This book provides an accessible introduction to the state of the art of representation theory of finite groups. Starting from a basic level that is summarized at the start, the book proceeds to cover topics of current research interest, including open problems and conjectures. The central themes of the book are block theory and module theory of group representations, which are comprehensively surveyed with a full bibliography. The individual chapters cover a range of topics within the subject, from blocks with cyclic defect groups to representations of symmetric groups. Assuming only modest background knowledge at the level of a first graduate course in algebra, this guidebook, intended for students taking first steps in the field, will also provide a reference for more experienced researchers. Although no proofs are included, end-of-chapter exercises make it suitable for student seminars.
A different kind of Star Trek television series debuted in 1993. Deep Space Nine was set not on a starship but a space station near a postcolonial planet still reeling from a genocidal occupation. The crew was led by a reluctant Black American commander and an extraterrestrial first officer who had until recently been an anticolonial revolutionary. DS9 extended Star Trek’s tradition of critical social commentary but did so by transgressing many of Star Trek’s previous taboos, including religion, money, eugenics, and interpersonal conflict. DS9 imagined a twenty-fourth century that was less a glitzy utopia than a critical mirror of contemporary U.S. racism, capitalism, imperialism, and heteropatriarchy. Thirty years after its premiere, DS9 is beloved by critics and fans but remains marginalized in scholarly studies of science fiction. Drawing on cultural geography, Black studies, and feminist and queer studies, A Different “Trek” is the first scholarly monograph dedicated to a critical interpretation of DS9’s allegorical world-building. If DS9 has been vindicated aesthetically, this book argues that its prophetic, place-based critiques of 1990s U.S. politics, which deepened the foundations of many of our current crises, have been vindicated politically, to a degree most scholars and even many fans have yet to fully appreciate.
Under his real name, Bruce Montgomery (1921-1978) wrote concert music and the scores for almost 50 feature films, including some of the most enduring British comedies of the twentieth century, amongst them a number in the series started by Doctor in the House and the first six Carry On films. Under the pseudonym of Edmund Crispin he enjoyed equal success as an author, writing nine highly acclaimed detective novels and a number of short crime stories, as well as compiling anthologies of science fiction which helped to increase the profile of the genre. A close friend of both Philip Larkin and Kingsley Amis, Montgomery did much to encourage their work. In this first biography of Montgomery, David Whittle draws on interviews with people who knew the writer and composer. These interviews, together with in-depth research, provide great insight into the development of Montgomery as a crime fiction writer and as a composer in the ever-demanding world of films. During the late 1950s and early '60s these demands were to prove too much for Montgomery. Alcoholism combined with the onset of osteoporosis and a retreat into a semi-reclusive lifestyle resulted in him writing and composing virtually nothing during the last 15 years of his life. David Whittle examines the reasons for Montgomery's early and rapid decline in this thoroughly researched and engagingly written biography.
Tales of sex and violence, mystery, murder and yes, even romance, abound in this sweeping saga as the reader is transported from the late seventeenth century to the mid twentieth when the self-confessed bad boy from the boondocks left school to make his own way in the world. The canvas stretches from Banffshire in the North East of Scotland to Blyth in the North East of England, from the Middle East to North America and Australia. In this journey of discovery, the author uncovers some shocking stories and others so amazing they would be dismissed as too fanciful for a work of fiction. You will find a good number of tragic tales that will sadden you but they are leavened by a great many others that will also gladden your heart.
Unbeknown to John Pearce, the private letter he is delivering on behalf of the prime minister carries the dismissal of the very man he is sailing to see. Politics intervene in matters of the sea and the need for a government majority to pursue the war with France means John Pearce must step down as Britain's best sailor, regretfully relinquishing the position to the incompetent Admiral Hotham. Hotham is equally less than pleased about John Pearce, as he is the one person who knows the truth about his dishonest and wicked naval career. Pearce knows Hotham will try and destroy him any way he can to keep from being exposed, so he must navigate the dangerous waters whilst trying to return to Emily Barclay, the woman he loves.
The essays in this book elaborate an overall view of the central predicament confronting the West today: a theologically-inspired terrorist movement, the left-liberal belief-system that dominates the Western sensibility, the plague of political correctness that devitalizes language and obscures truth, and the almost universal opprobrium in which America—and by extrapolation the historical endowment of Western civilization—is held by the official institutions of the international community and by liberal culture. For too many years now we have practiced the rites of evasion, craving asylum in blindness, conciliation, sophistry and equivocation. Many flinch from expressing their convictions plainly, fearing to offend their readers and imperil their professional credentials. There is no more pressing requirement for us today than the obligation to seek the truth and to speak clearly, boldly, and without compromise, an endeavor with which this book is fundamentally engaged.
This is an easy-to-read retelling of William Shakespeare's "Henry V," a history play that includes King Henry V of England's victory in the Battle of Agincourt.
Like Elvis, David Mills has left the building. It was a few short months ago, near closing time at the Tradewinds Lounge in St. Augustine, Florida, when he announced to the crowd Im going to find my fortune in the uranium fields of west Texas! They say its just lying around on the ground out there and all you have to do is pick it up! And he hasnt been seen since. Sadly, before he disappeared, no one had the opportunity to explain to him that there was no such thing as uranium fields in West Texas. In his absence, we hope you enjoy this, his third helping of Scattered Thoughts.
This book provides an accessible introduction to the state of the art of representation theory of finite groups. Starting from a basic level that is summarized at the start, the book proceeds to cover topics of current research interest, including open problems and conjectures. The central themes of the book are block theory and module theory of group representations, which are comprehensively surveyed with a full bibliography. The individual chapters cover a range of topics within the subject, from blocks with cyclic defect groups to representations of symmetric groups. Assuming only modest background knowledge at the level of a first graduate course in algebra, this guidebook, intended for students taking first steps in the field, will also provide a reference for more experienced researchers. Although no proofs are included, end-of-chapter exercises make it suitable for student seminars.
In the second decade of the twenty-first century, the movies, once America’s primary popular art form, have become an endangered species. Do the Movies Have a Future? is a rousing and witty call to arms. In these sharp and engaging essays and reviews, New Yorker movie critic David Denby weighs in on “conglomerate aesthetics,” as embodied in the frenzied, weightless action spectacles that dominate the world’s attention, and “platform agnosticism,” the notion that movies can be watched on smaller and smaller screens: laptops, tablets, even phones. At the same time, Denby reaffirms that movies are our national theater, and in this exhilarating book he celebrates such central big movies as Avatar and The Social Network as well as small but resonant triumphs like There Will Be Blood and The Tree of Life. Denby joyously celebrates what remains of the shared culture in romantic comedy, high school movies, and chick flicks; he assesses the expressive triumphs and failures of auteurs Quentin Tarantino, the Coen brothers, Pedro Almodóvar, and David Fincher. Refusing nostalgia, he mines the past for strength, examining the changing nature of stardom and the careers of Joan Crawford, Otto Preminger, and Victor Fleming, and the continuing self-invention of Clint Eastwood. And he recreates the excitement of reading two critics who embodied the film culture of their times, James Agee and Pauline Kael. Wry, passionate, and incisive, Do the Movies Have a Future? is both a feast of good writing and a challenge to fight back. It is an essential guide for movie lovers looking for ammunition and hope.
This book examines the iconic presence of second chances in everyday life. David Newman explores its various iterations in popular culture, commercial marketplaces, religion, intimate relationships, education, criminal justice, and human bodies. He analyzes how this concept—as a cultural aspiration, driver of policy, and lived personal experience—has become part and parcel of our individual sense of self and our collective national identity. While the rhetoric of redemption is familiar and ubiquitous, Newman uncovers the costs and constraints of second chances, paying particular attention to the factors that affect judgments of deservedness. Informed by an array of data sources including personal interviews, mission statements of nonprofit recovery agencies, images in popular culture, stories from the news, plot summaries of novels, and scriptural texts, Newman frames the second chance experience as the quintessential cultural paradox: a concept that simultaneously represents the pinnacle of our shared hopes for renewal and our deepest suspicions about the intransigence of human nature.
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