Heat exchangers are a crucial part of aerospace, marine, cryogenic and refrigeration technology. These essays cover such topics as complicated flow arrangements, complex extended surfaces, two-phase flow and irreversibility in heat exchangers, and single-phase heat transfer.
This is the fourth volume of a projected six-volume series charting the causes of war from 3000 BCE to the present day, written by a leading international lawyer, and using as its principal materials the documentary history of international law, largely in the form of treaties and the negotiations which led up to them. These volumes seek to show why millions of people, over thousands of years, slew each other. In departing from the various theories put forward by historians, anthropologists and psychologists, the author offers a different taxonomy of the causes of war, focusing on the broader settings of politics, religion, migrations and empire-building. These four contexts were dominant and often overlapping justifications during the first four thousand years of human civilisation, for which written records exist.
Spanning from the West African coast to the Canadian prairies and south to Louisiana, the Caribbean, and Guiana, France's Atlantic empire was one of the largest political entities in the Western Hemisphere. Yet despite France's status as a nation at the forefront of architecture and the structures and designs from this period that still remain, its colonial building program has never been considered on a hemispheric scale. Drawing from hundreds of plans, drawings, photographic field surveys, and extensive archival sources, Architecture and Urbanism in the French Atlantic Empire focuses on the French state's and the Catholic Church's ideals and motivations for their urban and architectural projects in the Americas. In vibrant detail, Gauvin Alexander Bailey recreates a world that has been largely destroyed by wars, natural disasters, and fires – from Cap-François (now Cap-Haïtien), which once boasted palaces in the styles of Louis XV and formal gardens patterned after Versailles, to failed utopian cities like Kourou in Guiana. Vividly illustrated with examples of grand buildings, churches, and gardens, as well as simple houses and cottages, this volume also brings to life the architects who built these structures, not only French military engineers and white civilian builders, but also the free people of colour and slaves who contributed so much to the tropical colonies. Taking readers on a historical tour through the striking landmarks of the French colonial landscape, Architecture and Urbanism in the French Atlantic Empire presents a sweeping panorama of an entire hemisphere of architecture and its legacy.
The career of the French saint Vincent de Paul has attracted the attention of hundreds of authors since his death in 1660, but the fate of his legacy - entrusted to the body of priests called the Congregation of the Mission (Lazarists) - remains vastly neglected. De Paul spent a lifetime working for the reform of the clergy and the evangelization of the rural poor. After his death, his ethos was universally lauded as one of the most important elements in the regeneration of the French church, but what happened to this ethos after he died? This book provides a thorough examination of the major activities of de Paul’s immediate followers. It begins by analysing the unique model of religious life designed by de Paul - a model created in contradistinction to more worldly clerical institutes, above all the Society of Jesus. Before he died, de Paul made very clear that fidelity to this model demanded that his disciples avoid the corridors of power. However, this book follows the subsequent departures from this command to demonstrate that the Congregation became one of the most powerful orders in France. The book includes a study of the termination of the little-known Madagascar mission, which was closed in 1671. This mission, replete with colonial scandal and mismanagement, revealed the terrible pressures on de Paul’s followers in the decade after his demise. The end of the mission occasioned the first major reassessment of the Congregation’s goals as a missionary institute, and involved abandoning some of the goals the founder had nourished. The rest of the book reveals how the Lazarists recovered from the setbacks of Madagascar, famously becoming parish priests of Louis XIV at Versailles in 1672. From then on, fealty to Louis XIV gradually trumped fidelity to de Paul. The book also investigates the darker side of the Congregation’s novel alliance with the monarch, by examining its treatment of Huguenot prisoners at Marseille later in the century, and its involvement with the slave trade in the Indian Ocean. This study is a wide-ranging investigation of the Lazarists’ activities in the French Empire, ultimately concluding that they eclipsed the Society of Jesus. Finally, it contributes new information to the literature on Louis XIV’s prickly relationship with religious agents that will surprise historians working in this area.
Meeting Without Knowing It compares Rudyard Kipling and W.B. Yeats in the formative phase of their careers, from their births in 1865 up to 1903. The argument consists of parallel readings wed to a biographic structure. Reading the two poets in parallel often yields remarkable discursive echoes. For example, both men were similarly preoccupied with the visual arts, with heroism, with folklore, balladry and the demotic voice. Both struck vatic postures, and made bids for public authority premised on an appeal to what they considered the 'mythopoeic' impulse in fin de siècle culture. My methodology consists in identifying these mutual echoes in their poetry and political rhetoric, before charting them against intersections in their lives. Kipling and Yeats were, for much of their careers, irreconcilable political enemies. However, a cross-reading of the two poets' bardic ambitions, heroic tropes and interpretations of history reveals that, to achieve their opposed political ends, they frequently partook of a common discourse. Supplementing this analysis with biographical context, we can trace these shared concerns to their late 19th century artistic upbringing, and to the closely linked social circles which they inhabited in fin de siècle London. It is, in fact, their very mutuality during the 1890s which lent rancour to their ideological division after the Boer War. In turn, acrimony and denunciation only served to bind together all the more intimately, in an argumentative spiral of revolving discourses, two men who were often proximate but who actually met only in cartoons and satirical gossip.
As soon as Napoleon and his Grand Army entered Moscow, on 14 September 1812, the capital erupted in flames that eventually engulfed and destroyed two thirds of the city. The fiery devastation had a profound effect on the Grand Army, but for thirty-five days Napoleon stayed, making increasingly desperate efforts to achieve peace with Russia. Then, in October, almost surrounded by the Russians and with winter fast approaching, he abandoned the capital and embarked on the long, bitter retreat that destroyed his army. The month-long stay in Moscow was a pivotal moment in the war of 1812 _ the moment when the initiative swung towards the Tsar's armies and spelled doom for the invading Grand Army _ yet it has rarely been studied in the same depth as the other key events of the campaign.??Alexander Mikaberidze, in this third volume of his in-depth reassessment of the war between the French and Russian empires, emphasizes the importance of the Moscow fire and shows how Russian intransigence sealed the fate of the French army. He uses a vast array of French, German, Polish and Russian memoirs, letters and diaries as well as archival material in order to tell the dramatic story of the Moscow fire. Not only does he provide a comprehensive account of events, looking at them from both the French and Russian points of view, but he explores the Russians' motives for leaving, then burning their capital. Using extensive eyewitness accounts, he paints a vivid picture of the harsh reality of life in the remains of the occupied city and describes military operations around Moscow at this turning point in the campaign.
Alexander M. Ross's book is a monograph in the best sense of the word: a short book on a single theme by a devoted expert. In recent years, with the increasing number of interdisciplinary ventures designed to break down the self-imposed barriers between specialist disciplines, there have been several studies of the relation of individual novelists - Eliot, Hardy, James - to the visual arts. But there have been few more general inquiries into the interconnections between fiction and painting. Ross has made good this deficiency in one important area. He has taken the cult of the picturesque,
From the 15th century on, engravings influenced European culture almost as profoundly as books. Like stained glass windows in the Middle Ages or television today, popular prints were designed to reach even the lowest orders of society. In the 17th century, Peter Stent, whose shop stood outside Newgate, was England's most prolific seller of popular prints, maps, and copybooks to the working and rising middle classes. His inventory of copper plates reflected the shifts of popular tastes during this period and commented directly on the turbulent events of the day. In documenting Stent's output, Alexander Globe studied the printsellers' advertising catalogues as external controls for reconstructing inventories as well as indices to contemporary tastes. From these and other contemporary sources, Globe cites every engraving and book attributable to Stent, breaking down the material into types: portraits, maps, miscellaneous sheets, and books (including works on handwriting, politics, natural history, anatomy, costume, and architecture). References and additions are made to the catalogues of Donald Wing and A.M. Hind. Globe takes the history of engraving beyond Hind by including prints from the Commonwealth, Protectorate, and early Restoration periods. Eight appendices supplement the catalogue information. They provide evidence for print identificiation, discuss paper sizes, and list Stent's artists, suppliers, and business associates. All the collectiions in which Stent items may be found are named. The volume concludes with a bibliography and indices of subject as well as post-17th century authors. Globe's introduction to Stent's work is concerned with the social, political, and economic conditions leading to the emergence of a popular printseller who catered to a different clientele from that usually studied by art historians. Stent's career illustrates the mid-17th century commercial revolution which saw the artisan's customers change from the wealthy leisure class to the worker who wanted mass-produced cheap goods. Drawing on material in a hundred libraries and museums around the world, the catalogue describes over fifteen hundred engravings, including 319 sheets and five books of portraits, 42 maps, 102 miscellaneous prints and sets (with religious, classical, heeraldic, and satirical subjects), and 86 books (on handwriting, politics, military training, natural history, figure sketches, costume, architecture, and ornament). Richly illustrated with 319 plates, Peter Stent will prove valuable not only to print dealers, art historians, museums, and libraries, but also to social, cultural, and political historians.
Austerlitz, Wagram, Borodino, Trafalgar, Leipzig, Waterloo: these are the places most closely associated with the era of the Napoleonic Wars. But how did this period of nearly continuous conflict affect the world beyond Europe? The immensity of the fighting waged by France against England, Prussia, Austria, and Russia, and the immediate consequences of the tremors that spread throughout the world. In this ambitious and far-ranging work, Alexander Mikaberidze argues that the Napoleonic Wars can only be fully understood in an international perspective. France struggled for dominance not only on the plains of Europe but also in the Americas, West and South Africa, Ottoman Empire, Iran, India, Indonesia, the Philippines, Mediterranean Sea, and the Atlantic and Indian Oceans. Taking specific regions in turn, Mikaberidze discusses major political-military events around the world and situates geopolitical decision-making within its long- and short-term contexts. From the British expeditions to Argentina and South Africa to the Franco-Russian maneuvering in the Ottoman Empire, the effects of the French Revolution and Napoleonic Wars would shape international affairs well into the next century. In Egypt, the wars led to the rise of Mehmed Ali and the emergence of a powerful state; in North America, the period transformed and enlarged the newly established United States; and in South America, the Spanish colonial empire witnessed the start of national-liberation movements that ultimately ended imperial control. Skillfully narrated and deeply researched, here at last is the global history of the period, one that expands our view of the Napoleonic Wars and their role in laying the foundations of the modern world.
An exploration of the creative process in four classic works: Death in Venice, Treasure Island, The Rub&áiy&át of Mar Khayy&ám, and War and Peace. Creating Literature Out of Life examines four very dissimilar masterpieces and their authors in search of evidence that will answer some of the many questions in the great mystery of creativity. Crossing boundaries of period, nation, and genre, the study looks into the &"why&" and &"how&" of the creation of Thomas Mann's Death in Venice, Robert Louis Stevenson's Treasure Island, Edward FitzGerald's The Rub&áiy&át of Mar Khayy&ám, and Lev Tolstoy's War and Peace. Doris Alexander finds that each of these works was compelled by an urgent life problem of its author, some of them partly conscious, others completely unconscious, which worked in harmony and counterpoint with the author's conscious theme to shape his work. She traces an interconnected nexus of memories&—personal experiences, ideas, readings&—that came alive in response to the author's problem and served as a reservoir out of which his characters, his images, his story line, and the emotional tone of his work emerged. Creating Literature Out of Life tells the exciting story of how Mann, Stevenson, FitzGerald, and Tolstoy fought out their major life battles in their works.
This study defines the relationship between humanism and liberalism by comparing the two Victorian figures who were most concerned with the preservation of humanistic values in a free and democratic society: Matthew Arnold and John Stuart Mill. The book sets apart Arnold and Mill from their contemporaries and points out their similarities to one another in discussions of their theories of history, poetry, their celebration of the contemplative life and their willingness to welcome democracy. At the same time it examines the differences between the two men, which he uses to create a dialogue between humanism and liberalism on the question of how a high cultural ideal can be realized in democratic society.
Academic architectural education started with the inauguration of the Académie d'Architecture on 3 December 1671 in France. It was the first institution to be devoted solely to the study of architecture, and its school was the first dedicated to the explicit training of architectural students. The Académie was abolished in 1793, during the revolutionary turmoil that besieged France at the end of the eighteenth century, although the architectural educational tradition that arose from it was resurrected with the formation of the École des Beaux-Arts and prevails in the ideologies and activities of schools of architecture throughout the world today. This book traces the previously neglected history of the Académie’s development and its enduring influence on subsequent architectural schools throughout the following centuries to the present day. Providing a valuable context for current discussions in architectural education, The Rise of Academic Architectural Education is a useful resource for students and researchers interested in the history and theory of art and architecture.
Most monumental buildings of France’s global empire – such as the famous Saigon and Hanoi Opera Houses – were built in South and Southeast Asia. Much of this architecture, and the history of who built it and how, has been overlooked. The Architecture of Empire considers the large-scale public architecture associated with French imperialism in seventeenth- and eighteenth-century India, Siam, and Vietnam, and nineteenth- and twentieth-century Indochina, the largest colony France ever administered in Asia. Offering a sweeping panorama of the buildings of France’s colonial project, this is the first study to encompass the architecture of both the ancien régime and modern empires, from the founding of the French trading company in the seventeenth century to the independence and nationalist movements of the mid-twentieth century. Gauvin Bailey places particular emphasis on the human factor: the people who commissioned, built, and lived in these buildings. Almost all of these architects, both Europeans and non-Europeans, have remained unknown beyond – at best – their surnames. Through extensive archival research, this book reconstructs their lives, providing vital background for the buildings themselves. Much more than in the French empire of the Western Hemisphere, the buildings in this book adapt to indigenous styles, regardless of whether they were designed and built by European or non-European architects. The Architecture of Empire provides a unique, comprehensive study of structures that rank among the most fascinating examples of intercultural exchange in the history of global empires.
Part of the critically acclaimed Letters of Benjamin Disraeli series. This volume contains or describes letters written by Disraeli between 1848 and 1851.
Wie kaum ein anderer Künstler hat Pierre-Auguste Renoir unser Verständnis von den stimmungsvollen Figurenbildern des Impressionismus geprägt. Sein Gemälde La fin du déjeuner, das sich seit 1910 im Städel Museum in Frankfurt befindet, ist nun Ausgangspunkt für eine weitreichende Auseinandersetzung mit einer für ihn zeitlebens bedeutenden Inspirationsquelle: dem Rokoko. Galt diese Malerei nach der französischen Revolution als frivol und unmoralisch, so erlebte sie im 19. Jahrhundert eine Renaissance und war zu Lebzeiten Renoirs überaus präsent. Dieser umfangreiche Band erscheint anlässlich der großangelegten Ausstellung des Städel Museums und untersucht Renoirs facettenreiche Traditionsverbundenheit ausgehend von erhellenden Gegenüberstellungen seiner Kunst mit Werken des 18. Jahrhunderts sowie von Zeitgenossen.
This book offers a re-examination of art production in terms that understand the process of learning as the production of art itself. Drawing on the thought of Ranciere, Freire, Gramsci and Mouffe, it provides an account of the politics of art production and a theoretical understanding of hegemonic power, while developing a view of method in critical pedagogy founded on the process of ‘making adversaries’. Through a re-evaluation of the relationships between process, arts production and pedagogy within accelerated developments of neoliberalism, the author uncovers ways of forming a more co-operative and less conflictual approach to democratic politics. An investigation of ways in which art practice can be used to engage with critical pedagogy in relation to a commodity driven neoliberal agenda, Art, Critical Pedagogy and Capitalism constitutes a radical rethinking of art making, and an attempt to address the paradox between the proliferation of the commodity of learning and the perceived crisis of arts education. As such, it will appeal to scholars of education, pedagogy and the arts with interests in social and critical theory.
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