Der Verfasser hat sich die Aufgabe gestellt, Art und Ausmass der dem internationalen Kreditgeschaft innewohnenden Risiken zu analysieren und die Moglichkeiten zu unter suchen, wie diese Risiken im einzelwirtschaftlichen Kreditentscheidungsprozess beruck sichtigt werden konnen. Der Schwerpunkt liegt dabei auf dem mehr und mehr in den Mit telpunkt offentlicher und bankinterner Diskussionen geruckten Landerrisiko, dessen Be deutung sich in der jungsten Vergangenheit vor allem am Beispiel Irans gezeigt hat. Die Aufdeckung der Risikoquellen setzt die Kenntnis der Struktur und der Entwicklung des internationalen Kreditgeschafts voraus. Die Grundlagen hierfur werden im ersten Kapitel erarbeitet. Dabei widmet der Verfasser neben den Auslandskrediten als Pendant zum Exportgeschaft von Handel und Industrie dem noch relativ jungen Eurokreditge schaft, insbesondere dem Eurokonsortialkredit auf Roll-Over-Basis, besondere Aufmerk samkeit. Wahrend bei der Finanzierung auslandischer multinationaler wie auch natio naler Unternehmen gebundene Kredite, also die Finanzierung fur bestimmte Exportge schafte oder Projekte. uberwiegen, dient die Kreditgewahrung an Regierungen und staat liche Stellen in erster Linie der Finanzierung von Leistungsbilanzdefiziten, in die die Ol lander im Rahmen des sogenannten Recyclings mehr und mehr gedrangt wurden. Fur die Banken selbst ergibt sich aus dieser Entwicklung die Notwendigkeit, ihre internationalen Engagements verstarkt unter Risikogesichtspunkten zu uberprufen. Im zweiten Kapitel b'eschaftigt sich der Verfasser mit der Wirkung des internationalen Kreditgeschafts auf Rentabilitat, Liquiditat und Sicherheit der einzelnen Bank. Wahrend das internationale Kreditgeschaft durchaus eine angemessene und ausreichende Eigen kapitalverzinsung erbringt, beinhaltet es andererseits auch besondere Risiken."

The Berlin Wall Today is a richly illustrated full color book that takes the reader on a tour of the last traces and fading memories of the historic symbol of the Iron Curtain-to memorials, parks, hidden back yards, old train tracks, factory buildings, churches, and Prussian cemeteries. The Berlin Wall Today tells stories of struggle, desperation, survival, and rebirth and of a history that shaped the post- war world. It also shows how the people of Berlin are reclaiming and memorializing the ground where the Wall once stood: Mauer Park, where young people from all over world gather to party; a guard tower that is now the Museum of Forbidden Art; the Topography of Terror Museum, which includes the former Gestapo headquarters; and landmarks such as the Reichstag, the East Side Gallery, and Checkpoint Charlie. Numerous maps are included that lead the visitor from point to point.

Yogi Berra once said, "You can observe a lot just by watching." Michael Cramer has been a keen observer of everyday life encountered as he was walking or driving around town, while working, or watching children at play. He describes life as it is, surrounded by the lives of thousands of others, including interactions as well as observations and sharing the reality to which he is a witness. Poetry is the art of taking pictures with words, and these poems are the pictures Cramer has taken while watching life unfold around him. From the jarring images presented in "Holy City" to the touching memories and warm, loving thoughts of a father in "My Child," Cramer captures the images and emotions that inhabit our lives in Vignettes in Paled Light. My Child How I long to caress your cheek gaze deep into your eyes, into your heart see the memories there of time past the good and the bad, both joyous and sad the sporting events, musical presentations, recitals and reviews. Family memories, time shared wrestling with your siblings, tickling and being tickled the blessing of your giggles, your laughter the heart rending experience of your first tears Every time you cried ...

Television has long been a symbol of social and cultural decay, yet many in postwar Europe saw it as the medium with the greatest potential to help build a new society and create a new form of audiovisual art. Utopian Television examines works of the great filmmakers Roberto Rossellini, Peter Watkins, and Jean-Luc Godard, all of whom looked to television as a promising new medium even while remaining critical of its existing practices. Utopian Television illustrates how each director imagined television's improved or "utopian" version by drawing on elements that had come to characterize it by the early 1960s. Taking advantage of the public service model of Western European broadcasting, each used television to realize works that would never have been viable in the commercial cinema. All three directors likewise seized on television's supposed affinity for information and its status as a "useful" medium, but attempted to join this utility with aesthetic experimentation, suggesting new ways to conceive of the relationship between aesthetics and information. As beautifully written as it is theoretically rigorous, Utopian Television turns to the writing of Fredric Jameson and Ernst Bloch in treating the three directors' television experiments as enactments of "utopia as method." In doing so it reveals the extent to which the medium inspired and shaped hopes not only of a better future but of better moving image art as well.