Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This path-breaking volume explores cultures of energy, the underlying but under-appreciated dimensions of both crisis and innovation in resource use around the globe. Theoretical chapters situate pressing energy issues in larger conceptual frames, and ethnographic case studies reveal energy as it is imagined, used, and contested in a variety of cultural contexts. Contributors address issues including the connection between resource flows and social relationships in energy systems; cultural transformation and notions of progress and collapse; the blurring of technology and magic; social tensions that accompany energy contraction; and sociocultural changes required in affluent societies to reduce dependence on fossil fuels. Each of five thematic sections concludes with an integrative and provocative conversation among the authors. The volume is an ideal tool for teaching unique, contemporary, and comparative perspectives on social theories of science and technology in undergraduate and graduate courses.

This path-breaking volume explores cultures of energy, the underlying but under-appreciated dimensions of both crisis and innovation in resource use around the globe. Theoretical chapters situate pressing energy issues in larger conceptual frames, and ethnographic case studies reveal energy as it is imagined, used, and contested in a variety of cultural contexts. Contributors address issues including the connection between resource flows and social relationships in energy systems; cultural transformation and notions of progress and collapse; the blurring of technology and magic; social tensions that accompany energy contraction; and sociocultural changes required in affluent societies to reduce dependence on fossil fuels. Each of five thematic sections concludes with an integrative and provocative conversation among the authors. The volume is an ideal tool for teaching unique, contemporary, and comparative perspectives on social theories of science and technology in undergraduate and graduate courses.

Thomas Love Peacock is literature's perfect individualist. He has points in common with Aristophanes, Plato, Rabelais, Voltaire, and even Aldous Huxley, but resembles none of them; we can talk of the satirical novel of ideas, but his satire is too gay and good-natured, his novel too rambling, and his ideas too jovially destructive for the label to stick.

A romantic in his youth and a friend of Shelley, he happily made hay of the romantic movement in Nightmare Abbey, clamping Coleridge, Byron, and Shelley himself in a kind of painless pillory. And in Crotchet Castle he did no less for the political economists, pitting his gifts of exaggeration and ridicule against scientific progress and the March of Mind.

Yet the romantic in him never died: the long, witty and indecisive talk of his characters is set in wild, natural scenery which Peacock describes with true feeling.