Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The text is designed for undergraduate Mechanical Engineering courses in Kinematics and Dynamics of Machinery. It is a tool for professors who wish to develop the ability of students to formulate and solve problems involving linkages, cams, gears, robotic manipulators and other mechanisms. There is an emphasis on understanding and utilizing the implications of computed results. Students are expected to explore questions like "What do the results mean?" and "How can you improve the design?"

The Classical Music Encylopedia, now fully updated, traces the development of Western music from medieval times through to the twenty-first century. Each chapter begins with an Introduction to the era, followed by an A to Z of the key composers and musicians of the era, with an expert's recommended recording for each entry. Within these, the musical greats - from Mozart to Stravinksy - have more extensive entries. The Styles and Forms sections discuss the many different styles of music, from the earliest notation to the minimalism of the twentieth century, while the development of each era's Instruments is also extensively investigated. Written by many of the world's leading experts in the field, this invaluable encyclopedia is comprehensive, easy-to-use and highly informative - an essential guide for readers of all levels.

Modernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the 'new musicology'. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be. At the same time, it resists any dilution of the term that would see its indiscriminate application to practically any and all music of a certain period. In addition to addressing issues already well established in modernist studies such as aesthetics, history, institutions, place, diaspora, cosmopolitanism, production and performance, communication technologies and the interface with postmodernism, this volume also explores topics that are less established; among them: modernism and affect, modernism and comedy, modernism versus the 'contemporary', and the crucial distinction between modernism in popular culture and a 'popular modernism', a modernism of the people. In doing so, this text seeks to define modernism in music by probing its margins as much as by restating its supposed essence.

In their search for a relationship, whether long- or short-term, how do desiring subjects signify their identities and those of their desiring subjects? The essays in Racialized Politics of Desire in Personal Ads take up this question by exploring how writers of personal ads fashion themselves and those with whom they seek a connection. More specifically, these essays explore the politics of desire how complex intersections among the social categories of race, gender and sexuality within personal ads reveal a dynamic tapestry of power relations and hierarchies. By focusing on how, in each instance, African Americans both construct and are constructed discursively in the brief narrative space of personals, this collection offers a substantively new genre-based exploration of the politics of desire and makes an important contribution to studies of language and self; identity politics; cultural studies; gendered, sexualized and racialized discourses; and the performance of everyday texts that occupy scholarly attention in a variety of different disciplines. Those interested in American Cultural Studies, African American Studies, Sociology, Communication, Rhetoric, Queer Studies, Critical Race Theory, Women's Studies, Gender Studies, and Race Relations on a professional or lay basis will find this book informative and engaging."

In their search for a relationship, whether long- or short-term, how do desiring subjects signify their identities and those of their desiring subjects? The essays in Racialized Politics of Desire in Personal Ads take up this question by exploring how writers of personal ads fashion themselves and those with whom they seek a connection. More specifically, these essays explore the politics of desire_how complex intersections among the social categories of race, gender and sexuality within personal ads reveal a dynamic tapestry of power relations and hierarchies. By focusing on how, in each instance, African Americans both construct and are constructed discursively in the brief narrative space of personals, this collection offers a substantively new genre-based exploration of the politics of desire and makes an important contribution to studies of language and self; identity politics; cultural studies; gendered, sexualized and racialized discourses; and the performance of everyday texts that occupy scholarly attention in a variety of different disciplines. Those interested in American Cultural Studies, African American Studies, Sociology, Communication, Rhetoric, Queer Studies, Critical Race Theory, Women's Studies, Gender Studies, and Race Relations on a professional or lay basis will find this book informative and engaging.

Modernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the 'new musicology'. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be. At the same time, it resists any dilution of the term that would see its indiscriminate application to practically any and all music of a certain period. In addition to addressing issues already well established in modernist studies such as aesthetics, history, institutions, place, diaspora, cosmopolitanism, production and performance, communication technologies and the interface with postmodernism, this volume also explores topics that are less established; among them: modernism and affect, modernism and comedy, modernism versus the 'contemporary', and the crucial distinction between modernism in popular culture and a 'popular modernism', a modernism of the people. In doing so, this text seeks to define modernism in music by probing its margins as much as by restating its supposed essence.

In the New York Times bestseller Chew on This, Eric Schlosser and Charles Wilson unwrap the fast-food industry to bring you a behind-the-scenes look at a business that both feeds and feeds off the young. Find out what really goes on at your favorite restaurants--and what lurks between those sesame seed buns.
Praised for being accessible, honest, humorous, fascinating, and alarming, Chew On This was also repeatedly referred to as a must-read for kids who regularly eat fast food. Having all the facts about fast food helps young people make healthy decisions about what they eat. Chew On This shows them that they can change the world by changing what they eat.
Chew on This also includes action steps, a discussion guide, and a new afterword by the authors.

My first thanks must go to the Electors to Ford's Lectureship in English History in the University of Oxford, who honoured me with the invitation to discharge that formidable responsibility in 1969, generously interpreting the statute so as to allow me to deal with a subject which contained nearly as much Netherlands as it did English history. To Hugh Trevor-Roper, Regius Professor of Modern History in the University of Oxford, and his fellow Electors, I am grateful for much encouragement, guidance and hospitality. The colleagues and pupils upon whom I have from time to time inflicted discussion of problems arising from my subject are far too numerous to be thanked individually. Two must nevertheless be singled out. Vivian Fisher of Jesus College, Cambridge, very kindly read the completed manuscript, and I have benefited by a number of characteristically penetrating comments and suggestions which he made. Geoffrey Parker, Fellow of Christ's College, generously allowed me to make use of his unique knowledge of the Spanish, French and Italian archives to check and supplement my own information. I am deeply grateful to both. Finally, it will be evident that quite apart from my own researches these lectures owe a heavy debt to many scholars, Dutch, Belgian, American and British especially, who have worked in this or related fields of inquiry. I am not less indebted to those from whose interpretations I have ventured to differ than to those with whom I have found myself in agreement."

Historical explanations need to keep step with the march of research if they are not to degenerate into empty cliches. It has long been a commonplace of 17th century history that the Anglo-Dutch Wars were the product of 'commercial rivalry'. This essay, first published twenty years ago, attempted to analyse and redefine this overworked traditional concept so as to explain more precisely how it led to naval wars between the Dutch and the English. Two idees fixes of contemporary English thought seemed especially significant; one was the persistent consciousness of English inferiority and backwardness in economic affairs when compared with the Dutch; the other, compounding this, was the equally persistent conviction that strategically, England seemed well placed to wreck the Dutch maritime economy and bring the Republic to her knees in a naval war. These obsessive beliefs combined naturally with the specific influences and motives of powerful political and commercial lobbies to stoke the fires of aggression. Failing over several decades to make any visible progress by more or less peaceful policies, they turned, first, to economic warfare by means of propaganda and pseudo-legal claims to maritime sovereignty; finally (in 1652) to all-out eco nomic and naval warfare."

Although humankind today can peer far deeper into the universe than ever before, we still find ourselves surrounded by the unknown and perhaps the unknowable. All great science fiction has used the human imagination to explore that realm beyond the known, just as theistic religions have done since long before the genre existed. As Hugo Award-winning author Robert Charles Wilson argues in Owning the Unknown, the genre’s freewheeling speculation and systematic world-building make it it a unique lens for understanding, examining, and assessing the truth claims of religions in general and Christianity in particular. Drawing on his personal experience, his work as a science fiction writer, and his deep knowledge of the classics of the genre, he makes the case for what he calls intuitive atheism—an atheism drawn from everyday personal knowledge that doesn’t depend on familiarity with the scholarly debate about theology and metaphysics, any more than a robust personal Christianity does. And as he reminds us, the secrets that remain hidden beyond the borders of the known universe—should we ever discover them—will probably not resemble anything currently found in our most prized philosophies, our most sacred texts, or our most imaginative science fiction.

One day in Thailand, 21st-century slacker Scott Warden witnesses an impossible event: the violent appearance of a 200-foot stone pillar. Its arrival collapses trees for a quarter mile around its base. It appears to be composed of an exotic form of matter. And the inscription chiseled into it commemorates a military victory...sixteen years hence.
As more pillars arrive all over the world, all apparently from our own near future, a strange loop of causality keeps drawing Scott into the central mystery--and a final battle with the future.

In his first story collection, Robert Charles Wilson, one of the most distinguished SF authors of his generation, weaves a tapestry of tales set in and around the city of Toronto -- a haunted, numinous Toronto of past, present, and future, buzzing with strangeness.

Beginning with "The Perseids", winner of Canada's national SF award, this collection showcases Wilson's suppleness and strength: bravura ideas, scientific rigor, and living, breathing human beings facing choices that matter. Among the other stories herein are the acclaimed Hugo finalist "Divided by Infinity" and three stories written especially for this collection.