Set out into the wilderness with Lewis and Clark or ride along on the Oregon and Santa Fe Trails with the pioneers who built the West. This series presents the important events and people that shaped United States history through interesting text and historically accurate photos and drawings. Each book includes a supplemental section on important dates and people, suggestions for finding more information, and a Did You Know? section filled with lots of interesting and unusual facts.

Eukaryotic DNA Damage Surveillance and Repair contains chapters from experts in the field of DNA damage detection, repair, and cell cycle control. The work reviews current understanding of how different types of DNA damage are detected and focuses on how these surveillance mechanisms are coupled to processes of DNA repair, cell cycle control, and apoptosis.
The title will be of interest to undergraduate/postgraduate students and academics alike.

"Rewriting the Thirties" questions the myth of the 'anti-modernist' decade. Conversely, the editors argue it is a symptomatic, transitional phase between modern and post-modern writing and politics, at a time of cultural and technological change.
The text reconsiders some of the leading writers of the period in the light of recent theoretical developments, through essays on the ambivalent assimilation of Modernist influences, among proletarian and canonical novelists including James Barke and George Orwell, and among poets including Auden, MacNeice, Swingler and Bunting, and in the work of feminist writers Vera Brittain and Winifred Holtby. In this substantial remapping, the complexity and scope of literary-critical debate at the time is discussed in relation to theatrical innovation, audience attitudes to the mass medium of modernity - cinema - the poetics of suburbia, consumerism and national ideology, as well as the discursive strategies of British and American documentarism.

Art and Science in Word and Image investigates the theme of 'riddles of form', exploring how discovery and innovation have functioned inter-dependently between art, literature and the sciences. Using the impact of evolutionary biologist D'Arcy Thompson's On Growth and Form on Modernist practices as springboard into the theme, contributors consider engagements with mysteries of natural form in painting, photography, fiction, etc., as well as theories about cosmic forces, and other fields of knowledge and enquiry. Hence the collection also deals with topics including cultural inscriptions of gardens and landscapes, deconstructions of received history through word and image artworks and texts, experiments in poetic materiality, graphic re-mediations of classic fiction, and textual transactions with animation and photography. Contributors are: Dina Aleshina, Marcia Arbex, Donna T. Canada Smith, Calum Colvin, Francis Edeline, Philippe Enrico, Etienne Fevrier, Madeline B. Gangnes, Eric T. Haskell, Christina Ionescu, Tim Isherwood, Matthew Jarron, Philippe Kaenel, Judy Kendall, Catherine Lanone, Kristen Nassif, Solange Ribeiro de Oliveira, Eric Robertson, Frances Robertson, Cathy Roche-Liger, David Skilton, Melanie Stengele, Barry Sullivan, Alice Tarbuck, Frederik Van Dam.

The first book to adapt business ethics theory to the practice of law to explore real-life ethical dilemmas faced by lawyers beyond legal ethics There has been a recent increase in law schools offering business ethics classes and this book is ideally suited for use in the classroom, as well as for legal practitioners Provides clear, real-life scenarios

The first book to adapt business ethics theory to the practice of law to explore real-life ethical dilemmas faced by lawyers beyond legal ethics There has been a recent increase in law schools offering business ethics classes and this book is ideally suited for use in the classroom, as well as for legal practitioners Provides clear, real-life scenarios

Rewriting the Thirties questions the myth of the 'anti-modernist' decade. Conversely, the editors argue it is a symptomatic, transitional phase between modern and post-modern writing and politics, at a time of cultural and technological change.The text reconsiders some of the leading writers of the period in the light of recent theoretical developments, through essays on the ambivalent assimilation of Modernist influences, among proletarian and canonical novelists including James Barke and George Orwell, and among poets including Auden, MacNeice, Swingler and Bunting, and in the work of feminist writers Vera Brittain and Winifred Holtby. In this substantial remapping, the complexity and scope of literary-critical debate at the time is discussed in relation to theatrical innovation, audience attitudes to the mass medium of modernity - cinema - the poetics of suburbia, consumerism and national ideology, as well as the discursive strategies of British and American documentarism.

Examining writers from Auden to Priestley, this study argues that the 1930s, remembered usually for uncomplicated political engagement, can rather be seen as initiating the key elements of post-modernism, developing the individuals's sense of "elsewhere" through new technology of representation and propaganda. The book analyzes the relationship between the leftist writers of the decade and the mass-media, showing how newspapers, radio and film were treated in their writing, and how they reshaped its forms, assumptions and imagery.

Investigates how the cinematic tendency of Joyce's writing developed from media predating film In this book, Keith Williams explores Victorian culture's emergent 'cinematicity' as a key creative driver of Joyce's experimental fiction, showing how Joyce's style and themes share the cinematograph's roots in Victorian optical entertainment and science. The book reveals Joyce's references to optical toys, shadowgraphs, magic lanterns, panoramas, photographic analysis and film peepshows. Close analyses of his works show how his techniques elaborated and critiqued their effects on modernity's 'media-cultural imaginary'.

This book investigates Wells' interest in cinema and related media technologies, by placing it back into the contemporary cultural and scientific contexts giving rise to them. It plugs a gap in understanding Wells' contribution to exploring and advancing the possibilities of cinematic narrative and its social and ideological impacts in the modern period. Previous studies concentrate on adaptations: this book accounts for the specifically (proto)cinematic techniques and concerns of Wells' texts. It also focuses on contemporary film-making in dialogue with his ideas. Alongside Hollywood's later transactions, it gives equal weight to neglected British and continental European dimensions. Chapter 1 shows how early writings ("The Time Machine" and short stories) feature many kinds of radically defamiliarised vision. These constitute imaginative speculations about the forms and potentials of moving image and electronic media. Chapter 2 discusses the power of voyeurism, absent presence and the disjunction of sound-image reproduction implied in "The Invisible Man" and its topical politics, updated in notable screen versions. Chapter 3 extends this to dystopian warnings of systematic surveillance, broadcasting of celebrity personae and post-literate video culture in "When the Sleeper Wakes", a crucial template for urban futures on film. Chapter 4 analyses Wells' belated return to screenwriting in the 1930s. It accounts for his broadbrow ambition of mediating between popular and avant-garde tendencies to promote his cause and its mixed results in "Things to Come", "The Man Who Could Work Miracles", etc. Chapter 5 finally surveys Wells' legacy on both small and large screens. It considers whether, as well as being raided for scenarios for spectacular effects, his subtexts still nourish an evolving tradition of alternative SF, which duly critiques the innovations and applications of its host media.

In this book, Keith Williams explores Victorian culture's emergent 'cinematicity' as a key creative driver of Joyce's experimental fiction, showing how Joyce's style and themes share the cinematograph's roots in Victorian optical entertainment and science.