Since their discovery more than a decade ago, carbon nanotubes (CNTs) have held scientists and engineers in captive fascination, seated on the verge of enormous breakthroughs in areas such as medicine, electronics, and materials science, to name but a few. Taking a broad look at CNTs and the tools used to study them, Carbon Nanotubes: Properties and Applications comprises the efforts of leading nanotube researchers led by Michael O'Connell, protege of the late father of nanotechnology, Richard Smalley. Each chapter is a self-contained treatise on various aspects of CNT synthesis, characterization, modification, and applications.

The book opens with a general introduction to the basic characteristics and the history of CNTs, followed by discussions on synthesis methods and the growth of "peapod" structures. Coverage then moves to electronic properties and band structures of single-wall nanotubes (SWNTs), magnetic properties, Raman spectroscopy of electronic and chemical behavior, and electromechanical properties and applications in NEMS (nanoelectromechanical systems). Turning to applications, the final sections of the book explore mechanical properties of SWNTs spun into fibers, sidewall functionalization in composites, and using SWNTs as tips for scanning probe microscopes.

Taking a fresh look at this burgeoning field, Carbon Nanotubes: Properties and Applications points the way toward making CNTs commercially viable.

Offering guidance and inspiration to English literature instructors, this book faces the challenges of real-life teaching and the contemporary higher education classroom head on. Whether you're teaching in a community college, a state school, a liberal arts college, or an Ivy League institution, this book offers valuable advice and insights which will help you to motivate, incentivize and inspire your students. Addressing questions such as: 'how do you articulate the value of literary education to students (and administrators, and parents)?', 'how can a class session with a fatigued and underprepared group of students be made productive?', and 'how do you incentivize overscheduled students to read energetically in preparation for class?', this book answers these universal quandaries and more, providing a usable philosophy of the value of literary education, articulating a set of learning goals for students of literature, and offering plenty of practical advice on pedagogical strategies, day-to-day coping, and more. In its sum, Teaching Literature in the Real World constitutes an experience-based philosophy of teaching literature that is practical and realistic, oriented towards helping students develop intellectual skills, and committed to pedagogy built on explicit, detailed, and observable learning objectives.

British modernism came of age at a time of great cultural anxiety about the state of journalism. The new newspapers, with their brief, flashy articles, striking visuals, hyperbolic headlines, and sensational news, stood at the center of debates about reading in the period, seeming to threaten the viability of representative democracy, the health and vitality of the language, and the very future of literature itself. Patrick Collier's study brings an impressive array of archival research to his exploration of modernism's relationship to the newspaper press. People who sought to make their way as writers could neither remain neutral on this issue nor abandon journalism, which offered an irreplaceable source of income and self-advertisement. Collier discusses five modern writers-T. S. Eliot, James Joyce, Virginia Woolf, Rebecca West, and Rose Macaulay-showing how their work takes part in contemporary debates about journalism and examining the role journalism played in establishing their careers. In doing so, he uncovers tensions and contradictions inherent in the identity of the 'serious artist' who relied on the ephemeral forms of journalism for money and reputation.

Demonstrates the ways in which print artefacts asserted and contested literary value in the modernist period This study focuses on the close connections between literary value and the materiality of popular print artefacts in Britain from 1890-1930. The book demonstrates that the materiality of print objects--paper quality, typography, spatial layout, use of illustrations, etc.--became uniquely visible and significant in these years, as a result of a widely perceived crisis in literary valuation. In a set of case studies, it analyses the relations between literary value, meaning, and textual materiality in print artefacts such as newspapers, magazines, and book genres--artefacts that gave form to both literary works and the journalistic content (critical essays, book reviews, celebrity profiles, and advertising) through which conflicting conceptions of literature took shape. In the process, it corrects two available misperceptions about reading in the period: that books were the default mode of reading, and that experimental modernism was the sole literary aesthetic that could usefully represent modern life. Key Features Gives readers access to a sphere of literary production and reception that is virtually unexamined by existing scholarship Provides a fresh view of literary production and the print marketplace by refusing to foreground literary modernism as a critical lens. Instead, it focuses on more widely read and accessible print artefacts, including the Illustrated London News in the 1890s; the London Mercury; John O'London's Weekly; and the poetry anthology as a book genre The book constitutes a simultaneously historical and theoretical inquiry into the workings of literary value

Bringing together leading scholars of literature, history, library studies, and communications, Print Culture Histories Beyond the Metropolis rejects the idea that print culture necessarily spreads outwards from capitals and cosmopolitan cities and focuses attention to how the residents of smaller cities, provincial districts, rural settings, and colonial outposts have produced, disseminated, and read print materials. Too often print media has been represented as an engine of metropolitan modernity. Rather than being the passive recipients of print culture generated in city centres, the inhabitants of provinces and colonies have acted independently, as jobbing printers in provincial Britain, black newspaper proprietors in the West Indies, and library patrons in "Middletown," Indiana, to mention a few examples. This important new book gives us a sophisticated account of how printed materials circulated, a more precise sense of their impact, and a fuller of understanding of how local contexts shaped reading experiences.

Offering guidance and inspiration to English literature instructors, this book faces the challenges of real-life teaching and the contemporary higher education classroom head on. Whether you're teaching in a community college, a state school, a liberal arts college, or an Ivy League institution, this book offers valuable advice and insights which will help you to motivate, incentivize and inspire your students. Addressing questions such as: 'how do you articulate the value of literary education to students (and administrators, and parents)?', 'how can a class session with a fatigued and underprepared group of students be made productive?', and 'how do you incentivize overscheduled students to read energetically in preparation for class?', this book answers these universal quandaries and more, providing a usable philosophy of the value of literary education, articulating a set of learning goals for students of literature, and offering plenty of practical advice on pedagogical strategies, day-to-day coping, and more. In its sum, Teaching Literature in the Real World constitutes an experience-based philosophy of teaching literature that is practical and realistic, oriented towards helping students develop intellectual skills, and committed to pedagogy built on explicit, detailed, and observable learning objectives.

This study focuses on the close connections between literary value and the materiality of popular print artefacts in Britain from 1890-1930. The book demonstrates that the materiality of print objects paper quality, typography, spatial layout, use of illustrations, etc. became uniquely visible and significant in these years, as a result of a widely perceived crisis in literary valuation. In a set of case studies, it analyses the relations between literary value, meaning, and textual materiality in print artefacts such as newspapers, magazines, and book genres artefacts that gave form to both literary works and the journalistic content (critical essays, book reviews, celebrity profiles, and advertising) through which conflicting conceptions of literature took shape. In the process, it corrects two available misperceptions about reading in the period: that books were the default mode of reading, and that experimental modernism was the sole literary aesthetic that could usefully represent modern life.

Gender in Modernism, conceived as a sequel to the now-classic volume The Gender of Modernism, selects the best from the fifteen years of feminist literary and modernist scholarship that has appeared since the original's publication. Its fresh and diverse texts examine new themes and reflect today's broader, more inclusive understanding of modernism. The collection's modernist works have been grouped into twenty-one thematic sections, with theoretical introductions to the primary texts provided by the scholars who have taken the lead in pushing both modernism and gender in new directions. The selections enhance our understanding of the complex intersections of gender with a large array of social identifications, including global location, ideas of race, passing, the queering of sexualities, medicine, and experiences of trauma and war. It sees continental modernism in a different light, and moves on to colonial and postcolonial sites. less-studied genres of modernism, including writers on the left, suffragists, authors of manifestos, mediums, authors dismissed as sentimental, artists, dancers, dramatists, and filmmakers. Gender in Modernism will quickly move from resource to springboard, furthering modernist study well into the twenty-first century. Contributors include Tuzyline Jita Allan, Ann Ardis, Nancy Berke, Julia Briggs, Pamela L. Caughie, Mary Chapman, Suzanne Clark, Patrick Collier, Diane F. Gillespie, Barbara Green, Leslie Kathleen Hankins, Suzette A. Henke, Katherine Kelly, Colleen Lamos, Bette London, Janet Lyon, Jayne Marek, Sonita Sarker, Carol Shloss, Susan Squier, Claire Tylee, and Gay Wachman.