[E719.Ebook] PDF Ebook Principles of Strategic Management (Innovative Business Textbooks), by Tony Morden

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• Sales Rank: #4767288 in Books
• Published on: 2007-04-28
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 6.25" w x 2.00" l, 1.10 pounds
• Binding: Hardcover
• 640 pages

Review
'A tour de force which deserves to become the standard reference in its field. It is contemporary and international in outlook. While comprehensive, it is also accessible and practical. It should prove invaluable, whether to students or managers engaged in issues of strategy.' Jeremy Wilcock, (former Head of Strategic Planning, Reckitt & Colman Global Pharmaceuticals), University of Hull, UK 'This book is an excellent introduction to strategy and planning; it provides a comprehensive review of key concepts and techniques and is written in a concise and engaging style.' Dr. Francesca Mariotti, University of Stirling UK. 'A must have reference for all those who aspire to, or already hold, a business leadership position responsible for re-imagining the business. Morden gives a concise insight to setting and defining strategic direction and goals.' Charles Azzopardi, Hotel Manager, Le Meridien Phoenicia, Malta 'Principles of Strategic Management is a comprehensive text at MBA level, the book coherently and concisely draws upon classic management models and concepts in a refreshing, stimulating and thought provoking manner. An essential text.' Amazon Kindle Store Reviewer

About the Author
Tony Morden is an author and lecturer in strategy and management He is the author of the Ashgate text Principles of Management, which is now available in Chinese language and Arabic editions.

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[L357.Ebook] Ebook Free A Commentary on the Revelation of John, by George Eldon Ladd

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A scholarly and comprehensive exposition of Revelation written in the language of the layperson. The verse-by-verse commentary is preceded by a brief discussion of authorship, date, setting, structure, and various methods of interpretation as well as by an analytical outline of the book.

• Sales Rank: #552038 in Books
• Published on: 1972-01-10
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .75" w x 5.50" l, .83 pounds
• Binding: Paperback
• 308 pages

From the Back Cover
In this widely praised exposition of Revelation, George Eldon Ladd treats the Apocalypse as a true prophecy--one that reflects the situation of the church when the book was written as well as the situation the church will face at the time of the consummation of God's redemptive plan.

About the Author
George Eldon Ladd (1911–1982) was professor of New Testament exegesis and theology at Fuller Theological Seminary, Pasadena, California. His numerous books include The New Testament and Criticism, A Commentary on the Revelation of John, and T

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48 of 51 people found the following review helpful.
A Thorough and Readable Commentary
By Annette Dexter
George Eldon Ladd has written a highly informative and readable overview of Revelations in the form of a verse-by-verse commentary. While Ladd presents his understanding of Revelations from a non-dispensationalist premillenialist (and post-tribulationalist) position, there is no trace of polemics in his discussion of alternate interpretations of particular verses, or of the philosophies underlying different readings of the book as a whole.
The book opens with a brief introduction to the authorship, date, and setting of Revelations, then proceeds with a discussion of four possible methods of interpretation-preterist, historical, idealist, and futurist. While he describes his understanding as "a blending of the preterist and the futurist methods", those who consider themselves preterists might be surprised at Ladd's definition of preterism. Ladd describes preterism as the view that apocalyptic literature contains "tracts for hard times", but no prophecy, and that the apparent prophecies of Revelations neither were fulfilled, nor will be. Given this definition, it is difficult to understand why Ladd describes himself as a preterist-futurist in his understanding of Revelations. From his own definitions, it would be easier to see him as an idealist-futurist.
Following the introductory chapter, Ladd proceeds directly to a verse-by-verse commentary of Revelations. I am not usually fond of this format in theological works, but nevertheless found this book very stimulating. Clearly well versed in Greek and Hebrew, Ladd goes into depth on many specifics of theology contained in Revelations. Most satisfyingly, he constantly links his interpretations of the text to passages found elsewhere in Scripture, in the process offering a fresh new view of the message of the book as a whole.
It is possible that some readers, accustomed to a highly literal reading of Revelations, might find this book troubling. Pointing to "the fluidity of apocalyptic language", Ladd interprets the visions of John as representing real future (or in some cases past) events, but visions to be understood more in terms of their underlying meaning, than in terms of specific details. In additon, at a number of points, Ladd is also critical of the underlying Greek text or English translation of the Authorized Version, preferring the Revised Standard Version or in some cases the NEB. While these factors may displease some, I came away from the book with the impression of an author convinced of the truth and importance of Scripture, and a man with important theological insights. Certainly I plan to read more of his books!

32 of 33 people found the following review helpful.
A readable commentary on Revelation:
By rossuk
This is one of the better verse by verse commentaries on Revelation. It is very readable making it suitable for the layman and there is sufficient information to make it a good introduction for the student. He assumes the traditional late date and uses a mixture of the preterist and futurist interpretation in which the beast is both Rome and the eschatological Antichrist. He sees Revelation as a prophecy about the destiny of the church, the 144,000 being the church, although he sees the two witnesses as two eschatological prophets rather than the church. There is little or no Greek and footnotes are kept to a minimum.

Note: Among 7 recent scholarly commentaries on Revelation Ladd is the 14th most cited author.

4 of 4 people found the following review helpful.
An excellent commentary from the historical premillennial camp
By Diane Montgomery
This is a reasonably short and easy to read commentary on Revelation, with some but not much technical/linguistic material. He spends some time reviewing alternative interpretations, but generally focuses on historical premillennial interpretation. He treats the Bible as the authoritative Word of God while still viewing much of the material in Revelation as symbolic. Generally a very good commentary.

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• Published on: 1600
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Complete guide for materials, engineering, modeling and processing of novel syntactic material Lightweight metal-type foams for aeronautical, recreational and electronic applications

Focused on a new type of material, the book investigates the elements, synthesis and practical applications of metal matrix syntactic foams, which share properties of foams and metal matrix composites. The text reviews how syntactic foams are synthesized from different types of hollow particles and metal matrixes. Part one explains processing techniques such as solidification and powder metallurgy and discusses foams made from a variety of matrix metals. Part two compares different syntactic foams based on density and strain rate. Original experimental data and modeling information are provided that show how metal matrix syntactic foams can be used for lighter weight components in vehicles, as well as for sensors and biomaterials.

• Sales Rank: #3806803 in Books
• Published on: 2014-07-01
• Original language: English
• Dimensions: 9.50" h x 6.00" w x 1.25" l, 1.44 pounds
• Binding: Hardcover
• 370 pages

About the Author
Nikhil Gupta, New York University, Polytechnic School of Engineering

Pradeep K. Rohatgi, University of Wisconsin-Milwaukee

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An indispensable tool for all landscape architects, this time-saving guide answers the most frequently asked questions in one pocket-sized volume. It is a concise, easy-to-read reference that gives instant access to a wide range of information needed on a daily basis, both out on site and in the office.

Covering all the major topics, including hard landscaping, soft landscaping as well as planning and legislation, the pocket book also includes a handy glossary of important terms, useful calculations and helpful contacts. Not only an essential tool for everyday queries on British standards and procedures, this is a first point of reference for those seeking more extensive, supplementary sources of information, including websites and further publications.

This new edition incorporates updates and revisions from key planning and environmental legislation, guidelines and national standards.

• Sales Rank: #926154 in eBooks
• Published on: 2013-04-17
• Released on: 2013-04-17
• Format: Kindle eBook

About the Author

Rachel Tennant�and Nicola Garmory are Directors of TGP Landscape Architects and each have over 25 years' experience.� Siobhan Vernon has over 16 years experience practising and is currently an Associate�with�Austin-Smith:Lord.� All three were the authors of the last edition of the pocketbook, and are Chartered Landscape Architects.

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[Q229.Ebook] Fee Download First Thousand Words in Russian (Usborne First Thousand Words), by Heather Amery

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The classic Russian bi-lingual word book, illustrated by Stephen Cartwright, has been revised and updated to celebrate the 40th anniversary of Usborne Publishing. A thousand everyday words illustrated with busy scenes and labelled pictures to help children learn key vocabulary.

• Sales Rank: #1017815 in Books
• Published on: 2013-12-01
• Original language: English, Russian
• Dimensions: 11.81" h x .16" w x 8.98" l,
• Binding: Paperback
• 64 pages

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1 of 1 people found the following review helpful.
Internet-linked pronunciation guide version of the book is the best. It has purple cover
By OlAvd
Its doesn't say there is an internet-link. Internet-linked pronunciation guide version of the book is the best. It has purple cover, dark blue-is and old one, it's a bit different from those two.

0 of 0 people found the following review helpful.
Five Stars
By Irina
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Five Stars
By Robert Daniel
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[F569.Ebook] PDF Ebook The Accounts (Phoenix Poets), by Katie Peterson

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The death of a mother alters forever a family’s story of itself. Indeed, it taxes the ability of a family to tell that story at all. The Accounts narrates the struggle to speak with any clear understanding in the wake of that loss. The title poem attempts three explanations of the departure of a life from the earth—a physical account, a psychological account, and a spiritual account. It is embedded in a long narrative sequence that tries to state plainly the facts of the last days of the mother’s life, in a room that formerly housed a television, next to a California backyard. The visual focus of that sequence, a robin’s nest, poised above the family home, sings in a kind of lament, giving its own version of ways we can see the transformation of the dying into the dead. In other poems, called “Arguments,” two voices exchange uncertain truths about subjects as high as heaven and as low as crime. Grief is a problem that cannot be solved by thinking, but that doesn’t stop the mind, which relentlessly carries on, trying in vain to settle its accounts. The death of a well-loved person creates a debt that can never be repaid. It reminds the living of our own psychological debts to each other, and to the dead. In this sense, the death of this particular mother and the transformation of this particular family are evocative of a greater struggle against any changing reality, and the loss of all beautiful and passing forms of order.

• Sales Rank: #1297810 in Books
• Published on: 2013-09-19
• Released on: 2013-09-19
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .50" w x 5.50" l, .30 pounds
• Binding: Paperback
• 104 pages

From Publishers Weekly
Stark, smart, funereal, terrifying at times, this second volume from Peterson (This One Tree), one of two volumes of her poems coming out this month, addresses the death of her mother, without confining itself to her, or to any, biography. Instead, careful scenes—cemeteries, domestic interiors, the fields where the dead reside—support Peterson's impossible search for a way to give mortality lasting meaning. That search gets energy, too, from recurrent props, such as a claw-footed table, and from bizarre one-off symbols, such as the 18th-century cat harpsichord which made music by pulling cats' tails. Peterson's is a careful, serious poetry, difficult in the way that real life is difficult, but clear and chilly as a long-held regret, and pared-down in its choice of words, which come close (at times too close) to the wiry sadness and clipped free verse of Louise Gl�ck. Early on, Peterson recalls You carrying me into a lake in August,/ the summer my mother left the earth. Peterson's emotional intelligence lets her understand the limits of sympathy, but it also lets her speak for inanimate objects, in a way that could speak to us all. What I am made of/ whispers, frays, is shed,/returns to the ground again, says a talking nest, in Peterson's longest poem: I contained/ life,/ and it/ flew. (Sept.)

From Booklist
In her third collection, Peterson confronts a mother’s death and earthly loss. With consistent measure and emotional depth, she creates a coherent world in miniature that mirrors the ever-shortening time frame of life. In one especially innovative sequence, alternating lines collapse into stanzas, recreating the finitude of mortality. Throughout the book, objects find fibrous, sinewy forms, things hewn and woven, lashed together like spirit to body. The speaker in “From the Nest” watches a patient struggle to “turn the sounds / the sick mouth makes / into prayer.” But also the shapes of new life rise—clawed feet, extra leaves, trellised limbs that terminate in the small hands of branches. Elsewhere, Peterson turns to the language of backyard gardening and tending nettles. Likewise, those familiar, refulgent faces, “the moon’s / deckle edge” and the red sun, all “rust and blush and sunset, shining.” --Diego B�ez

Review
“Peterson explores with tremendous lyric precision and emotional power not merely the heartbreak of personal tragedy but also the desire to make a beleaguered world new against the pressure of loss. Ovid’s spirit of metamorphosis haunts these poems and asks us to reconsider the redemptive power implicit in an account, how it is made, given, and made again.” (citation for the 2014 UNT Rilke Prize)

“In her third collection, Peterson confronts a mother’s death and earthly loss. With consistent measure and emotional depth, she creates a coherent world in miniature that mirrors the ever-shortening time frame of life. In one especially innovative sequence, alternating lines collapse into stanzas, recreating the finitude of mortality. Throughout the book, objects find fibrous, sinewy forms, things hewn and woven, lashed together like spirit to body. The speaker in ‘From the Nest’ watches a patient struggle to ‘turn the sounds / the sick mouth makes / into prayer.’ But also the shapes of new life rise—clawed feet, extra leaves, trellised limbs that terminate in the small hands of branches. Elsewhere, Peterson turns to the language of backyard gardening and tending nettles. Likewise, those familiar, refulgent faces, ‘the moon’s / deckle edge’ and the red sun, all ‘rust and blush and sunset, shining.’” (Diego B�ez Booklist)

“Stark, smart, funereal, terrifying at times. . . . Peterson’s is a careful, serious poetry, difficult in the way that real life is difficult, but clear and chilly as a long-held regret.” (Publishers Weekly)

"One of the strongest books of elegy in the past decade" (Harvard Review)

“Katie Peterson’s impressive poems belong to the school of omission and inference. ‘I didn’t come here to make speeches,’ she says in her poem ‘Earth,’ yet the poems in The Accounts fill you with wonder at what is not being said so skillfully. ‘Pockets of silence,’ they are called, and they contain precise measurements of feeling and thought. In their quiet complexity, Peterson’s accounts involve and entrap the reader in serious conversation.” (Tony Hoagland)

“The narrator of Katie Peterson’s book The Accounts has strayed into a myth in which no guiding figures remain, and with no way to prove or save herself. Who knew the complexity of grief could be drawn with such shocking simplicity and masterful depth?”
(Mary Kinzie)

“As the title of this brilliant book suggests, Katie Peterson prizes the plural, the multiple, the still to be said. That earth has given her, as it has given each of us, one story, a story that ends, is the source not only of her outrage but also of her patience: sentences that enact the work of thinking and feeling as if never to end. At the center of this labyrinth, a mother’s death, a daughter’s grief.�� ‘Do not ask what has been lost,’ says Katie Peterson, ‘ask what changed.’ To read The Accounts is to be changed in turn, to require what the author of these hauntingly intelligent poems will say next.” (James Longenbach)

“Recently, I’ve been inspired by Katie Peterson’s collection of poems, The Accounts. It’s a sober, psychologically delicate work. Peterson endows apparently commonplace observations with immense symbolic resonance and emotional power: it’s an art of strategic understatement.” (Rosanna Warren Poetry Foundation)

"Peterson mindfully documents grief's intricacies from unexpected angles. . . . Peterson's music isn't easy; or rather, it isn't simple. It's rich, well-conceived, and reveals its maker as one of great integrity and intelligence." (West Branch)

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2 of 2 people found the following review helpful.
a mother dies once, but leaves so many accounts behind
By Molly
The Accounts won the Rilke Prize from the University of North Texas. They talked about Ovid's Metamorphosis haunting the book, which I like, because these are poems that closely observe small but hugely important transformations.

There are so many ways to account for a mother's death, in one's own head, and heart, and family. There's a settling of accounts you have to do to keep going in your own life after a loss.

"Grief is a problem that cannot be solved by thinking, but that doesn’t stop the mind, which relentlessly carries on, trying in vain to settle its accounts," it says, in the blurb that goes with this book. WORD. I can't think of anything more human than that, the war between one's rational attempt to account for and organize experience, and the chaos and tumult of emotion that a catastrophe lets loose upon the world. I like reading books like that.

Also, a lot of these poems have images in them that are very Californian: the trees, Stanford Hospital, the cemetery in Colma. I like reading poems written about places I've been.

1 of 2 people found the following review helpful.
Moving and personal reflections on a mother and one's own life.
By Pat Rice
I liked all the pieces in this book.
The author is an intelligent and gifted observer of life and her own experiences.
She has a very realistic yet significant way of experiencing the world.

0 of 0 people found the following review helpful.
Five Stars
By nance
Wonderful!

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[T664.Ebook] Ebook Disgraced: A Play, by Ayad Akhtar

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"Sparkling and combustible" (Bloomberg Businessweek), "DISGRACED rubs all kinds of unexpected raw spots with intelligence and humor" (Newsday). "In dialogue that bristles with wit and intelligence, Akhtar puts contemporary attitudes toward religion under a microscope, revealing how tenuous self-image can be for people born into one way of being who have embraced another.... Everyone has been told that politics and religion are two subjects that should be off-limits at social gatherings. But watching these characters rip into these forbidden topics, there's no arguing that they make for ear-tickling good theater" (New York Times). "Add a liberal flow of alcohol and a couple of major secrets suddenly revealed, and you've got yourself one dangerous dinner party" (Associated Press).

• Sales Rank: #126807 in eBooks
• Published on: 2013-09-10
• Released on: 2013-09-10
• Format: Kindle eBook

Review
"The best play I saw last year.... [a] quick-witted and shattering drama.... DISGRACED rubs all kinds of unexpected raw spots with intelligence and humor." ---Linda Winer, Newsday

"A sparkling and combustible contemporary drama.... Ayad Akhtar's one-act play deftly mixes the political and personal, exploring race, freedom of speech, political correctness, even the essence of Islam and Judaism. The insidery references to the Hamptons and Bucks County, Pennsylvania, and art critic Jerry Saltz are just enough to make audience members feel smart.... Akhtar...has lots to say about America and the world today. He says it all compellingly, and none of it is comforting." ---Philip Boroff, Bloomberg Businessweek

"Compelling... DISGRACED raises and toys with provocative and nuanced ideas." ---Jesse Oxfeld, New York Observer

"A continuously engaging, vitally engaged play about thorny questions of identity and religion in the contemporary world.... In dialogue that bristles with wit and intelligence, Mr. Akhtar...puts contemporary attitudes toward religion under a microscope, revealing how tenuous self-image can be for people born into one way of being who have embraced another.... Everyone has been told that politics and religion are two subjects that should be off limits at social gatherings. But watching Mr. Akhtar's characters rip into these forbidden topics, there's no arguing that they make for ear-tickling good theater." ---Charles Isherwood, New York Times

"[A] blistering social drama about the racial prejudices that secretly persist in progressive cultural circles." ---Marilyn Stasio, Variety

"Terrific.... DISGRACED...unfolds with speed, energy and crackling wit.... The evening will come to a shocking end, but before that, there is the sparkling conversation, expertly rendered on the page by Akhtar.... Talk of 9/11, of Israel and Iran, of terrorism and airport security, all evokes uncomfortable truths. Add a liberal flow of alcohol and a couple of major secrets suddenly revealed, and you've got yourself one dangerous dinner party..... In the end, one can debate what the message of the play really is. Is it that we cannot escape our roots, or perhaps simply that we don't ever really know who we are, deep down, until something forces us to confront it? Whatever it is, when you finally hear the word 'disgraced' in the words of one of these characters, you will no doubt feel a chill down your spine." ---Jocelyn Noveck, AP

"Offers an engaging snapshot of the challenge for upwardly mobile Islamic Americans in the post-9/11 age." ---Thom Geier, Entertainment Weekly

"Akhtar digs deep to confront uncomfortable truths about the ways we look at race, culture, class, religion, and sex in this bracingly adult, unflinching drama... [He] writes incisive, often quite funny dialogue and creates vivid characters, managing to cover a lot of ground in a mere four scenes and 80 minutes. Akhtar doesn't offer any solutions to the thorny issues he presents so effectively. What he does is require us to engage them, and that's a very good and necessary thing." ---Erik Haagensen, Backstage.com

"DISGRACED stands among recent marks of an increasing and welcome phenomenon: the arrival of South Asian and Middle Eastern Americans as presences in our theater's dramatis personae, matching their presence in our daily life. Like all such phenomena, it carries a double significance. An achievement and a sign of recognition for those it represents, for the rest of us it constitutes the theatrical equivalent of getting to know the new neighbors-something we had better do if we plan to survive as a civil society." ---Michael Feingold, The Village Voice

About the Author
Ayad Akhtar is a screenwriter, playwright, actor, and novelist. He is the author of the novel American Dervish and was nominated for a 2006 Independent Spirit Award for best screenplay for the film The War Within. Disgraced was produced at New York's Lincoln Center Theater in 2012 and was awarded the 2013 Pulitzer Prize for Drama. Akhtar lives in New York City.

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3 of 3 people found the following review helpful.
one of the best plays in the last decade
By Frank L. Greenagel II
Absolute deserved winner of the 2013 Pulitzer Prize for drama.

This is a 90 minute, 4 scene (1 act) play that has 5 characters that range in age from 22 to 40. They are of black, white, Jewish and Muslim backgrounds and they all currently live in New York. Questions of work, culture, love, loyalty and traditions are all discussed and exposed.

The pace of the play is excellent. There are no dead scenes or digressive moments - every word is important and impactful. The dialogue is incredible - there are moments of tenderness and humor, as well as those that will enrage some readers and make most think deeply.

Mr. Akhtar wrote an excellent essay "On Reading Plays" that appears at the beginning of this edition. He does an outstanding job explaining how reading a play is different from watching it (this is not a new sentiment, but he writes about it exquisitely).

Upon finishing the play this evening, I got on the internet and started looking for where it is playing. It is currently playing in Boston, about 250 miles from my house. I will drive up next week to see it.

1 of 1 people found the following review helpful.
Inevitable subject at a surprisingly high level
By David Seaman
Ayad Akhtar is a genius. It's atypical for a writer of novels to write a brilliant play (2012 Pulitzer for drama) that works both on the page and on the stage. "Disgraced" is an intense and powerful study of America. Many will claim that this play is about Islamaphobia, and we'll talk about that, but another, perhaps deeper, element of "Disgraced" is what it means to live with nationalism in a country made entirely of immigrants.
We meet the cast-all of whom are privileged "succesful" people whose ancestors come from very underprivileged circumstance. Emily is a WASP whohas been "American" for generations, going back perhaps to the 17th Century. Any trace of the old country was bled from her family many generations ago. Fuerthermore she's a white girl whose mother is a racist, feeling strongly that America is white, European descent and as such Emily has an open mind but there's much she doesn't understand. Her failure to understand creates the catalyst that destroys everyone. Sadly, she'll never understand.
She's married to Amir, a man born in America but raised by parents who escaped India after part of it became Pakistan. Amir changed his last name so that he could fit into the high finance law firm in which he's on a partner track. He is no longer Muslim, his American accent is flawless and he wants to keep a safe distance from all things Islam. Last night a waiter saw him as a potential terrorist which upset Emily enough to ask him to pose for her newest painting. He presents himself at Airport Security rather than waiting for racial profiling. He recounts an incident as a child when his mother's hatred for Jews affects him.
His nephew, Abe, comes to ask him to speak at the trial for an imam charged as a terrorist. Abe too has changed his name and is "Americanized" though born in the Middle East, by mid play he's changed back.
Issac is a Jewish American art dealer who will give Emily her first show and they celebrate over dinner. He's a powerful man in the art world and not by coincidence his black wife will get the partnership at Amir's law firm because Amir's prescence at the imam's trial makes The New York Times. During the meal they revert to their roots and centuries of conflict boil to the surface.
The play does look at Islamaphobia as it's inevitable. The Taliban's goal to return to the purity of the Qaran (or Koran) IS a major topic in post Nine-Eleven New York and a carefully unspoken topic in mixed company. But what's most pronouned is how much of our roots we must relinquish in order to be American.
The denouement is what happens when too much is relinquished and what occurs rivals anything Edward Albee ever wrote.
This is a great read. As with all plays you must design and stage them in your head and that is when we see the purity and truth; that is when the play comes to life and we purchase Akhtar's novel and try to find a production of "Disgraced" playing near-by. Easier done, since this play has been produced in regional theatres all over the United States and England.
This script includes an important forward regarding play reading and an interview with the playwright.

3 of 3 people found the following review helpful.
Though far from a perfect play, it's still one of the most exciting ...
By Win Goodbody
Though far from a perfect play, it's still one of the most exciting blasts of fresh air for the American theatre in years. Avoiding the dead ends of whimsy, meta self referential inside jokes, cuteness, and "magical realism", which is what most young playwrights coming out of the MFA industrial complex are taught, Akhtar has real issues to probe and he gets right to it. BTW, if you have not listened to the interview with him on the American Theatre podcast OFFSCRIPT, head over there right now! A whip smart writer.

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A basic and applied textbook, ideal for students.

• Sales Rank: #4775211 in Books
• Published on: 2005-11-28
• Original language: English
• Dimensions: 10.75" h x 1.00" w x 8.00" l,
• Binding: Paperback
• 440 pages

About the Author
Eric VAN RANST (1953), PhD Soil Science, MSc Soil Science and MSc Geology from Ghent University. Started professional career in 1976 as assistant of the late Professor. Em. Dr. R. Tavernir at the ITC-Ghent. In 1982 recruited by the Flemish Interuniversity Council (VLIR) as lecturer in soil science at the National Advanced School of Agriculture (NASA) in Cameroon. From 1985 until 1991 attached at the Dschang University Center (DUC) in Cameroon as Chief of Party for the Belgian Project, Head of Soil Science Department and Chairman of the Support Service Commission of DUC. Since 1991, nominated Professor and Director of the Laboratory of Soil Science at Ghent University in succession to Professor Em. Dr. ir C. Sys. Research activities are focused on soil processes, management of tropical soils as related to their mineralogical and charge properties, and land evaluation. Promoter of the International Course Programme 'Physical Land Resources', and of several research and development projects in Africa, Southeast Asia and South America. Director of the Forest Soil Coordinating Center and Chairman of the Forest Soil Expert Panel of the UN/ECE ICP; and member of the Scientific Committee of the European Soil Bureau, and of the Royal Academy of Overseas Sciences.

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