a point matrix stored in a worksheet.

    Chapter 10, Solids, covers the 11 three-dimensional entities in the domain of AutoCAD's solid modeler. In addition to constructing them, we will concentrate on the methods for editing them, creating compound objects using Boolean functions, making sections, and slicing. Finally, we will discuss their mass properties, such as moment of inertia, and what these properties mean.

    Chapter 11, Dimensions, covers the seven basic dimension types together with the Leader and Tolerance objects. We begin this chapter with a discussion of dimension styles and how to manage them. Creating and using special symbols with the tolerance object for annotation purposes is also covered. The remainder of the chapter is devoted to the dimensioning properties, which are categorized according to AutoCAD's dimension style manager. Each property is defined, along with its corresponding system variable.

    Chapter 12, Editing, extends our vocabulary of methods for changing and manipulating AutoCAD objects, such as Copy, Move, and the like. We will spend some time on a subject that is often glossed over, the use of geometric transformation matrices. We will develop a procedure that uses the TransformBy method to dynamically zoom and scale a three-dimensional object.

    Chapter 13, Events, deals with AutoCAD's "inflection points," which occur whenever there is a change of state in the application itself, the drawing you are working on, or an entity. You can write VBA subroutines called event handlers that automatically execute whenever the event to which they are connected occurs.

    Chapter 14, Forms and Controls, covers the principal user interface with VBA programs. Forms are containers for dialog box controls such as command buttons, list boxes, and the like, through which the user directs the program. After introducing the standard toolbox and some tips for using it, we will spend the balance of the chapter developing a utility application to discover how to integrate the form interface with many of the entity creation and editing functions we have been discussing. The utility application, called Relative, copies or moves selected entities relative to an existing location, using a dialog box. Relative also draws lines and polylines relative to a specified start point.

    Chapter 15, PaperSpace and Plotting, will discuss Viewports along with the Plot Configuration and Layout objects, two alternative means of formatting drawings. PaperSpace is AutoCAD's environment intended for setting up drawings to print. We will look at the methods for detecting plotter and media characteristics in order to produce the desired output.

    We will develop a plotting application called BatchPlot, which will format (in paper space) and plot multiple drawings with your desired layer settings. You specify the drawings to be printed using either Visual Basic's common dialog box or a list contained in a text file.

    Chapter 16, Preferences, deals with parts of the AutoCAD object model that control characteristics of the application itself, its environment, and the means of manipulating it, rather than the drawing itself. These are of two types, preferences stored in the registry, corresponding to the tabs on the AutoCAD's dialog box for user options, plus user options stored in the drawing that can be accessed from other applications without the use of AutoCAD itself.

    Chapter 17, Menus, gives you the means of altering AutoCAD's main menu, toolbars, and other menus using VBA.

    Part Three: Communicating with Other Applications and the Internet

    Chapter 18, Extensibility, will demonstrate how you can use VBA to communicate with other applications. It covers extended entity data in detail, introducing some concepts and test data that will be used more extensively in Chapter 19's project.

    This chapter also covers working in a zero document state, the VBA interface itself, and a brief section on ARX application handling.

    Chapter 19, The Facility Project, ties together much of the material presented throughout the book into an application that links an AutoCAD drawing to a Microsoft Access database. The facility project (FP) uses Microsoft's Data Access Objects (DAO) object model to integrate AutoCAD with Access, in order to track area allocation in an office layout.

    Chapter 20, The DWF Object Model, will go beyond AutoCAD, using and give you an understanding of how to use this additional functionality in querying and displaying drawings in DWF format over the Internet. AutoCAD's Whip! viewer, which is freely downloadable for displaying drawings in a browser, also has a VBA programming interface.

    We will develop an Excel-based procedure that locates a specified floor drawing and room based on a row selection in a worksheet.

    Appendices

    Appendix A, System Variables: A dictionary of the AutoCAD system variables, other than those pertaining to dimensions covered in Chapter 11.

    Appendix B, Enums: A listing of AutoCAD's enumerated variables, defined integer constants used in developing VBA macros.

    Appendix C, Object Inheritance: A chart of AutoCAD's COM interface hierarchy.

    Appendix D, DXF Reference: A selection of the basic graphical entities as they are represented in DXF format. An Excel VBA application is included that will read your DXF files and list the various sections in a conveniently readable format.

    Most helpful customer reviews

    1 of 2 people found the following review helpful.
    Not for beginners
    By W. C Davis
    This is a completely inappropriate book for anyone attempting to learn VBA with no prior VBA experience. There is no foundation laid for the examples, they include code that makes absolutely no sense because you haven't been introduced to that information yet. In chapter three the book has several examples of code to find the DXF codes for entities, but never tells you where to save it or how to run it. It's obvious that the author never thought to have someone with no VBA experience preview the book before publishing.

    8 of 8 people found the following review helpful.
    Great book if you know VBA
    By Luther Cifers
    If you already have a working knowledge of VBA and want to integrate AutoCAD with MS Office tools, this is a great book. The author does a good job of making sense and has plenty of good examples. Most definately a worthwhile investment.

    0 of 2 people found the following review helpful.
    Not good enough
    By Javier Aguado
    The book is not good for beginners in vba and it is not good for programming big project.

    See all 3 customer reviews...

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