This is the second edition of the best-selling introduction to linear algebra. Presupposing no knowledge beyond calculus, it provides a thorough treatment of all the basic concepts, such as vector space, linear transformation and inner product. The concept of a quotient space is introduced and related to solutions of linear system of equations, and a simplified treatment of Jordan normal form is given.Numerous applications of linear algebra are described, including systems of linear recurrence relations, systems of linear differential equations, Markov processes, and the Method of Least Squares. An entirely new chapter on linear programing introduces the reader to the simplex algorithm with emphasis on understanding the theory behind it.The book is addressed to students who wish to learn linear algebra, as well as to professionals who need to use the methods of the subject in their own fields.
An excellent up-to-date introduction to the theory of groups. It is general yet comprehensive, covering various branches of group theory. The 15 chapters contain the following main topics: free groups and presentations, free products, decompositions, Abelian groups, finite permutation groups, representations of groups, finite and infinite soluble groups, group extensions, generalizations of nilpotent and soluble groups, finiteness properties." —-ACTA SCIENTIARUM MATHEMATICARUM
When the Soviet Union launched Sputnik, the Red Scare seized the American public. While President Eisenhower cautioned restraint, his hand was forced, and NASA’s budget had increased five thousand percent over its pre-Sputnik levels by the time President Kennedy proposed landing a man on the moon. Spending on the space race is in no way unique; Almost every policy area has its own Sputnik-type story, where waves of popular support for an idea (or disillusionment with a previous one) created new political priorities, resulting in dramatic changes to the budget or compelling agencies to respond quickly with little knowledge or preparation. Is this instability an inherent feature of the policy process, or is it possible for an agency to deal with problems in a way that insulates it from swings in public opinion and thus imposes some stability on the decision making process? Derek A. Epp argues that some agencies can indeed do that and that instability is at least partially a function of poor institutional design. While it is inherently more challenging to maintain stability around complex problems like immigration or climate change, the deliberative process itself can affect the degree of stability around an issue. Epp looks at whether agencies follow a deliberative model for decision making, in which policies are developed by means of debate among a small group of policymakers, or a collective model, in which the opinions of many people are aggregated, as with the stock market. He argues that, in many instances, the collective model produces more informed and stable policy outcomes that can be adapted more readily to new information and changing public priorities.
For more than a decade, Derek Philpott and his son, Dave, have been writing to pop stars from the 1960s to the 90s to take issue with the lyrics of some of their best-known songs. But then, to their great surprise, the pop stars started writing back... Dear Mr Pop Star contains 100 of Derek and Dave's greatest hits, including correspondence with Katrina and the Waves, Tears for Fears, Squeeze, The Housemartins, Suzi Quatro, Devo, Deep Purple, Nik Kershaw, T’Pau, Human League, Eurythmics, Wang Chung, EMF, Mott the Hoople, Heaven 17, Jesus Jones, Johnny Hates Jazz, Carter the Unstoppable Sex Machine, Chesney Hawkes and many, many more.
What it was like to grow up in 1980s Britain, from the Cold War to Duran Duran. This book combines memories, original documents and photos from that time.
As Charlton Heston put it: ‘There’s a temptingly simple definition of the epic film: it’s the easiest kind of picture to make badly.’ This book goes beyond that definition to show how the film epic has taken up one of the most ancient art-forms and propelled it into the modern world, covered in twentieth-century ambitions, anxieties, hopes and fantasies. This survey of historical epic films dealing with periods up to the end of the Dark Ages looks at epic form and discusses the films by historical period, showing how the cinema reworks history for the changing needs of its audience, much as the ancient mythographers did. The form’s main aim has always been to entertain, and Derek Elley reminds us of the glee with which many epic films have worn their label, and of the sheer fun of the genre. He shows the many levels on which these films can work, from the most popular to the specialist, each providing a considerable source of enjoyment. For instance, spectacle, the genre’s most characteristic trademark, is merely the cinema’s own transformation of the literary epic’s taste for the grandiose. Dramatically it can serve many purposes: as a resolution of personal tensions (the chariot race in Ben-Hur), of monotheism vs idolatry (Solomon and Sheba), or of the triumph of a religious code (The Ten Commandments). Although to many people Epic equals Hollywood, throughout the book Elley stresses debt to the Italian epics, which often explored areas of history with which Hollywood could never have found sympathy. Originally published 1984.
Claire Trevor (1910-2000) is best remembered as the alluring blonde femme fatale in such iconic noir films as Murder, My Sweet (1944) and Raw Deal (1948). Yet she was a versatile performer who brought rare emotional depth to her art. She was effective in a range of diverse roles, from an outcast prostitute in John Ford's classic Stagecoach (1939) to the ambitious tennis mother in Hard, Fast and Beautiful (1951) to the embittered wife of a landowner in William Wellman's overlooked gem My Man and I (1952). Nominated for three Oscars, she deservedly won Best Supporting Actress for her portrayal of Gaye Dawn, a gangster's broken-down moll in Key Largo (1948). The author covers her life and career in detail, recognizing her as one of the finest actresses of her generation.
Originally published in 1947, this book presents a biography of the British journalist and essayist Thomas Barnes (1785-1841), who is best known for his pioneering work as editor of The Times from 1817 until his death. A selection of critical essays by Barnes is also included, covering a variety of literary and political topics. Illustrative figures and detailed notes are provided. This book will be of value to anyone with an interest in the life of Barnes, The Times and the history of British journalism.
This bibliography was commissioned by the English Goethe Society as a contribution to the celebration in 1999 of the 250th anniversary of Goethes birth. It sets out to record translations of his works into English that have been published in the twentieth century, up to and including material published in that anniversary year. It aims to serve as wide a constituency as possible, be it as a simple reference tool for tracing a translation of a given work or as a documentary source for specialized studies of Goethe reception in the English-speaking world. The work records publications during the century, not merely translations that originated during this period. It includes numerous reprintings of older material, as well as some belated first publications of translations from the nineteenth century. It shows how frequent and how long enduring was the recourse of publishers and anthologists to a Goethe Victorian in diction, a signal factor in perceptions and misperceptions. Derek Glass was putting the finishing touches to the bibliography at the time of his sudden death in March 2004. Colleagues at Kings College London have edited the final manuscript, which is now published jointly by the English Goethe Society and the Modern Humanities Research Association both as a worthy commemoration of Goethes anniversary and as a tribute to Derek himself.
This compilation of mining anecdotes honours the horses and pit ponies who, in harsh and often intolerable conditions, served and suffered to help win the coal. It is also a tribute to those miners who cared for their charges with deep affection and compassion. Our contributors, many of whom were Bevin Boys, give voice to innocent animals and by so doing, they project a light that shines forth from a darkened world of toil and sacrifice for future generations to acknowledge and embrace. They represent all who love and revere God's creatures, from whom we can learn so much and remind us of the abundant blessings bestowed upon mankind by our animal friends. They ask for so little save tender care and repay us a thousandfold. Furthermore, they reveal the aesthetic talents inherent in the fabric and structure of mining communities where underground survival was at a premium, where tragedy was a frequent visitor and where courage, loyalty, comradeship and humour prevailed.
Depictions of globalization commonly recite a story of a market unleashed, bringing Big Macs and iPhones to all corners of the world. Human society appears as a passive observer to a busy revolution of an invisible global market, paradoxically unfolding by its own energy. Sometimes, this market is thought to be unleashed by politicians working on the surface of an autonomous state. This book rejects both perspectives and provides an analytically rich alternative to conventional approaches to globalization. By the 1980s, an enduring corporate coalition advanced in nearly synonymous terms free trade, tax cuts, and deregulation. Highly networked corporate leaders and state officials worked in concert to produce the trade policy framework for neoliberal globalization. Marshalling original network data and a historical narrative, this book shows that the globalizing corporate titans of the late 1960s aligned with economic conservatives to set into motion this vision of a global free market.
Derek Sellman sets the case for re-establishing the primacy of the virtues that underpin the practice of nursing in order to address the question: what makes a good nurse? He provides those in the caring professions with an explanation of why and how nurses should strive to cultivate these virtues, as well as the implications of this for practice.
This book extends and unifies recent debate and research about science education in several disparate fields, including philosophy of science, cognitive psychology and motivation theory. Through an approach based on the personalization of learning and the politicization of the curriculum and classroom, it shows how the complex goal of critical scientific literacy can be achieved by all students, including those who traditionally underachieve in science or opt out of science education at the earliest opportunity. Current thinking in situated cognition and learning through apprenticeship are employed to build a sociocultural learning model based on a vigorous learning community, in which the teacher acts as facilitator, co-learner and anthropologist. Later chapters describe how these theoretical arguments can be translated into effective classroom practice through a coherent inquiry-oriented pedagogy, involving a much more critical and wide-ranging use of hands-on and language-based learning than is usual in science education.
With her striking looks, the raven-haired, dark eyed Ruth Roman had an air of sophistication that made her seem sexy yet wholesome. She had to strive harder than most to establish herself as a leading actress in Hollywood during its glory years and finally broke through in 1949 with her role in Champion. As one of the last Warner Bros. contract players, she appeared in Alfred Hitchcock's classic Strangers on a Train. Seen at her best in strong parts, such as the ambitious Ronda Castle in Anthony Mann's The Far Country or as a modern-day Lady Macbeth, she enjoyed a varied career as a freelancer before re-inventing herself as a character actress of note on television. A remarkable return to the screen in the bizarre psycho-horror The Baby (1973) assured her of cult status. This is the first book dedicated to a committed but often undervalued actress who is fondly remembered by fans of classic film. More than a biography, it seeks to contextualize the actress within her own time, illuminate her Hollywood experience and celebrate her extensive career.
First published in 1978, Reviewing before the Edinburgh is a study of English literary reviewing during the fifteen years before the founding in1802 of the Edinburgh Review, and an assessment of the reviewers’ achievement. The long introductory chapter describes the aims, methods, staffing, readership, influence, and development of the five important Reviews of the 1790s: the Monthly Review, Critical Review, English Review, Analytical Review, and British Critic. The author argues that this type of Review declined during the 19th century, not because of poor performance, but because the ambitious aim of comprehensive reviewing had become impossible to achieve. The remaining chapters discuss and evaluate the work of these Reviews, chiefly in the fields of poetry, fiction, and political and religious controversy. The book fills a gap in the literary and political history of the period; provides a compact summary of its review criticism; and gives a better perspective on both reviewers and reviewed in years that were unusually fertile in political controversy and literary experiment. It will be of interest to students of literature and history.
One of the most versatile actors of his generation, Edmond O'Brien made a series of iconic noir films. From a man reporting his own murder in D.O.A. (1949) to the conflicted title character in The Bigamist (1953), he portrayed the confusion of the postwar Everyman. His memorable roles spanned genres from Shakespeare to westerns and comedies--he also turned his hand to directing. He won the Academy Award for Best Supporting Actor as the harassed press agent Oscar Muldoon in Joseph Mankiewicz's bitter Cinderella fable The Barefoot Contessa (1954). This first in-depth study of O'Brien charts his life and career from Broadway to Hollywood and to the rise of television, revealing a devoted family man dedicated to his craft.
Hot on the heels of Killing at its Very Extreme, Dublin: October 1917 – November 1920, Someone Has to Die for This, Dublin: November 1920 – July 1921 wrenches the reader into the final frenetic months of Dublin's War of Independence, in uncompromising, unflinching, and unprecedented detail. The reader will follow in the footsteps of IRA assassination units on Bloody Sunday, witness the hellish conditions in Croke Park, taste the gripping tension that stalked the city as intelligence services battled it out over the winter, while equally clandestine peace feelers were set in play. The pressure ratchets up in 1921 as surging IRA Active Service Units take the fight to the Auxiliaries, police and military in Dublin. Swathes of the country erupt into violent attacks and barbarous reprisals. Killings escalate in daily ambushes. Prison escapes are vividly detailed, as are the Mountjoy hangings. Shuttle diplomacy intensifies as a settlement is desperately sought, but fault lines develop among the Republican leadership. Street-battles paralyse the city with civilians bearing a brutal burden; the IRA relentlessly presses on. The devastating Custom House attack precedes the war's ferocious final weeks, culminating in a near bloodbath that almost scuppered the truce. Experience these breathtaking events through the eyes of their participants. This is an unforgettable story, its style providing long-overdue justice.
Monumental in scope and vividly detailed, Chocolate City tells the tumultuous, four-century story of race and democracy in our nation's capital. Emblematic of the ongoing tensions between America's expansive democratic promises and its enduring racial realities, Washington often has served as a national battleground for contentious issues, including slavery, segregation, civil rights, the drug war, and gentrification. But D.C. is more than just a seat of government, and authors Chris Myers Asch and George Derek Musgrove also highlight the city's rich history of local activism as Washingtonians of all races have struggled to make their voices heard in an undemocratic city where residents lack full political rights. Tracing D.C.'s massive transformations--from a sparsely inhabited plantation society into a diverse metropolis, from a center of the slave trade to the nation's first black-majority city, from "Chocolate City" to "Latte City--Asch and Musgrove offer an engaging narrative peppered with unforgettable characters, a history of deep racial division but also one of hope, resilience, and interracial cooperation.
“A powerful model of how to understand the complex array of issues that will shape the political economy of population in the future.”—American Historical Review From the founders’ fears that crowded cities would produce corruption, luxury, and vice to the zero population growth movement of the late 1960s to today’s widespread fears of an aging crisis as the Baby Boomers retire, the American population debate has always concerned much more than racial composition or resource exhaustion, the aspects of the debate usually emphasized by historians. In The State and the Stork, Derek Hoff draws on his extraordinary knowledge of the intersections between population and economic debates throughout American history to explain the many surprising ways that population anxieties have provoked unexpected policies and political developments—including the recent conservative revival. At once a fascinating history and a revelatory look at the deep origins of a crucial national conversation, The State and the Stork could not be timelier. “Hoff has done a real service by bringing to the foreground the economic dimension of U.S. debates over population size and growth, a topic that has been relegated to the shadows for too long.”—Population and Development Review “After decades of failed efforts by the scientific community to alert the public to the environmental dangers of population growth and overpopulation, a first-rate historian has finally detailed both the arguments and their policy implications . . . Everyone interested in population should read The State and the Stork. This is an incredibly timely book.”—Paul R. Ehrlich, author of The Population Bomb
From the author of the phenomenal #1 national bestseller Final Exit, a collection of moving, true stories about terminally ill people who chose to die on their own terms. Humphry, founder of the National Hemlock Society, provides valuable information on the proper use of lethal drugs to accomplish a death with dignity.
Relations between Britain and China have, for over 150 years, been inextricably bound up with the taking of Hong Kong Island on 26 January 1841. The man responsible, Britain's plenipotentiary Captain Charles Elliot, was recalled by his government in disgrace and has been vilified ever since by China. This book describes the taking of Hong Kong from Elliot's point of view for the first time '- through the personal letters of himself and his wife Clara '- and shows a man of intelligence, conscience and humanitarian instincts. The book gives new insights into Sino-British relations of the period. Because these are now being re-assessed both historically and for the future, revelations about Elliot's role, intentions and analysis are significant and could make an important difference to our understanding of the dynamics of these relations. On a different level, the book explores how Charles the private man, with his wife by his side, experienced events, rather than how Elliot the public figure reported them to the British government. The work is therefore of great historiographical interest.
Speculative science fiction, with its underlying socio-political dialogue, represents an important intersection of popular culture and public discourse. As a pop culture text, the animated series Star Wars: The Clone Wars offers critical commentary on contemporary issues, marking a moment of interplay whereby author and audience come together in what Russian philosopher Mikhail Bakhtin called collaborative meaning making. This book critically examines the series as a voice in the political dialogues concerning human cloning, torture, just war theory, peace and drone warfare.
This book maps official endeavours to meet Maori health needs during the first hundred years of organised European settlement in New Zealand. Focusing on policy initiative rather than health outcomes, Maori Health and Government Policy explores four major themes: the administration and funding of Maori health,; the association between Maori and hospitals; the subsidised medical officers who provided primary health care; and infection control and the sanitary measures. Other topics include the role of missionary medicine in the 1840s and 1850s and Maori health research.
This book recovers a sense of the high stakes of Shakespearean comedy, arguing that the comedies, no less than the tragedies, serve to dramatize responses to the condition of being human, responses that invite scholarly investigation and explanation. Taking its cue from Stanley Cavell’s influential readings of Othello and Lear, the book argues that exposure or vulnerability to others is the source of both human happiness and human misery; while the tragedies showcase attempts at the evasion of such vulnerability through the self-defeating pursuit of epistemological certainty, the comedies present the drama and the difficulty of turning away from an epistemological register in order to productively respond to the fact of our humanity. Where Shakespeare’s tragedies might be viewed in Cavellian terms as the drama of skepticism, Shakespeare’s comedies then exemplify the drama of acknowledgement. As a parallel and a preamble, Gottlieb suggests that the field of literary studies is itself a site of such revealing responses: where competing research methods strive to foreclose upon (or, alternatively, rejoice in) epistemological uncertainty, such commitments bespeak an urge to avoid or circumvent the human in the practice of scholarship. Reading Shakespeare’s comedies in tandem with a "defactoist" view of teaching and learning points in the direction of a new humanism, one that eschews both the relativism of old deconstruction and contemporary Presentism and the determinism of various kinds of structural accounts. This book offers something new in scholarly and popular understanding of Shakespeare’s work, doing so with both philosophical rigor and literary attention to the difficult work of reading.
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.
First published in 1989, The Singing Bourgeois challenges the myth that the 'Victorian parlour song' was a clear-cut genre. Derek Scott reveals the huge diversity of musical forms and styles that influenced the songs performed in middle class homes during the nineteenth century, from the assimilation of Celtic and Afro-American culture by songwriters, to the emergence of forms of sacred song performed in the home. The popularity of these domestic songs opened up opportunities to women composers, and a chapter of the book is dedicated to the discussion of women songwriters and their work. The commercial success of bourgeois song through the sale of sheet music demonstrated how music might be incorporated into a system of capitalist enterprise. Scott examines the early amateur music market and its evolution into an increasingly professionalized activity towards the end of the century. This new updated edition features an additional chapter which provides a broad survey of music and class in London, drawing on sources that have appeared since the book's first publication. An overview of recent research is also given in a section of additional notes. The new bibliography of nineteenth-century British and American popular song is the most comprehensive of its kind and includes information on twentieth-century collections of songs, relevant periodicals, catalogues, dictionaries and indexes, as well as useful databases and internet sites. The book also features accompanying downloadable resources of songs from the period.
Brian Donlevy (1901-1972) was an underrated film actor with surprising range and a little-heralded gift for comedy. Often typecast as a villain, he played the definitive bad guy in such films as Destry Rides Again, Union Pacific and Beau Geste (all in 1939). He showed his versatility in the title role of Preston Sturges' political satire The Great McGinty (1940) and impressed both New York critics and the Soviet government as the cooly authoritative Major Caton in Wake Island (1942). Donlevy was fondly remembered as globe-trotting U.S. Special Agent Steve Mitchell in the television series Dangerous Assignment (1952) and as Professor Quatermass in two acclaimed science fiction films. This first ever biography of Donlevy covers his colorful early life as a boy soldier, his years playing comedy roles on Broadway and his long career in Hollywood.
This book offers the first comprehensive examination of the role of religion in the proceedings, theories, ideas and goals of the Continental Congress. Those who argue that the U.S. was founded as a "Christian Nation" have made much of the religiosity of the founders, particularly as it was manifested in ritual invocations of a clearly Christian God. Congress's religious activities, Davis shows, expressed an unreflective popular piety, and by no means a determination of the revolutionaries to entrench religion in the federal state.
Examines the way in which poetry in English makes use of rhythm. The author argues that there are three major influences which determine the verse-forms used in any language: the natural rhythm of the spoken language itself; the properties of rhythmic form; and the metrical conventions which have grown up within the literary tradition. He investigates these in order to explain the forms of English verse, and to show how rhythm and metre work as an essential part of the reader's experience of poetry.
In the tradition of Guns, Germs, and Steel, Leebaert tells the stories of small forces that have triumphed over vastly larger ones and changed the course of history -- from the Trojan Horse to Al Qaeda. Maps and charts.
Was the experience of poetry—or a cultural practice we now call poetry—continuously available across the two-and-a-half millennia from the composition of the Homeric epics to the publication of Ben Jonson's Works and the death of Shakespeare in 1616? How did the pleasure afforded by the crafting of language into memorable and moving rhythmic forms play a part in the lives of hearers and readers in Ancient Greece and Rome, Europe during Late Antiquity and the Middle Ages, and Britain during the Renaissance? In tackling these questions, this book first examines the evidence for the performance of the Iliad and the Odyssey and of Ancient Greek lyric poetry, the impact of the invention of writing on Alexandrian verse, the performances of poetry that characterized Ancient Rome, and the private and public venues for poetic experience in Late Antiquity. It moves on to deal with medieval verse, exploring the oral traditions that spread across Europe in the vernacular languages, the place of manuscript transmission, the shift from roll to codex and from papyrus to parchment, and the changing audiences for poetry. A final part investigates the experience of poetry in the English Renaissance, from the manuscript verse of Henry VIII's court to the anthologies and collections of the late Elizabethan era. Among the topics considered in this part are the importance of the printed page, the continuing significance of manuscript circulation, the performance of poetry in pageants and progresses, and the appearance of poets on the Elizabethan stage. In tracking both continuity and change across these many centuries, the book throws fresh light on the role and importance of poetry in western culture.
The origins of computation group theory (CGT) date back to the late 19th and early 20th centuries. Since then, the field has flourished, particularly during the past 30 to 40 years, and today it remains a lively and active branch of mathematics. The Handbook of Computational Group Theory offers the first complete treatment of all the fundame
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