Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name: "Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow: yes; mso-style-parent: ""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom: .0001pt; mso-pagination: widow-orphan; font-size:10.0pt; font-family: "Times New Roman"; mso-ansi-language: #0400; mso-fareast-language: #0400; mso-bidi-language: #0400;} Normal 0 false false false MicrosoftInternetExplorer4 Journalist, novelist, poet, artist and art critic, essayist, theologian, propagandist, philosopher, and creator of the wily old Father Brown - G. K Chesterton is one of the most beguiling authors of the early twentieth century. When asked to perform a lecture tour in 1921, Chesterton was in a slump of depression. He had recently lost his brother to the First World War and his wavering faith in the face of the horrors of the conflict only intensified his malaise. "What I Saw in America" tells us as much about the author and his particular views as it does about his destination. Indeed, Chesterton's personalised observations - his aversion to imperialism, capitalism, Anglo-Americanism and his commitment to democracy and fraternity - are distinguished by the piercing wit for which he is famed.
Many of Chesterton's reflections are timeless and startlingly prescient. He was highly critical of both the naive immigration policies and the grinding dehumanisation brought about by the growth of the economy. Nonetheless, he was enthralled by the glorious ideals of the nation - founded on principles of equality, democracy and freedom - even if the essence of these ideals had been lost somewhere along the way. "What I Saw in America" ranks among the finest of Chesterton's works, containing all of the author's virtues and vices: his wry humour, sympathy and intelligence playing devilishly against an irrepressible mischievousness.

Do your co-workers, boss, or employees drive you crazy? Are they: Annoying like the Contrarian? Creepy like the Toucher? Lazy like the Delegator? Destructive like the Troublemaker? Join authors Simone Newman and Jackie O'Malley as they take a memorable and humorous journey through the trials and tribulations of the 21st century workplace. Chuckle along as you recognize the characters that are always just a cubicle away. Reap the benefits of the authors' workplace experiences as they share their insights and strategies to fend off the crazies that populate your 9 to 5 world. Work isn't always fair, but it is survivable

Basic Helicopter Aerodynamics, now in its third edition, is widely appreciated as an easily accessible, rounded introduction to the first principles of the aerodynamics of helicopter flight. Concentrating on the well-known Sikorsky configuration of single main rotor with tail rotor, the authors avoid the lengthy mathematical treatment of some textbooks, thereby making the material accessible to undergraduates as well as engineers looking for an introduction to the subject. Early chapters deal with the aerodynamics of the rotor in hover, vertical flight, forward flight and climb. Analysis of these motions is developed to the stage of obtaining the principal results for thrust, power and associated quantities. Later chapters turn to the characteristics of the overall helicopter, its performance, stability and control, and the important field of aerodynamic research is discussed, with some reference also to aerodynamic design practice. This third edition has been brought up to date with a complete new set of illustrations & imagery, as well as an accompanying website that contains all the calculation files used in the book, problems, solutions and powerpoint slides.The authors address the unique considerations applicable to rotor UAVs/ MAVs, and coverage of blade dynamics is expanded to include lagging and ground resonance, and new material is included on blade tip design, flow characteristics surrounding the rotor in forward flight, tail rotors, and brown-out, blade sailing and shipborne operations.

Riot and revelry have been mainstays of English and European history writing for more than a generation, but they have had a more checkered influence on American scholarship. Despite considerable attention from "new left" historians during the 1970s and early 1980s, and more recently from cultural and "public sphere" historians in the mid-1990s, the idea of America as a colony and nation deeply infused with a culture of public performance has not been widely demonstrated the way it has been in Britain, France, and Italy. In this important volume, leading American historians demonstrate that early America was in fact an integral part of a broader transatlantic tradition of popular disturbance and celebration.

The first half of the collection focuses on "rough music" and "skimmington"--forms of protest whereby communities publicly regulated the moral order. The second half considers the use of parades and public celebrations to create national unity and overcome divisions in the young republic.

Contributors include Roger D. Abrahams, Susan Branson, Thomas J. Humphrey, Susan E. Klepp, Brendan McConville, William D. Piersen, Steven J. Stewart, and Len Travers. Together the essays in this volume offer the best introduction to the full range of protest and celebration in America from the Revolution to the Civil War.