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Since their discovery more than a decade ago, carbon nanotubes
(CNTs) have held scientists and engineers in captive fascination,
seated on the verge of enormous breakthroughs in areas such as
medicine, electronics, and materials science, to name but a few.
Taking a broad look at CNTs and the tools used to study them,
Carbon Nanotubes: Properties and Applications comprises the efforts
of leading nanotube researchers led by Michael O'Connell, protege
of the late father of nanotechnology, Richard Smalley. Each chapter
is a self-contained treatise on various aspects of CNT synthesis,
characterization, modification, and applications.
The book opens with a general introduction to the basic
characteristics and the history of CNTs, followed by discussions on
synthesis methods and the growth of "peapod" structures. Coverage
then moves to electronic properties and band structures of
single-wall nanotubes (SWNTs), magnetic properties, Raman
spectroscopy of electronic and chemical behavior, and
electromechanical properties and applications in NEMS
(nanoelectromechanical systems). Turning to applications, the final
sections of the book explore mechanical properties of SWNTs spun
into fibers, sidewall functionalization in composites, and using
SWNTs as tips for scanning probe microscopes.
Taking a fresh look at this burgeoning field, Carbon Nanotubes:
Properties and Applications points the way toward making CNTs
commercially viable.
This volume constitutes the largest collection of writings by the
Italian philosopher Giorgio Agamben hitherto published in any
language. With one exception, the fifteen essays, which reflect the
wide range of the author's interests, appear in English for the
first time.
The essays consider figures in the history of philosophy (such as
Plato, Plotinus, Spinoza, and Hegel) and twentieth-century thought
(most notably Walter Benjamin, but also Heidegger, Derrida,
Deleuze, the historian Aby Warburg, and the linguist J.-C. Milner).
They also examine several general topics that have always been of
central concern to Agamben: the relation of linguistic and
metaphysical categories; messianism in Islamic, Jewish, and
Christian theology; and the state and future of contemporary
politics. Despite the diversity of the texts collected here, they
show a consistent concern for a set of overriding philosophical
themes concerning language, history, and potentiality.
In the first part of the book, Agamben brings philosophical texts
of Plato and Benjamin, the literary criticism of Max Kommerell, and
the linguistic studies of J.-C. Milner to bear upon a question that
exposes each discipline to a limit at which the possibility of
language itself is at stake. The essays in the second part concern
a body of texts that deal with the structure of history and
historical reflection, including the idea of the end of history in
Jewish and Christian messianism, as well as in Hegel, Benjamin, and
Aby Warburg. In the third part, the issues confronted in the first
and second parts are shown to be best grasped as issues of
potentiality. Agamben argues that language and history are
structures of potentiality and can be most fully understood on the
basis of the Aristotelian theory of "dynamis" and its medieval
elaborations. The fourth part is an extensive essay on Herman
Melville's short story "Bartleby, the Scrivener."
An intellectually adventurous account of the role of nonpersons
that explores their depiction in literature and challenges how they
are defined in philosophy, law, and anthropology In thirteen
interlocking chapters, Absentees explores the role of the missing
in human communities, asking an urgent question: How does a person
become a nonperson, whether by disappearance, disenfranchisement,
or civil, social, or biological death? Only somebody can become a
"nobody," but, as Daniel Heller-Roazen shows, the ways of being a
nonperson are as diverse and complex as they are mysterious and
unpredictable. Heller-Roazen treats the variously missing persons
of the subtitle in three parts: Vanishings, Lessenings, and
Survivals. In each section and with multiple transhistorical and
transcultural examples, he challenges the categories that define
nonpersons in philosophy, ethics, law, and anthropology. Exclusion,
infamy, and stigma; mortuary beliefs and customs; children's games
and state censuses; ghosts and "dead souls" illustrate the lives of
those lacking or denied full personhood. In the archives of
fiction, Heller-Roazen uncovers figurations of the missing-from
Helen of Argos in Troy or Egypt to Hawthorne's Wakefield, Swift's
Captain Gulliver, Kafka's undead hunter Gracchus, and Chamisso's
long-lived shadowless Peter Schlemihl. Readers of The Enemy of All
and No One's Ways will find a continuation of those books' intense
intellectual adventures, with unexpected questions and arguments
arising every step of the way. In a unique voice, Heller-Roazen's
thought and writing capture the intricacies of the all-too-human
absent and absented.
Reading philosophy through the lens of Alfred Hitchcock's Vertigo,
Andrea Cavalletti shows why, for two centuries, major philosophers
have come to think of vertigo as intrinsically part of philosophy
itself. Fear of the void, terror of heights: everyone knows what
acrophobia is, and many suffer from it. Before Freud, the so-called
"sciences of the mind" reserved a place of honor for vertigo in the
domain of mental pathologies. The fear of falling-which is also the
fear of giving in to the temptation to let oneself fall-has long
been understood as a destabilizing yet intoxicating element without
which consciousness itself was inconceivable. Some went so far as
to induce it in patients through frightening rotational therapies.
In a less cruel but no less radical way, vertigo also staked its
claim in philosophy. If Montaigne and Pascal could still consider
it a perturbation of reason and a trick of the imagination which
had to be subdued, subsequent thinkers stopped considering it an
occasional imaginative instability to be overcome. It came, rather,
to be seen as intrinsic to reason, such that identity manifests
itself as tottering, kinetic, opaque and, indeed, vertiginous.
Andrea Cavalletti's stunning book sets this critique of stable
consciousness beside one of Hitchcock's most famous thrillers, a
drama of identity and its abysses. Hitchcock's brilliant
combination of a dolly and a zoom to recreate the effect of falling
describes that double movement of "pushing away and bringing
closer" which is the habitual condition of the subject and of
intersubjectivity. To reach myself, I must see myself from the
bottom of the abyss, with the eyes of another. Only then does my
"here" flee down there and, from there, attract me. From classical
medicine and from the role of imagination in our biopolitical world
to the very heart of philosophy, from Hollywood to Heidegger's
"being-toward-death," Cavalletti brings out the vertiginous nature
of identity.
This book, by one of Italy's most important and original
contemporary philosophers, represents a broad, general, and
ambitious undertaking--nothing less than an attempt to rethink the
nature of poetic language and to rearticulate relationships among
theology, poetry, and philosophy in a tradition of literature
initiated by Dante.
The author presents "literature" as a set of formal or linguistic
genres that discuss or develop theological issues at a certain
distance from the discourse of theology. This distance begins to
appear in Virgil and Ovid, but it becomes decisive in Dante and in
his decision to write in the vernacular. His vernacular Italian
reaches back through classical allusion to the Latin that was in
his day the language of theology, but it does so with a difference.
It is no accident that in the "Commedia" Virgil is Dante's guide.
The book opens with a discussion of just how Dante's poem is a
"comedy," and it concludes with a discussion of the "ends of
poetry" in a variety of senses: enjambment at the ends of lines,
the concluding lines of poems, and the end of poetry as a mode of
writing this sort of literature. Of course, to have poetry "end"
does not mean that people stop writing it, but that literature
passes into a period in which it is concerned with its own ending,
with its own bounds and limits, historical and otherwise.
Though most of the essays make specific reference to various
authors of the Italian literary tradition (including Dante,
Polifilo, Pascoli, Delfini, and Caproni), they transcend the
confines of Italian literature and engage several other literary
and philosophical authors (Plato, Aristotle, the Stoics, Boethius,
the Provencal poets, Mallarme, and Holderlin, among others).
This book, by one of Italy's most important and original
contemporary philosophers, represents a broad, general, and
ambitious undertaking--nothing less than an attempt to rethink the
nature of poetic language and to rearticulate relationships among
theology, poetry, and philosophy in a tradition of literature
initiated by Dante.
The author presents "literature" as a set of formal or linguistic
genres that discuss or develop theological issues at a certain
distance from the discourse of theology. This distance begins to
appear in Virgil and Ovid, but it becomes decisive in Dante and in
his decision to write in the vernacular. His vernacular Italian
reaches back through classical allusion to the Latin that was in
his day the language of theology, but it does so with a difference.
It is no accident that in the "Commedia" Virgil is Dante's guide.
The book opens with a discussion of just how Dante's poem is a
"comedy," and it concludes with a discussion of the "ends of
poetry" in a variety of senses: enjambment at the ends of lines,
the concluding lines of poems, and the end of poetry as a mode of
writing this sort of literature. Of course, to have poetry "end"
does not mean that people stop writing it, but that literature
passes into a period in which it is concerned with its own ending,
with its own bounds and limits, historical and otherwise.
Though most of the essays make specific reference to various
authors of the Italian literary tradition (including Dante,
Polifilo, Pascoli, Delfini, and Caproni), they transcend the
confines of Italian literature and engage several other literary
and philosophical authors (Plato, Aristotle, the Stoics, Boethius,
the Provencal poets, Mallarme, and Holderlin, among others).
The work of Giorgio Agamben, one of Italy's most important and
original philosophers, has been based on an uncommon erudition in
classical traditions of philosophy and rhetoric, the grammarians of
late antiquity, Christian theology, and modern philosophy.
Recently, Agamben has begun to direct his thinking to the
constitution of the social and to some concrete, ethico-political
conclusions concerning the state of society today, and the place of
the individual within it.
In "Homo Sacer, " Agamben aims to connect the problem of pure
possibility, potentiality, and power with the problem of political
and social ethics in a context where the latter has lost its
previous religious, metaphysical, and cultural grounding. Taking
his cue from Foucault's fragmentary analysis of biopolitics,
Agamben probes with great breadth, intensity, and acuteness the
covert or implicit presence of an idea of biopolitics in the
history of traditional political theory. He argues that from the
earliest treatises of political theory, notably in Aristotle's
notion of man as a political animal, and throughout the history of
Western thinking about sovereignty (whether of the king or the
state), a notion of sovereignty as power over "life" is implicit.
The reason it remains merely implicit has to do, according to
Agamben, with the way the sacred, or the idea of sacrality, becomes
indissociable from the idea of sovereignty. Drawing upon Carl
Schmitt's idea of the sovereign's status as the exception to the
rules he safeguards, and on anthropological research that reveals
the close interlinking of the sacred and the taboo, Agamben defines
the sacred person as one who can be killed and yet not
sacrificed--a paradox he sees as operative in the status of the
modern individual living in a system that exerts control over the
collective "naked life" of all individuals.
The work of Giorgio Agamben, one of Italy's most important and
original philosophers, has been based on an uncommon erudition in
classical traditions of philosophy and rhetoric, the grammarians of
late antiquity, Christian theology, and modern philosophy.
Recently, Agamben has begun to direct his thinking to the
constitution of the social and to some concrete, ethico-political
conclusions concerning the state of society today, and the place of
the individual within it.
In "Homo Sacer, " Agamben aims to connect the problem of pure
possibility, potentiality, and power with the problem of political
and social ethics in a context where the latter has lost its
previous religious, metaphysical, and cultural grounding. Taking
his cue from Foucault's fragmentary analysis of biopolitics,
Agamben probes with great breadth, intensity, and acuteness the
covert or implicit presence of an idea of biopolitics in the
history of traditional political theory. He argues that from the
earliest treatises of political theory, notably in Aristotle's
notion of man as a political animal, and throughout the history of
Western thinking about sovereignty (whether of the king or the
state), a notion of sovereignty as power over "life" is implicit.
The reason it remains merely implicit has to do, according to
Agamben, with the way the sacred, or the idea of sacrality, becomes
indissociable from the idea of sovereignty. Drawing upon Carl
Schmitt's idea of the sovereign's status as the exception to the
rules he safeguards, and on anthropological research that reveals
the close interlinking of the sacred and the taboo, Agamben defines
the sacred person as one who can be killed and yet not
sacrificed--a paradox he sees as operative in the status of the
modern individual living in a system that exerts control over the
collective "naked life" of all individuals.
An original, elegant, and far-reaching philosophical inquiry into
what it means to feel alive. The Inner Touch presents the
archaeology of a single sense: the sense of being sentient.
Aristotle was perhaps the first to define this faculty when in his
treatise On the Soul he identified a sensory power, irreducible to
the five senses, by which animals perceive that they are
perceiving: the simple "sense," as he wrote, "that we are seeing
and hearing." After him, thinkers returned, time and again, to
define and redefine this curious sensation. The classical Greek and
Roman philosophers as well as the medieval Arabic, Hebrew, and
Latin thinkers who followed them all investigated a power they
called "the common sense," which one ancient author likened to "a
kind of inner touch, by which we are able to grasp ourselves."
Their many findings were not lost with the waning of the Middle
Ages. From Montaigne and Francis Bacon to Locke, Leibniz, and
Rousseau, from nineteenth-century psychiatry and neurology to
Proust and Walter Benjamin, the writers and thinkers of the modern
period have turned knowingly and unknowing to the terms of older
traditions in exploring the perception that every sensitive being
possesses of its life. The Inner Touch reconstructs and reconsiders
the history of this perception. In twenty-five concise chapters
that move freely among ancient, medieval, and modern cultures,
Daniel Heller-Roazen investigates a set of exemplary phenomena that
have played central roles in philosophical, literary,
psychological, and medical accounts of the nature of animal
existence. Here sensation and self-sensation, sleeping and waking,
aesthetics and anesthetics, perception and apperception, animal
nature and human nature, consciousness and unconsciousness, all
acquire a new meaning. The Inner Touch proposes an original,
elegant, and far-reaching philosophical inquiry into a problem that
has never been more pressing: what it means to feel that one is
alive.Winner of the Aldo and Jeanne Scaglione Prize for Comparative
Literary Studies
A philosophical study of the testimony of the survivors of
Auschwitz. In this book the Italian philosopher Giorgio Agamben
looks closely at the literature of the survivors of Auschwitz,
probing the philosophical and ethical questions raised by their
testimony. "In its form, this book is a kind of perpetual
commentary on testimony. It did not seem possible to proceed
otherwise. At a certain point, it became clear that testimony
contained at its core an essential lacuna; in other words, the
survivors bore witness to something it is impossible to bear
witness to. As a consequence, commenting on survivors' testimony
necessarily meant interrogating this lacuna or, more precisely,
attempting to listen to it. Listening to something absent did not
prove fruitless work for this author. Above all, it made it
necessary to clear away almost all the doctrines that, since
Auschwitz, have been advanced in the name of ethics."-Giorgio
Agamben
An exploration of secret languages, moving among hermetic
artificial tongues as diverse as criminal jargons and divine
speech. Dark Tongues constitutes a sustained exploration of a
perplexing fact that has never received the attention it deserves.
Wherever human beings share a language, they also strive to make
from it something new: a cryptic idiom, built from the grammar that
they know, which will allow them to communicate in secrecy. Such
hidden languages come in many shapes. They may be playful or
serious, children's games or adults' work. They may be as
impenetrable as foreign tongues, or slightly different from the
idioms from which they spring, or barely perceptible, their
existence being the subject of uncertain, even unlikely,
suppositions. The first recorded jargons date to the time of the
Renaissance, when writers across Europe noted that obscure
languages had suddenly come into use. A varied cast of
characters-lawyers, grammarians, and theologians-denounced these
new forms of speech, arguing that they were tools of crime, plotted
in tongues that honest people could not understand. Before the
emergence of these modern jargons, however, the artificial twisting
of languages served a different purpose. In epochs and regions as
diverse as archaic Greece and Rome and medieval Provence and
Scandinavia, singers and scribes also invented opaque varieties of
speech. They did so not to defraud, but to reveal and record a
divine thing: the language of the gods, which poets and priests
alone were said to master. Dark Tongues moves among these various
artificial and hermetic tongues. From criminal jargons to sacred
idioms, from Saussure's work on anagrams to Jakobson's theory of
subliminal patterns in poetry, from the arcane arts of the Druids
and Biblical copyists to the secret procedure that Tristan Tzara,
founder of Dada, believed he had uncovered in Villon's songs and
ballads, Dark Tongues explores the common crafts of rogues and
riddlers, which play sound and sense against each other.
Reading philosophy through the lens of Alfred Hitchcock's Vertigo,
Andrea Cavalletti shows why, for two centuries, major philosophers
have come to think of vertigo as intrinsically part of philosophy
itself. Fear of the void, terror of heights: everyone knows what
acrophobia is, and many suffer from it. Before Freud, the so-called
"sciences of the mind" reserved a place of honor for vertigo in the
domain of mental pathologies. The fear of falling-which is also the
fear of giving in to the temptation to let oneself fall-has long
been understood as a destabilizing yet intoxicating element without
which consciousness itself was inconceivable. Some went so far as
to induce it in patients through frightening rotational therapies.
In a less cruel but no less radical way, vertigo also staked its
claim in philosophy. If Montaigne and Pascal could still consider
it a perturbation of reason and a trick of the imagination which
had to be subdued, subsequent thinkers stopped considering it an
occasional imaginative instability to be overcome. It came, rather,
to be seen as intrinsic to reason, such that identity manifests
itself as tottering, kinetic, opaque and, indeed, vertiginous.
Andrea Cavalletti's stunning book sets this critique of stable
consciousness beside one of Hitchcock's most famous thrillers, a
drama of identity and its abysses. Hitchcock's brilliant
combination of a dolly and a zoom to recreate the effect of falling
describes that double movement of "pushing away and bringing
closer" which is the habitual condition of the subject and of
intersubjectivity. To reach myself, I must see myself from the
bottom of the abyss, with the eyes of another. Only then does my
"here" flee down there and, from there, attract me. From classical
medicine and from the role of imagination in our biopolitical world
to the very heart of philosophy, from Hollywood to Heidegger's
"being-toward-death," Cavalletti brings out the vertiginous nature
of identity.
An original, elegant, and far-reaching philosophical inquiry into
what it means to feel alive. The Inner Touch presents the
archaeology of a single sense: the sense of being sentient.
Aristotle was perhaps the first to define this faculty when in his
treatise On the Soul he identified a sensory power, irreducible to
the five senses, by which animals perceive that they are
perceiving: the simple "sense," as he wrote, "that we are seeing
and hearing." After him, thinkers returned, time and again, to
define and redefine this curious sensation. The classical Greek and
Roman philosophers as well as the medieval Arabic, Hebrew, and
Latin thinkers who followed them all investigated a power they
called "the common sense," which one ancient author likened to "a
kind of inner touch, by which we are able to grasp ourselves."
Their many findings were not lost with the waning of the Middle
Ages. From Montaigne and Francis Bacon to Locke, Leibniz, and
Rousseau, from nineteenth-century psychiatry and neurology to
Proust and Walter Benjamin, the writers and thinkers of the modern
period have turned knowingly and unknowing to the terms of older
traditions in exploring the perception that every sensitive being
possesses of its life. The Inner Touch reconstructs and reconsiders
the history of this perception. In twenty-five concise chapters
that move freely among ancient, medieval, and modern cultures,
Daniel Heller-Roazen investigates a set of exemplary phenomena that
have played central roles in philosophical, literary,
psychological, and medical accounts of the nature of animal
existence. Here sensation and self-sensation, sleeping and waking,
aesthetics and anesthetics, perception and apperception, animal
nature and human nature, consciousness and unconsciousness, all
acquire a new meaning. The Inner Touch proposes an original,
elegant, and far-reaching philosophical inquiry into a problem that
has never been more pressing: what it means to feel that one is
alive.Winner of the Aldo and Jeanne Scaglione Prize for Comparative
Literary Studies
How the ordering of the sensible world continues to suggest a
reality that no notes or letters can fully transcribe. An ancient
tradition holds that Pythagoras discovered the secrets of harmony
within a forge when he came across five men hammering with five
hammers, producing a wondrous sound. Four of the five hammers stood
in a marvelous set of proportions, harmonizing; but there was also
a fifth hammer. Pythagoras saw and heard it, but he could not
measure it; nor could he understand its discordant sound.
Pythagoras therefore discarded it. What was this hammer, such that
Pythagoras chose so decidedly to reject it? Since antiquity,
"harmony" has been a name for more than a theory of musical sounds;
it has offered a paradigm for the scientific understanding of the
natural world. Nature, through harmony, has been transcribed in the
ideal signs of mathematics. But, time and again, the transcription
has run up against one fundamental limit: something in nature
resists being written down, transcribed in a stable set of ideal
elements. A fifth hammer, obstinately, continues to sound. In eight
chapters, linked together as are the tones of a single scale, The
Fifth Hammer explores the sounds and echoes of that troubling
percussion as they make themselves felt on the most varied of
attempts to understand and represent the natural world. From music
to metaphysics, aesthetics to astronomy, and from Plato and
Boethius to Kepler, Leibniz, and Kant, this book explores the ways
in which the ordering of the sensible world has continued to
suggest a reality that no notes or letters can fully transcribe.
From Homer's Outis-"No One," or "Non-One," "No Man," or
"Non-Man"-to "soul," "spirit," and the unnamable. Homer recounts
how, trapped inside a monster's cave, with nothing but his wits to
call upon, Ulysses once saved himself by twisting his name. He
called himself Outis: "No One," or "Non-One," "No Man," or
"Non-Man." The ploy was a success. He blinded his barbaric host and
eluded him, becoming anonymous, for a while, even as he bore a
name. Philosophers never forgot the lesson that the ancient hero
taught. From Aristotle and his commentators in Greek, Arabic,
Latin, and more modern languages, from the masters of the medieval
schools to Kant and his many successors, thinkers have exploited
the possibilities of adding "non-" to the names of man. Aristotle
is the first to write of "indefinite" or "infinite" names, his
example being "non-man." Kant turns to such terms in his theory of
the infinite judgment, illustrated by the sentence, "The soul is
non-mortal." Such statements play major roles in the philosophies
of Maimon, Fichte, Schelling, Hegel, and Hermann Cohen. They are
profoundly reinterpreted in the twentieth century by thinkers as
diverse as Carnap and Heidegger. Reconstructing the adventures of a
particle in philosophy, Daniel Heller-Roazen seeks to show how a
grammatical possibility can be an incitement for thought. Yet he
also draws a lesson from persistent examples. The philosophers'
infinite names all point to one subject: us. "Non-man" or "soul,"
"Spirit" or "the unconditioned," we are beings who name and name
ourselves, bearing witness to the fact that we are, in every sense,
unnamable.
A far-reaching philosophical investigation into the persistence and
disappearance of speech, in individuals and in linguistic
communities. Just as speech can be acquired, so can it be lost.
Speakers can forget words, phrases, even entire languages they once
knew; over the course of time peoples, too, let go of the tongues
that were once theirs, as languages disappear and give way to the
others that follow them. In Echolalias, Daniel Heller-Roazen
reflects on the many forms of linguistic forgetfulness, offering a
far-reaching philosophical investigation into the persistence and
disappearance of speech. In twenty-one brief chapters, he moves
among classical, medieval, and modern culture, exploring the
interrelations of speech, writing, memory, and oblivion. Drawing
his examples from literature, philosophy, linguistics, theology,
and psychoanalysis, Heller-Roazen examines the points at which the
transience of speech has become a question in the arts,
disciplines, and sciences in which language plays a prominent role.
Whether the subject is Ovid, Dante, or modern fiction, classical
Arabic literature or the birth of the French language,
structuralist linguistics or Freud's writings on aphasia,
Heller-Roazen considers with clarity, precision, and insight the
forms, the effects, and the ultimate consequences of the forgetting
of language. In speech, he argues, destruction and construction
often prove inseparable. Among peoples, the disappearance of one
language can mark the emergence of another; among individuals, the
experience of the passing of speech can lie at the origin of
literary, philosophical, and artistic creation. From the infant's
prattle to the legacy of Babel, from the holy tongues of Judaism
and Islam to the concept of the dead language and the political
significance of exiled and endangered languages today, Echolalias
traces an elegant, erudite, and original philosophical itinerary,
inviting us to reflect in a new way on the nature of the speaking
animal who forgets.
The philosophical genealogy of a remarkable antagonist: the pirate,
the key to the contemporary paradigm of the universal foe. The
pirate is the original enemy of humankind. As Cicero famously
remarked, there are certain enemies with whom one may negotiate and
with whom, circumstances permitting, one may establish a truce. But
there is also an enemy with whom treaties are in vain and war
remains incessant. This is the pirate, considered by ancient
jurists considered to be "the enemy of all." In this book, Daniel
Heller-Roazen reconstructs the shifting place of the pirate in
legal and political thought from the ancient to the medieval,
modern, and contemporary periods presenting the philosophical
genealogy of a remarkable antagonist. Today, Heller-Roazen argues,
the pirate furnishes the key to the contemporary paradigm of the
universal foe. This is a legal and political person of exception,
neither criminal nor enemy, who inhabits an extra-territorial
region. Against such a foe, states may wage extraordinary battles,
policing politics and justifying military measures in the name of
welfare and security. Heller-Roazen defines the piracy in the
conjunction of four conditions: a region beyond territorial
jurisdiction; agents who may not be identified with an established
state; the collapse of the distinction between criminal and
political categories; and the transformation of the concept of war.
The paradigm of piracy remains in force today. Whenever we hear of
regions outside the rule of law in which acts of "indiscriminate
aggression" have been committed "against humanity," we must begin
to recognize that these are acts of piracy. Often considered part
of the distant past, the enemy of all is closer to us today than we
may think. Indeed, he may never have been closer.
Software engineering education has a problem: universities and
bootcamps teach aspiring engineers to write code, but they leave
graduates to teach themselves the countless supporting tools
required to thrive in real software companies. Building a Career in
Software is the solution, a comprehensive guide to the essential
skills that instructors don't need and professionals never think to
teach: landing jobs, choosing teams and projects, asking good
questions, running meetings, going on-call, debugging production
problems, technical writing, making the most of a mentor, and much
more. In over a decade building software at companies such as Apple
and Uber, Daniel Heller has mentored and managed tens of engineers
from a variety of training backgrounds, and those engineers
inspired this book with their hundreds of questions about career
issues and day-to-day problems. Designed for either random access
or cover-to-cover reading, it offers concise treatments of
virtually every non-technical challenge you will face in the first
five years of your career-as well as a selection of
industry-focused technical topics rarely covered in training.
Whatever your education or technical specialty, Building a Career
in Software can save you years of trial and error and help you
succeed as a real-world software professional. What You Will Learn
Discover every important nontechnical facet of professional
programming as well as several key technical practices essential to
the transition from student to professional Build relationships
with your employer Improve your communication, including technical
writing, asking good questions, and public speaking Who This Book
is For Software engineers either early in their careers or about to
transition to the professional world; that is, all graduates of
computer science or software engineering university programs and
all software engineering boot camp participants.
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