In both education and training, teachers are faced with many and varied problems relating to their teaching and their students' learning. Educational technology, in its widest sense, provides teachers with methods and tools which, if properly used, can alleviate some of these problems. The computer is one such tool, offering, within certain limitations, some possible solutions. Originally published in 1979, this book describes the use of the computer as a resource and as a manager in education and training. It discusses the use, potential and limitations of this technology in helping the teacher and trainer. Beginning with a consideration of the role of the computer as a mediator in the flow of information between the student and his learning environment, the book goes on to look at Computer Assisted Learning from an educational viewpoint, the strength and weaknesses of a number of different media, and the problems of managing modular courses and course structures and handling information on students' performance and progress. A chapter on informatics and education addresses the problem of what both teachers and students should know about computers, while the final chapter examines the practical problems of prompting and organising the appropriate use of this technology.

Although the concept of public diplomacy has been part of America's wartime strategy as far back as the Revolutionary War, the term itself is relatively new. In the wake of the events of September 11 and the ensuing War on Terror, there has been an increasing awareness of the negative global image of the United States and intense concern over how communication may be used to improve that image. Within that context, the concept and term public diplomacy have become more notable among practitioners and the American public. Yet public diplomacy has mostly been neglected by scholars and only recently begun to attract academic attention. This volume of The ANNALS commences the first collection of scholarly articles focusing on public diplomacy--the practice through which international actors attempt to advance the ends of policy by engaging with foreign publics--and examines it as an international phenomenon and an important component of statecraft. Most of the papers of this compelling volume sprang from the Center on Public Diplomacy, at the University of Southern California, which launched the first master's degree program in public diplomacy. Although many of the authors provide practitioner experiences to their work, they write from the perspective of academic disciplines. The opening section provides a solid foundation for the theoretical understanding of public diplomacy, with six papers written from a variety of disciplines, including communication, international relations, history, and politics. Next, the focus turns to how practitioners implement public diplomacy. By studying the popular tools of public diplomacy, the second section considers the roles of place branding, international broadcasting, and exchange programs. Although grounded in American scholarship, this volume acknowledges that the concept of public diplomacy is international. Featuring case studies that stretch beyond the United States to Venezuela, Cuba, and China, the final section provides an international composition of the role public diplomacy. Researchers, students, and practitioners alike will find this leading-edge collection of articles to inspire future debate, research, and inquiry in a field of study that is ripe for growth.

Secrecy and the Media is the first book to examine the development of the D-Notice system, which regulates the UK media's publication of British national security secrets. It is based on official documents, many of which have not previously been available to a general audience, as well as on media sources. From Victorian times, British governments have consistently seen the need, in the public interest, to prevent the media publishing secret information which would endanger national security. The UK media have meanwhile continuously resisted official attempts to impose any form of censorship, arguing that a free press is in the public interest. Both sides have normally seen the pitfalls of attempting to resolve this sometimes acrimonious conflict of interests by litigation, and have together evolved a system of editorial self-regulation, assisted by day-to-day independent expert advice, known colloquially as the D-Notice System. The book traces the development of this system from nineteenth-century colonial campaigns, through two world wars, to modern operations and counter-terrorism in the post-Cold War era, up to the beginning of the Labour government in 1997. Examples are drawn from media, political and official sources (some not yet open), and cover not only defence issues (including Special Forces), but also the activities of the secret intelligence services MI5, MI6 and GCHQ. These cases relate principally to the UK, but also to American and other allies' interests. The story of how this sometimes controversial institution now operates in the modern world will be essential reading for those in the media and government departments, and for academics and students in the fields of security, defence and intelligence, as well as being an accessible expose for the general reader. Nicholas Wilkinson served in the Royal Navy 1959-98, and from 1999 to 2004 he ran the independent Defence, Press and Broadcasting Advisory Committee. He was a Press Complaints Commissioner from 2005 to 2008, and is a Cabinet Office Historian.

With his last opera Mozart created a piece of theatre which defies categorization. In theory it is a Singspiel, a mixture of songs and dialogue, in which the spectacular effects and comedy fit naturally: they appeal today as much as they did when it first opened in a popular Viennese theatre two hundred years ago. Rodney Milnes recalls some of the other pieces playing at the time, such as Kaspar the Bassonist, or The Magic Zither. On the other hand, it belongs to a tradition of Enlightenment texts in which a young prince, destined to be a ruler, learns from his adventures how to behave wisely as a social being. This is a re-working of the Orpheus myth, in the context of the Age of Reason and Freemasonry. David Cairns describes the many beauties of the score in loving detail, taking the reader through the complex plot, to clarify and interpret it. Famous commentaries by Goethe, Berlioz, E.T.A. Hoffmann and G.B. Shaw reveal their enthusiasm for the opera. A useful and unusual feature of this guide is the complete dialogue, in German with an English translation, which is often badly cut in performance. Like so many fairy tales, The Magic Flute repays careful attention: its music has a charm to inspire the child in every listener. Contents: Synopsis; 'Singspiel and Symbolism', Rodney Milnes; 'A Vision of Reconciliation' David Cairns; 'A Public for Mozart's Last Opera' Nicholas John; Die Zauberfloete: Libretto by Emanuel Schikaneder and Carl Ludwig Giesecke; The Magic Flute: Lyrics by Michael Geliot, Dialogue by Anthony Besch

This festschrift collects a number of insightful essays by a group of accomplished Christian scholars, all of who have either worked with or studied under Hendrik Hart during his 35-year tenure as Senior Member in Systematic Philosophy at the Institute for Christian Studies, Toronto, Canada. As reflected in the title, these essays are organized around the theme of responsibility, which is central to Hart's philosophical work. Illustrating the breadth of Hart's philosophical contributions, as well as the diverse interests of the book's contributors, the essays contained herein cover a diverse range of topics, including philosophy of religion, moral philosophy, philosophy of science, aesthetics, pragmatism, feminist thought, theology, and cultural studies.

This reference book provides traffic safety researchers and practitioners with an international and multi-disciplinary compendium of theoretical and methodological chapters. Together, these chapters discuss the research and application of "Traffic Safety Culture" as an important approach to traffic safety, including the vision of zero traffic fatalities and serious injuries. Traffic crashes are a significant cause of death and debilitating injury worldwide, especially in low- and middle-income countries. Whereas most traditional safety efforts teach safe behavior (education), punish risky behavior (enforcement), or design the environment to minimize crash injury resulting from those behaviors (engineering), there is also the need to understand the culture of our social environments that influence our concern for traffic safety and choice of behaviors. As a result, there is growing interest in the concept of Traffic Safety Culture. However, this concept is relatively new and is not yet supported by a robust theoretical foundation or amassed large body of research. The goal of this book is to create a theoretical foundation and methodological framework for using traffic safety culture, including the discussion of best practices for developing, implementing and evaluating culture-based strategies.

This book shows how operator theory interacts with function theory in one and several variables. The authors develop the theory in detail, leading the reader to the cutting edge of contemporary research. It starts with a treatment of the theory of bounded holomorphic functions on the unit disc. Model theory and the network realization formula are used to solve Nevanlinna-Pick interpolation problems, and the same techniques are shown to work on the bidisc, the symmetrized bidisc, and other domains. The techniques are powerful enough to prove the Julia-Caratheodory theorem on the bidisc, Lempert's theorem on invariant metrics in convex domains, the Oka extension theorem, and to generalize Loewner's matrix monotonicity results to several variables. In Part II, the book gives an introduction to non-commutative function theory, and shows how model theory and the network realization formula can be used to understand functions of non-commuting matrices.

All buildings in the UK must now adhere to the recently published wind code BS 6399-2. The introduction of a new code is often traumatic, especially so in this case,as the previous code has been in place for 25 years.The authors considerable practical knowledge of wind engineering, together with his involvement in drafting this standard and his experience in conducting workshops on this subject make him the ideal person to convey the strengths and weaknesses of BS 6399-2 in this guide.Following recent amendments to BS 6399-2(2002) this popular guide has been revised.

This volume offers the first comprehensive analysis in English of all the writings of Julian (r. AD 361-363), the last pagan emperor of Rome, noted for his frontal and self-conscious challenge to Christianity. The book also contains treatments of Julian's laws, inscriptions, coinage, as well as his artistic programme. Across nineteen papers, international specialists in the field of Late Antique Studies offer original interpretations of an extraordinary figure: emperor and philosopher, soldier and accomplished writer. Julian, his life and writings, are here considered as parts of the tumult in politics, culture and religion during the Fourth Century AD. New light is shed on Julian's distinctive literary style and imperial agenda. The volume also includes an up-to-date, consolidated bibliography.

It is now 30 years since the publication of seminal articles by Robert Cox and Richard Ashley, which introduced the project of critical theory to the international relations discipline. This 2007 book brings together a team of world-class scholars to assess the impact of critical scholarship on the discipline over this period and point to future directions for the critical project. The book is an authoritative overview of the current position of critical international relations theory. It is an essential resource for those working in critical international relations theory and for undergraduate and graduate courses on Internal Relations theory.

"Bizet describes himself as 'pagan', and Carmen has a savage Mediterranean beauty quite unique in music. The essays included in this guide suggest some reasons for its legendary theatrical appeal. Martin Cooper describes the traditional mixture of spoken words and song that stimulated Bizet to exclaim, 'I want to revolutionize opera-comique!': the translators show the ingenious and inspired ways in which he set about it. Lesley Wright analyses the score and Michael Rabaud shows the uncanny appropriateness of Nietzche's support for Bizet in his famous attacks on the decadence of Wagner. This is the first time that the complete text of the verses that Bizet set to music and the full dialogue (much of it especially translated for this Opera Guide), have ever been published. Contents: Introduction, Nicholas John; Opera-Comique, Martin Cooper; A Musical Commentary, Lesley A. Wright; 'Carmen': A tragedy oflove, sun and death, Michel Rabaud; Carmen: French text by Henri Meilhac and Ludovic Halevy after the novel by Prosper Merimee; Carmen: English version by Nell and John Moody"

"It was a treat so truly intellectual that every ear and every breast, susceptible of harmony and of impression, was gratified to a degree beyond our power to describe." Thus reads one of the first London reviews of Cosi fan tutte. Its enigmatic mixture of a detached experiment in human foibles and a struggle of sincere emotions has often disturbed audiences. H.C. Robbins Landon observes, however, that Mozart's heartfelt music proves he is openly on the side of the angels - the ladies - not the deceivers, however cynical Da Ponte's words appear to be. Brian Trowell describes the sophisticated world in which the opera was conceived, while John Stone traces the origins of the libretto to Ancient Greece, medieval Italy and even to China. The text is certainly Da Ponte's most original work, and is here presented in Revd M.E. Browne's acclaimed translation, revised by John Cox. Contents: Mozart at the time of 'Cosi fan tutte', Brian Trowell; A Commentary on the Score, H.C. Robbins Landon; The Background to the Libretto, John Stone; A Performance History, Nicholas John; Cosi fan tutte: Libretto by Lorenzo da Ponte; Cosi fan tutte: English translation by Marmaduke E. Browne, revised by John Cox

These Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. More than any other work in the operatic repertory, Parsifal demands a personal commitment and response. As the culmination of half a lifetime's preoccupation with the issues of compassion and redemption, it has profound philosophical implications. As the ultimate example of Wagner's idiom it is an extraordinary musical structure. The unique quality of the subject inspired a wholly original musical conception. Here are four very different essays designed, in their variety, to set you thinking about it what it means to you. The translation was commissioned for the first production by English National Opera in 1986. Contains: A Very Human Epic Mike Ashman Recapitulation of a Lifetime Dieter Borchmeyer Experiencing Music and Imagery in 'Parsifal' Robin Holloway 'Parsifal': Words and Music Carolyn Abbate Discussions into the Dramaturgy of 'Parsifal' Gerd Rienacker Thematic Guide Lionel Friend 'Parsifal' poem by Richard Wagner 'Parsifal' English translation by Andrew Porter Discography Cathy Peterson Bibliography

Among the features of this guide to La Cenerentola, Philip Gossett throws new light on the remarkable story of the opera's composition, while Colin Graham, ENO producer, argues that it is the most sympathetic of all Rossini's comic masterpieces, and Mark Elder, ENO Music Director, shows how Rossini's musical style is exceptionally well suited to this enchanting story. Contents: Fairy tale and opera buffa: the genre of Rossini's 'La Cenerentola', Philip Gossett; 'La Cenerentola' - a musical commentary, Arthur Jacobs; 'Cinderella' in performance: I: A conversation with Mark Elder, II: A conversation with Colin Graham; La cenerentola: Libretto by Giacomo Ferretti; Ciderella: English translation by Arthur Jacobs

Aida is, for most of us, the quintessence of Ancient Egypt, but it is certainly not just for archaeologists. Michael Rose points out that it is really about patriotism - an issue of burning importance to Verdi and his contemporaries. Music critic William Mann reflects that even a short look at the score reveals subtleties that repay careful listening. And Verdi's own letters show the germs of the opera grow from suggestion to creation. Contents: Verdi's 'Egyptian business', Michael Rose; 'Aida' - Text and Music, William Mann; The Genesis of 'Aida', Roger Parker; Aida: Libretto by Antonio Ghislanzoni; Aida: English version by Edmund Tracey

In this guide to Pelleas and Melisande, Maeterlinck's original play is reprinted in full, so that the opera lover can read the scenes that Debussy did not set to music. Hugh Macdonald's much praised English translation is published here for the first time, with an essay uncovering the musical roots of Pelleas and Melisande and illustrating its importance to the music of the twentieth century. Alain Raitt, author of several studies of symbolist writers, evaluates Maeterlinck's status as a dramatist, and Roger Nichols analyses the score. Proust's short pastiche of the opera and Arthur Symons's review of the first English performances challenge us to come to terms with this eternally intriguing masterpiece. Contents: Something Borrowed, Something New, Hugh Macdonald; A Musical Synopsis, Roger Nichols; Maeterlinck and the Theatre, Alan Raitt; Profound or Pretentious?, Nicholas John; Pelleas et Melisande: text by Maurice Maeterlinck; Pelleas and Melisande: English Translation by Hugh Macdonald

In this guide to Verdi's popular opera, Marcello Conati of the Institute for Verdi Studies points out that, although audiences have always adored it, critics are only now coming to see that it represents a step forward, not back, from the revolutionary drama of Rigoletto, completed a year before. Professor D.R.B. Kimbell, an expert on Verdi's music, clarifies the story and takes us through the score, while Professor Donald Shaw examines the unusual symbolism of the Spanish Romantic movement. Il Trovatore can be approached just as a theatrical experience, but these essays give brief and valuable insights into the type of drama it is, and the way it works. Contents: 'Higher than the highest', Marcello Conati; 'Il trovatore': Music and Drama, D.R.B. Kimbell; Antonio Garcia Gutierrez's 'El trovador', Donald Shaw; Il trovatore: Libretto by Salvatore Cammarano; Il trovatore: English translation by Tom Hammond

This is a double volume dedicated to two masterpieces by Benjamin Britten. While Peter Grimes established Britten as a composer of international standing, Gloriana, composed for the coronation of Elizabeth II, has never enjoyed a comparable fame. The variety of mood, characterization and pace, in each, illustrates Britten's exceptional gift for theatre. Commentaries on the scores reveal, for instance, how much the popular concert extracts gain from their context in the dramas. The essay by E.M. Forster - the inspiration for Peter Grimes - is reprinted here, and Michael Holroyd discusses Lytton Strachey's controversial Elizabeth and Essex - the source for Gloriana. Contents: Benjamin Britten's Librettos, Peter Porter; George Crabbe: The Poet and the Man, E.M. Forster; 'Peter Grimes': A Musical Commentary, Stephen Walsh; Peter Grimes: Libretto by Montagu Slater; 'Peter Grimes' and 'Gloriana', Joan Cross, Peter Pears and John Evans; Some Reflections on the Operas of Benjamin Britten, Buxton Orr; 'A daring experiment', Michael Holroyd; The Librettist of 'Gloriana', Rupert Hart-Davis; The Music of 'Gloriana', Christopher Palmer; Notes on the Libretto of 'Gloriana', William Plomer; Gloriana: Libretto by William Plomer

The story of Manon Lescaut has become part of the European imagination: she is the fun-loving woman who is irresistible to men. Of Massenet's many operas, she inspired the most popular one, and this libretto shows his minute attention to detail in bringing the character and the period to life. This guide opens with a general survey of Massenet's career by the musicologist Gerard Conde, and includes two essays about this particular opera. Professor Hugh Macdonald explores the interplay of speech and song in Manon and Massenet's genius for comedy. Professor Vivienne Mylne traces the sources and context of Prevost's novel. Contents: Massenet, Gerard Conde; A Musical Synopsis, Hugh Macdonald; Prevost and 'Manon Lescaut', Vivienne Mylne; Manon: Libretto by Henri Meilhac and Philippe Gille; Manon: English version by Edmund Tracey

Rossini was one of the major innovators in the field of opera. Moise et Pharaon is a score which he revised for Paris ten years after it had been composed for Naples; the result shows the evolution of his taste over a decade - from the neoclassical sublime to spectacular Romantic grand opera. Il barbiere di Siviglia has been a favourite with the public since it opened, and Marco Spada analyses how its stylish comedy has been misunderstood. Other essays throw light on the working conditions of the "opera industry" in Rossini's Italy, on Balzac's delightful novel concerning Moses and on the exceptional challenge of performing this type of music to a high standard. Contents: Rossini: the Serious and the Comic, Philip Gossett; The Composer at Work, John Rosselli; The Roots of a Masterpiece, Marco Spada; A Personal View of Rossini, Ubaldo Gardini; Il barbiere di Siviglia: Libretto by Cesare Sterbini; The Barber of Seville: English version by Edward J. Dent; Balzac, Stendhal and Rossini's 'Moses', Pierluigi Petrobelli; From Sublime to Romantic, Richard Bernas; Moise et Pharaon: Libretto by Victor de Jouy and Louis Balochy; Moses: English translation by John and Nell Moody

Richard Strauss turned his genius to opera at the turn of the twentieth century, and this guide contains the texts and introductions to his first two masterpieces in what was, for him, a new genre. Despite obvious similarities - both operas consisting of one act, centred upon one female title role - the works are quite different in subject and treatment. Salome, based on Oscar Wilde's notorious play, has a kaleidoscopic range of orchestral colour and a lurid climax. Elektra, derived from the myths of the ancient Greeks and the first collaboration between Strauss and Hofmannsthal, is a study in neurosis, ripe for Jungian comparative analysis. Contents: Richard Strauss and the Unveiling of 'Salome', Paul Banks; Salome: Libretto by Hedwig Lachmann; Salome: English translation by Tom Hammond; Hofmannsthal's 'Elektra': from Drama to Libretto, Kenneth Segar; Elektra and the 'Elektra Complex', Christopher Wintle; Elektra: Libretto by Hugo von Hofmannsthal; Elektra: English translation by Anthony Hose; Strauss's Orchestra in 'Salome' and 'Elektra', Jonathan Burton

It used to be thought that Verdi miscalculated with this attempt at a "grand opera" in the French style. This guide demonstrates that Don Carlos was - and remains - an extraordinary achievement in melding two opposing visions of opera: the spectacular public aspect of the French tradition with the dramatic concision of the Italian. And because of the variety of versions which Verdi sanctioned, this debate is open-ended. Contents: A Grand Opera with a Difference, Julian Budden; Off the Beaten Track, Gilles de Van; "A Family Portrait in a Royal Household": 'Don Carlos' from Schiller to Verdi, F.J. Lamport; Stendhal's 'Don Carlos': "The most moving opera ever written", by Nicholas Cronk; Don Carlos: Grand Opera in Five Acts by Joseph Mery and Camille du Locle; Don Carlo: Italian translation by Achille de Lauzieres and Angelo Zanardini with additional material translated by Piero Faggioni; Don Carlos: English translation by Andrew Porter; Introduction by Jennifer Batchelor