The ancient world served as an unconventional source of inspiration for a generation of modernists. Drawing on examples from literature, dance, photography, and film, Modernism's Mythic Pose argues that a strain of antimodern-classicism permeates modernist celebrations of novelty, shock, and technology.
The touchstone of Preston's study is Delsartism--the popular transnational movement which promoted mythic statue--posing, poetic recitation, and other hybrid solo performances for health and spiritual development. Derived from nineteenth-century acting theorist Francois Delsarte and largely organized by women, Delsartism shaped modernist performances, genres, and ideas of gender. Even Ezra Pound, a famous promoter of the "new," made ancient figures speak in the "old" genre of the dramatic monologue and performed public recitations. Recovering precedents in nineteenth-century popular entertainments and Delsartism's hybrid performances, this book considers the canonical modernists Pound and T. S. Eliot, lesser-known poets like Charlotte Mew, the Russian filmmaker Lev Kuleshov, Isadora Duncan the international dance star, and H.D. as poet and film actor.
Preston's interdisciplinary engagement with performance, poetics, modern dance, and silent film demonstrates that studies of modernism often overemphasize breaks with the past. Modernism also posed myth in an ambivalent relationship to modernity, a halt in the march of progress that could function as escapism, skeptical critique, or a figure for the death of gods and civilizations."

For generations, treasure hunters have tried to unlock the deadly puzzle known as the Water Pit: a labyrinth of shafts and tunnels that honeycombs the heart of a small island off the coast of Maine. Reputed to be the hiding place of pirate treasure, the Water Pit possesses an inexplicable ability to kill those who venture into it, from professionals to innocent explorers. The most comprehensive, high-tech expedition ever assembled has come to Maine and to Dr. Malin Hatch, owner of the island. While the treasure hunters have their reasons for mounting this assault - $2 billion in gold - Hatch has his own motives to join them. For Hatch, whose brother died on Ragged Island thirty years before, the only escape from the curse is through the black swirling waters and bloodstained chambers of the Pit.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

The first fully comparative empirical analysis of the relationship between education and social cohesion, this book develops a new "distributional theory" of the effects of educational inequality on social solidarity. Based on a wide-ranging theoretical critique, and extensive analysis of data on inequality and social attitudes for over 25 developed countries, the study shows how educational inequality undermines social trust, civic co-operation and the rule of law. It is not how much education a country has that matters for social cohesion but how it is distributed and the co-operative values that people learn.

Pendergast has taken Constance on a whirlwind Grand Tour, hoping to give her closure and a sense of the world that she's missed. They head to Tibet, where Pendergast intensively trained in martial arts and spiritual studies. At a remote monastery, they learn that a rare and dangerous artifact the monks have been guarding for generations has been mysteriously stolen. Pendergast agrees to take up the search. The trail leads him and Constance to the maiden voyage of the Queen Victoria, the world's largest and most luxurious passenger liner--and to an Atlantic crossing fraught with terror.

It is already clear that climate engineering raises numerous troubling ethical issues. The pertinent question yet to be addressed is how the ethical issues raised by climate engineering compare to those raised by alternative proposals for tackling climate change. This volume is the first to put the ethical issues raised by climate engineering into a comprehensive, comparative context so that the key ethical challenges of these technologies can be better measured against those of alternative climate policies . Addressing the topic specifically through the lens of justice, contributors include both advocates of climate intervention research and its sceptics. The volume includes a helpful blend of the theoretical and the practical, with contributions from authors in philosophy, engineering, public policy, social science, geography, sustainable development studies, economics, and climate studies. This cross-disciplinary collection provides the start of an important and more contextualized "second generation" analysis of climate engineering and the difficult public policy decisions that lie ahead.

This book presents general computer definitions and abbreviations as well as application-specification terminology related to the world of CAD/CAM in alphabetical order.

"No one working on Douglass should leave home without a copy of this book."-from the foreword by David W. Blight, Pulitzer Prize winning author of Frederick Douglass: Prophet of Freedom Drawing on previously untapped sources, Young Frederick Douglass recreates with fidelity and in convincing detail the background and early life of the man who was to become "the gadfly of America's conscience" and the undisputed spokesman for nineteenth-century black Americans. With a new foreword by renowned Douglass scholar David W. Blight, Dickson J. Preston's highly regarded biography traces the life and times of Frederick Douglass from his birth on Maryland's Eastern Shore in 1818 until 1838, when he escaped from slavery to emerge upon the national scene. Astounding his white contemporaries with his oratorical brilliance and intellectual capabilities, Douglass dared to challenge the doctrine of white supremacy on its own grounds. At the time of Douglass's death in 1895, one eulogist wrote that he was probably the best-known American throughout the world since Abraham Lincoln.

Winner of the de la Torre Bueno prize, Society of Dance History Scholars The ancient world served as an unconventional source of inspiration for a generation of modernists. Drawing on examples from literature, dance, photography, and film, Modernism's Mythic Pose argues that a strain of antimodern-classicism permeates modernist celebrations of novelty, shock, and technology. The touchstone of Preston's study is Delsartism-the popular transnational movement which promoted mythic statue-posing, poetic recitation, and other hybrid solo performances for health and spiritual development. Derived from nineteenth-century acting theorist Francois Delsarte and largely organized by women, Delsartism shaped modernist performances, genres, and ideas of gender. Even Ezra Pound, a famous promoter of the "new," made ancient figures speak in the "old" genre of the dramatic monologue and performed public recitations. Recovering precedents in nineteenth-century popular entertainments and Delsartism's hybrid performances, this book considers the canonical modernists Pound and T. S. Eliot, lesser-known poets like Charlotte Mew, the Russian filmmaker Lev Kuleshov, Isadora Duncan the international dance star, and H.D. as poet and film actor. Preston's interdisciplinary engagement with performance, poetics, modern dance, and silent film demonstrates that studies of modernism often overemphasize breaks with the past. Modernism also posed myth in an ambivalent relationship to modernity, a halt in the march of progress that could function as escapism, skeptical critique, or a figure for the death of gods and civilizations.

Gifford Lecturer and Templeton Prize winner Holmes Rolston, III is widely known as the father of environmental ethics. From his authorship of one of the first articles in professional environmental philosophy ("Is there an Ecological Ethic?" 1975) to his most recent article on the place of humanity in the cosmos ("Generating Life on Earth: Five Looming Questions" 2007) no author has taken a more prominent role in mapping out the terrain in environmental philosophy. His writings range between natural philosophy and theology and include detailed presentations of an interlocking position that includes aesthetics, value theory, natural resource policy, wilderness advocacy, and sustainable development.

"Nature Value and Duty: Life on Earth with Holmes Rolston, III" is a collection of contemporary writings on the work of Holmes Rolston, III. The authors contributing to this volume are a mixture of senior scholars in environmental ethics and new voices in philosophy and in literature. Together they provide an in depth evaluation of many of the topics discussed by Rolston. They probe the strengths and weaknesses of his work and suggest valuable correctives. Rolston himself, in a detailed reply to each of his critics at the end of the volume, reveals where some of these criticisms sting him the most and in the process provides one of the most detailed and articulate defenses of his position ever offered.

The first fully comparative empirical analysis of the relationship between education and social cohesion, this book develops a new "distributional theory" of the effects of educational inequality on social solidarity. Based on extensive analysis of data on inequality and social attitudes for over 25 developed countries.

Devastated by the discovery that his wife, Helen, was murdered, Special Agent Pendergast must have retribution. But revenge is not simple. As he stalks his wife's betrayers--a chase that takes him from the wild moors of Scotland to the bustling streets of New York City and the darkest bayous of Louisiana--he is also forced to dig further into Helen's past. And he is stunned to learn that Helen may have been a collaborator in her own murder.
Peeling back the layers of deception, Pendergast realizes that the conspiracy is deeper, goes back generations, and is more monstrous than he could have ever imagined--and everything he's believed, everything he's trusted, everything he's understood . . . may be a horrific lie.

A small Kansas town has turned into a killing ground.
Is it a serial killer, a man with the need to destroy?
Or is it a darker force, a curse upon the land?
Amid golden cornfields, FBI Special Agent Pendergast discovers evil in the blood of America's heartland.
No one is safe.

In this inventive mix of criticism, scholarship, and personal reflection, Carrie J. Preston explores the nature of cross-cultural teaching, learning, and performance. Throughout the twentieth century, Japanese noh was a major creative catalyst for American and European writers, dancers, and composers. The noh theater's stylized choreography, poetic chant, spectacular costumes and masks, and engagement with history inspired Western artists as they reimagined new approaches to tradition and form. In Learning to Kneel, Preston locates noh's important influence on such canonical figures as Pound, Yeats, Brecht, Britten, and Beckett. These writers learned about noh from an international cast of collaborators, and Preston traces the ways in which Japanese and Western artists influenced one another. Preston's critical work was profoundly shaped by her own training in noh performance technique under a professional actor in Tokyo, who taught her to kneel, bow, chant, and submit to the teachings of a conservative tradition. This encounter challenged Preston's assumptions about effective teaching, particularly her inclinations to emphasize Western ideas of innovation and subversion and to overlook the complex ranges of agency experienced by teachers and students. It also inspired new perspectives regarding the generative relationship between Western writers and Japanese performers. Pound, Yeats, Brecht, and others are often criticized for their orientalist tendencies and misappropriation of noh, but Preston's analysis and her journey reflect a more nuanced understanding of cultural exchange.

The book is an introduction to some of the 1967 1974 results and techniques in classical lattice statistical mechanics. It is written in the language of probability theory rather than that of physics, and is thus aimed primarily at mathematicians who might have little or no background in physics. This area of statistical mechanics is presently enjoying a rapid growth and the book should allow a graduate student or research mathematician to find out what is happening in it. The book is self-contained except for some basic concepts of probability theory, and can be read by any undergraduate student in mathematics who has a reasonable background in probability.

In this inventive mix of criticism, scholarship, and personal reflection, Carrie J. Preston explores the nature of cross-cultural teaching, learning, and performance. Throughout the twentieth century, Japanese noh was a major creative catalyst for American and European writers, dancers, and composers. The noh theater's stylized choreography, poetic chant, spectacular costumes and masks, and engagement with history inspired Western artists as they reimagined new approaches to tradition and form. In Learning to Kneel, Preston locates noh's important influence on such canonical figures as Pound, Yeats, Brecht, Britten, and Beckett. These writers learned about noh from an international cast of collaborators, and Preston traces the ways in which Japanese and Western artists influenced one another. Preston's critical work was profoundly shaped by her own training in noh performance technique under a professional actor in Tokyo, who taught her to kneel, bow, chant, and submit to the teachings of a conservative tradition. This encounter challenged Preston's assumptions about effective teaching, particularly her inclinations to emphasize Western ideas of innovation and subversion and to overlook the complex ranges of agency experienced by teachers and students. It also inspired new perspectives regarding the generative relationship between Western writers and Japanese performers. Pound, Yeats, Brecht, and others are often criticized for their orientalist tendencies and misappropriation of noh, but Preston's analysis and her journey reflect a more nuanced understanding of cultural exchange.

A top nuclear scientist goes mad and takes an innocent family hostage at gunpoint, killing one and causing a massive standoff.
A plume of radiation above New York City leads to a warehouse where, it seems, a powerful nuclear bomb was assembled just hours before.
Sifting through the evidence, authorities determine that the unthinkable is about to happen: in ten days, a major American city will be vaporized by a terrorist attack.
Ten days. And Gideon Crew, tracking the mysterious terrorist cell from the suburbs of New York to the mountains of New Mexico, learns the end may be something worse--far worse--than mere Armageddon.