This book, in three parts, describes three phases in the development of the modern theory and calculation of the Moon's motion. Part I explains the crisis in lunar theory in the 1870s that led G.W. Hill to lay a new foundation for an analytic solution, a preliminary orbit he called the "variational curve." Part II is devoted to E.W. Brown's completion of the new theory as a series of successive perturbations of Hill's variational curve. Part III describes the revolutionary developments in time-measurement and the determination of Earth-Moon and Earth-planet distances that led to the replacement of the Hill–Brown theory in 1984.
**One of Literary Hub’s Five “Most Critically Acclaimed” Biographies of 2022** From acclaimed cultural and film historian James Curtis—a major biography, the first in more than two decades, of the legendary comedian and filmmaker who elevated physical comedy to the highest of arts and whose ingenious films remain as startling, innovative, modern—and irresistible—today as they were when they beguiled audiences almost a century ago. "It is brilliant—I was totally absorbed, couldn't stop reading it and was very sorry when it ended."—Kevin Brownlow It was James Agee who christened Buster Keaton “The Great Stone Face.” Keaton’s face, Agee wrote, "ranked almost with Lincoln’s as an early American archetype; it was haunting, handsome, almost beautiful, yet it was also irreducibly funny. Keaton was the only major comedian who kept sentiment almost entirely out of his work and . . . he brought pure physical comedy to its greatest heights.” Mel Brooks: “A lot of my daring came from Keaton.” Martin Scorsese, influenced by Keaton’s pictures in the making of Raging Bull: “The only person who had the right attitude about boxing in the movies for me,” Scorsese said, “was Buster Keaton.” Keaton’s deadpan stare in a porkpie hat was as recognizable as Charlie Chaplin’s tramp and Harold Lloyd’s straw boater and spectacles, and, with W. C. Fields, the four were each considered a comedy king--but Keaton was, and still is, considered to be the greatest of them all. His iconic look and acrobatic brilliance obscured the fact that behind the camera Keaton was one of our most gifted filmmakers. Through nineteen short comedies and twelve magnificent features, he distinguished himself with such seminal works as Sherlock Jr., The Navigator, Steamboat Bill, Jr., The Cameraman, and his masterpiece, The General. Now James Curtis, admired biographer of Preston Sturges (“definitive”—Variety), W. C. Fields (“by far the fullest, fairest and most touching account we have yet had. Or are likely to have”—Richard Schickel, front page of The New York Times Book Review), and Spencer Tracy (“monumental; definitive”—Kirkus Reviews), gives us the richest, most comprehensive life to date of the legendary actor, stunt artist, screenwriter, director—master.
He was the consummate designer of film architecture on a grand scale, influenced by German expressionism and the work of the great European directors. He was known for his visual flair and timeless innovation, a man who meticulously preplanned the color and design of each film through a series of continuity sketches that made clear camera angles, lighting, and the actors’ positions for each scene, translating dramatic conventions of the stage to the new capabilities of film. Here is the long-awaited book on William Cameron Menzies, Hollywood’s first and greatest production designer, a job title David O. Selznick invented for Menzies’ extraordinary, all-encompassing, Academy Award–winning work on Gone With the Wind (which he effectively co-directed). It was Menzies—winner of the first-ever Academy Award for Art Direction, jointly for The Dove (1927) and Tempest (1928), and who was as well a director (fourteen pictures) and a producer (twelve pictures)—who changed the way movies were (and still are) made, in a career that spanned four decades, from the 1920s through the 1950s. His more than 120 films include Rosita (1923), Things to Come (1936), Foreign Correspondent (1940), Kings Row (1942), Mr. Lucky (1943), The Pride of the Yankees (1943), For Whom the Bell Tolls (1943), Address Unknown (1944), It’s a Wonderful Life (1947), Invaders from Mars (1953), and Around the World in 80 Days (1956). Now, James Curtis, acclaimed film historian and biographer, writes of Menzies’ life and work as the most influential designer in the history of film. His artistry encompassed the large, scenic drawings of Douglas Fairbanks’ The Thief of Bagdad (1924), which created a new standard for beauty on the screen and whose exotic fairy-tale sets are still regarded as pure genius. (“I saw The Thief of Bagdad when it first came out,” said Orson Welles—he was, at the time, a nine-year-old boy. “I’ll never forget it.”) Curtis writes of Menzies’ design and supervision of John Barrymore’s Beloved Rogue (1927), a film that remains a masterpiece of craft and synthesis, one of the most distinctive pictures to emerge from Hollywood’s waning days of silent films, and of his extraordinary, opulent appointments for Gone With the Wind (1939). It was Menzies who defined and solidified the role of art director as having overall control of the look of the motion picture, collaborating with producers like David O. Selznick and Samuel Goldwyn; with directors such as D. W. Griffith, Raoul Walsh, Alfred Hitchcock, Lewis Milestone, and Frank Capra. And with actors as varied as Ingrid Bergman, W. C. Fields, Cary Grant, Clark Gable, John Barrymore, Barbara Stanwyck, Ronald Reagan, Gary Cooper, Vivien Leigh, Carole Lombard, Mary Pickford, Gloria Swanson, and David Niven. Interviewing colleagues, actors, directors, friends, and family, and with full access to the William Cameron Menzies family collection of original artwork, correspondence, scrapbooks, and unpublished writing, Curtis brilliantly gives us the path-finding work of the movies’ most daring and dynamic production designer: his evolution as artist, art director, production designer, and director. Here is a portrait of a man in his time that makes clear how the movies were forever transformed by his startling, visionary work. (With 16 pages of color illustrations, and black-and-white photographs throughout.)
Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities. This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice. Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.
The Scholarship of Teaching and Learning: A Guide for Scientists, Engineers, and Mathematicians shows college and university faculty members how to draw on their disciplinary knowledge and teaching experience to investigate questions about student learning. It takes readers all the way through the inquiry process beginning with framing a research question and selecting a research design, moving on to gathering and analyzing evidence, and finally to making the results public. Numerous examples are provided at each stage, many from published studies of teaching and learning in science, engineering, or mathematics. At strategic points, short sets of questions prompt readers to pause and reflect, plan, or act. These questions are derived from the authors' experience leading many workshops in the United States and Canada on how to do the scholarship of teaching and learning (SoTL). The taxonomy of SoTL questions-What works? What is? What could be?-that emerged from the SoTL studies undertaken by scholars in the Carnegie Academic for the Scholarship of Teaching and Learning serves as a framework at many stages of the inquiry process. The book addresses the issue of evaluating and valuing this work, including implications for junior faculty who wish to engage in SoTL. The authors explain why SoTL should be of interest to STEM (science, technology, engineering, and mathematics) faculty at all types of higher education institutions, including faculty members active in traditional STEM research. They also give their perspective on the benefits of SoTL to faculty, to their institutions, to the academy, and to students.
Leadership and Change for the Health Professional will provide health professionals with the latest thinking on leadership theory and research. It highlights the issues that can block successful healthcare leadership initiatives, and explores ways of constructively engaging with the opportunities provided by change. Each chapter draws out practical lessons for effective and efficient leadership of care that is compassionate and safe. Leaders and students at all levels will be able to use this book to expand their leadership repertoire in a text that engages with many themes, including: • The basics of leadership and the idea of leadership as a "calling" • Motivating employees • Implicit leadership theory • Developing trust • Building learning organisations • Gender and equality • Planning and organising change in healthcare • Leading change The links between the theory and practice of healthcare leadership are skilfully explored with examples of research implemented in practice, and the textbook further equips your study with helpful summaries and suggestions for further reading. This is essential reading for all healthcare professionals in clinical practice as well as students studying or engaged in research on health care management and leadership. With a foreword by Thomas Garavan, Edinburgh Napier Business School, UK. "Amongst the vast number of leadership texts published every year this book stands out. It has been edited with considerable care by two highly respected scholars in the field to make it accessible to all those interested in, and practising, leadership, whether healthcare professionals or students. It is well organised and moves seamlessly to address many important questions about the nature of leadership, including important questions of ethics, gender, trust, motivation, innovation, teams, and distributed leadership. The final section focuses on leading change in healthcare, a critical element of leadership practice in today’s world. Too many leadership books ignore context. This book, however, is firmly rooted in the healthcare context, and aspires to help professionals in this sector to reflect deeply on the complexities of leading through uncertain times. Whilst each chapter stands alone, the book’s merit is in offering multiple perspectives. Curtis and Cullen have encouraged the book’s contributors to address the big debates and themes in healthcare leadership today, whilst keeping in sharp focus the practice of leadership." Sharon Turnbull, Visiting Professor, Lancaster University Management School, UK "In Leadership and Change for the Health Professional, Elizabeth Curtis and John Cullen have crafted an exceptionally timely collection of practically-based research insights. As global healthcare systems face disruptive and often uncomfortable forces for change, this book tackles complex topics that health leaders must understand. While oriented toward generative practice and creative leadership skills, Curtis and Cullen do not shy away from engaging with controversial aspects of leadership development, such as bias, gendered practice, or even clinical failure, making it a valuable resource for educators and practitioners alike. Accessible and lively, Leadership and Change for the Health Professional is a successful blend of current issues with a visionary future." Kathy Lund Dean, Board of Trustees Distinguished Professor of Leadership & Ethics, Gustavus Adolphus College, USA "Curtis and Cullen bring together a comprehensive overview of leadership, from its historical development up to its role within the current healthcare context, presented by a variety of scholars. The particular challenges and demands faced by leaders and those who aspire to lead are discussed within and it addresses the many facets of leadership approaches. Anyone interested in the development of leadership and change will find this particularly stimulating and a valuable text for academic and students alike." Alison H James, School of Healthcare Sciences, Cardiff University, UK "This book covers many aspects of leadership, which are timely in nature and directly relevant to health professionals. The contributors are highly respected and offer different perspectives on this complex issue. We need to encourage practitioners to see themselves as leaders – this evidence-based text will serve to guide them in this quest. De-emphasising the individual leadership qualities and including those of teams makes this book stand out from others. The NHS features prominently but despite this, readers from other countries should be able to easily transfer the content to their own health services. The useful websites at the end of each chapter provide further direction for readers. This is a text that is written with a very positive stance, even though the difficulties of being a leader are not ignored. It ends with a discussion on the vision for leadership – at individual, team and organisational levels. Lots to read, absorb and you can do this a chapter at a time which is great." Professor Bridie Kent, Head of School of Nursing and Midwifery, Plymouth University, UK "This book addresses an important topic, where there is huge scope to add value. This is partly due to the scale of the NHS. The language makes the text accessible to professionals as well as academics. It is also good to see that the issue of learning organisations is addressed, as well as impact of leadership on patients." Professor John G Burgoyne, Lancaster University Management School, UK "Leadership and Change for the Health Professional is a timely and authoritative academic and professional exposition of the challenges for clinicians and healthcare managers in carrying out their management roles in our modern medical and healthcare systems. Its focus on change is both apt and relevant in the context of the dynamic development of our healthcare structures." Niamh Brennan, Michael MacCormac Professor of Management, University College Dublin
Part of a series of detailed reference manuals on American economic history, this volume traces the development of agriculture, transportation, labour movements and the factory system, foreign and domestic commerce, technology and the ramifications of slavery.
Inequality for All makes an important contribution to current debates about economic inequalities and the growing achievement gap, particularly in mathematics and science education. The authors argue that the greatest source of variation in opportunity to learn is not between local communities, or even schools, but between classrooms. They zero in on one of the core elements of schooling—coverage of subject matter content—and examine how such opportunities are distributed across the millions of school children in the United States. Drawing on data from the third TIMMS international study of curriculum and achievement, as well as a six-district study of over 500 schools across the United States, they point to Common Core State Standards as being a key step in creating a more level playing field for all students. William H. Schmidt is University Distinguished Professor at Michigan State University and co-director of the Education Policy Center. Curtis C. McKnight is emeritus professor of mathematics at the University of Oklahoma.
A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor. Spencer Tracy’s image on-screen was that of a self-reliant man whose sense of rectitude toward others was matched by his sense of humor toward himself. Whether he was Father Flanagan of Boys Town, Clarence Darrow of Inherit the Wind, or the crippled war veteran in Bad Day at Black Rock, Tracy was forever seen as a pillar of strength. His full name was Spencer Bonaventure Tracy. He was called “The Gray Fox” by Frank Sinatra; other actors called him the “The Pope.” “The best goddamned actor I’ve ever seen!”—George M. Cohan In his several comedy roles opposite Katharine Hepburn (Woman of the Year and Adam’s Rib among them) or in Father of the Bride with Elizabeth Taylor, Tracy was the sort of regular American guy one could depend on. Now James Curtis, acclaimed biographer of Preston Sturges (“Definitive” —Variety), James Whale, and W. C. Fields (“By far the fullest, fairest, and most touching account . . . we have yet had. Or are likely to have” —Richard Schickel, The New York Times Book Review, cover review), gives us the life of one of the most revered screen actors of his generation. Curtis writes of Tracy’s distinguished career, his deep Catholicism, his devoted relationship to his wife, his drinking that got him into so much trouble, and his twenty-six-year-long bond with his partner on-screen and off, Katharine Hepburn. Drawing on Tracy’s personal papers and writing with the full cooperation of Tracy’s daughter, Curtis tells the rich story of the brilliant but haunted man at the heart of the legend. We see him from his boyhood in Milwaukee; given over to Dominican nuns (“They drill that religion in you”); his years struggling in regional shows and stock (Tracy had a photographic memory and an instinct for inhabiting a character from within); acting opposite his future wife, Louise Treadwell; marrying and having two children, their son, John, born deaf. We see Tracy’s success on Broadway, his turning out mostly forgettable programmers with the Fox Film Corporation, and going to Metro-Goldwyn-Mayer and getting the kinds of roles that had eluded him in the past—a streetwise priest opposite Clark Gable in San Francisco; a screwball comedy, Libeled Lady; Kipling’s classic of the sea, Captains Courageous. Three years after arriving at MGM, Tracy became America’s top male star. We see how Tracy embarked on a series of affairs with his costars . . . making Northwest Passage and Dr. Jekyll and Mr. Hyde, which brought Ingrid Bergman into his life. By the time the unhappy shoot was over, Tracy, looking to do a comedy, made Woman of the Year. Its unlikely costar: Katharine Hepburn. We see Hepburn making Tracy her life’s project—protecting and sustaining him in the difficult job of being a top-tier movie star. And we see Tracy’s wife, Louise, devoting herself to studying how deaf children could be taught to communicate orally with the hearing and speaking world. Curtis writes that Tracy was ready to retire when producer-director Stanley Kramer recruited him for Inherit the Wind—a collaboration that led to Judgment at Nuremberg, It’s a Mad Mad Mad Mad World, and Tracy’s final picture, Guess Who’s Coming to Dinner . . . A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor.
In Transformed Thinking: Loving God With All Your Mind, Dr. Edward M. Curtis argues that every believer needs to take seriously Paul's exhortation in Romans 12 and avoid assimilating from our world and culture values that are contrary to God's truth revealed in Scripture. At the same time Curtis maintains that human perception and the human mind are wonderful gifts from God that he expects us to use to the full. There are significant truths to be learned from the study of our world and through human experience. It is only as we integrate the knowledge available to us through both general and special revelation that we can transform our thinking by loving God with all our heart, soul, mind and strength and truly glorify his name.
Bitter Sweet Chocolate is a story that embraces everyone's love of goodwill. It reflects on our life experiences. Although there may have been tragedies and bad experiences, the story points out the positive aspects of our upbringing. The many characters in the story have emblematic aspects to many of us.
The veil has been lifted. Discover the Gospel truth about the most myth-understood woman of the New Testament. Was Mary Magdalene a prostitute? An adulteress? The wife of Jesus? An ancient goddess? Liz Curtis Higgs, best-selling author of Bad Girls of the Bible and Really Bad Girls of the Bible, combines heartfelt contemporary fiction with extensive biblical research to bring to life the real Mary Magdalene of the Bible. With her own eyes, she saw him. With her own ears, she heard him. With her own hands, she touched him. Unveiling Mary Magdalene opens with the fictional journey of Mary Margaret Delaney, a madwoman adrift in modern Chicago. Her moving story, closely paralleling the biblical account, is followed by a verse-by-verse study of the first-century Mary Magdalene and her life-changing encounters with the Christ. “Liz has done it again! What hope and promise this will bring.” —Kay Arthur “The unforgettable portrait of a courageous woman.” —Rebecca St. James
The legendary actor chronicles his odyssey from a hard-knock childhood as the son of immigrant parents to Hollywood success, detailing his days as a tinseltown playboy, the film industry during Hollywood's Golden Era, and his life as an artist at the age of eighty.
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