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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."
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Spin (Paperback)
Robert Charles Wilson
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R497
R421
Discovery Miles 4 210
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Darwinia (Paperback)
Robert Charles Wilson
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R507
R432
Discovery Miles 4 320
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In 1912, history was changed by the Miracle, when the old world of
Europe was replaced by Darwinia, a strange land of nightmarish
jungle and antediluvian monsters. To some, the Miracle was an act
of divine retribution; to others, it is an opportunity to carve out
a new empire. Leaving an America now ruled by religious
fundamentalists, young Guilford Law travels to Darwinia on a
mission of discovery that will take him further than he can
possibly imagine...to a shattering revelation about mankind's
destiny in the universe. Robert Charles Wilson has crafted a
brilliant science fiction novel--a view of an utterly different
20th century. "Darwinia "is a 1999 Hugo Award Nominee for Best
Novel.
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.
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.
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Vortex (Paperback)
Robert Charles Wilson
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R533
R454
Discovery Miles 4 540
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