Many books on dynamics start with a discussion of systems with one or two degrees of freedom and then turn to the generalization to the case of many degrees of freedom. For linear systems, the concept of eigenfunctions provides a compact and elegant method for decomposing the dynamics of a high dimensional system into a series of independent single-degree-of-freedom dynamical systems. Yet, when the system has a very high dimension, the determination of the eigenfunctions may be a distinct challenge, and when the dynamical system is nonconservative and/or nonlinear, the whole notion of uncoupled eigenmodes requires nontrivial extensions of classical methods. These issues constitute the subject of this book.
The great bulk of the literature on aeroelasticity is devoted to linear models. The oretical work relies heavily on linear mathematical concepts, and experimental results are commonly interpreted by assuming that the physical model behaves in a linear manner. Nevertheless, significant work has been done in nonlinear aero elasticity, and one may expect this trend to accelerate for several reasons: our ability to compute has increased at an astonishing rate; as linear concepts have been assimilated widely, there is a natural increase in interest in the foundations of nonlinear modeling; and, finally, some phenomena long recognized to be of interest, but beyond the effective range of linear models, are now known to be essentially nonlinear in nature. In this volume, an exhaustive review of the literature is not attempted. Rather the emphasis is on fundamental ideas and a representative selection of problems. Despite obvious successes in research on problems of aeroelasticity and the existence of a broad literature, including a number of excellent monographs, up to now little attention has been devoted to a general nonlinear theory of interac tion. For the most part nonlinearity has been considered either solely in the description of the behavior of a shell or in the description of the motion of a gas.
This book describes the Asymptotic Modal Analysis (AMA) method to predict the high-frequency vibroacoustic response of structural and acoustical systems. The AMA method is based on taking the asymptotic limit of Classical Modal Analysis (CMA) as the number of modes in the structural system or acoustical system becomes large in a certain frequency bandwidth. While CMA requires both the computation of individual modes and a modal summation, AMA evaluates the averaged modal response only at a center frequency of the bandwidth and does not sum the individual contributions from each mode to obtain a final result. It is similar to Statistical Energy Analysis (SEA) in this respect. However, while SEA is limited to obtaining spatial averages or mean values (as it is a statistical method), AMA is derived systematically from CMA and can provide spatial information as well as estimates of the accuracy of the solution for a particular number of modes. A principal goal is to present the state-of-the-art of AMA and suggest where further developments may be possible. A short review of the CMA method as applied to structural and acoustical systems subjected to random excitation is first presented. Then the development of AMA is presented for an individual structural system and an individual acoustic cavity system, as well as a combined structural-acoustic system. The extension of AMA for treating coupled or multi-component systems is then described, followed by its application to nonlinear systems. Finally, the AMA method is summarized and potential further developments are discussed.
In this book, Thompson and Hickson strongly challenge the standard interpretation of the basis of growth and viability of dominant wealthy nations. Briefly, efforts of the economically wealthy and the government leaders to increase their wealth and protect it from aggressors, internal and external, are cast in a new evolutionary light. The challenge is to the idea that societies leading intellectual formulators of political and social policy have been helpful. Their alternative, and persuasive, interpretation is that the rise and survival of wealthier nations has been achieved because of an `effective democracy'. The authors explain why an effective democratic state must avoid `narrow, short-sighted', rational appearing concessions to a sequence of aggressors. In short, the Thompson-Hickson interpretation of the rise of wealthy dominant nations does not rely on advice of superior intellectual advisors, but instead rests on the pragmatic, almost ad hoc, actions of democratic legislators.
The "Queen City" of Texas they called her—or the "Octopus of the Gulf." Galveston from 1845 to 1860 was the center of culture in Texas—or the monster with an economic strangle hold on all Texas trade. It was a gracious city with wide paved streets, impressive buildings, and neat gardens; yet it was also a pestilence-ridden place where no sanitary code was ever enforced and where one in every two children died before reaching maturity. Its citizens, avid for culture and knowledge, attended concerts and plays in great numbers and exhibited an eager interest in science and history; yet they could not be brought to support the school system. Galveston was a city where no person in need was ever left uncared for, where the sick and needy—strangers or friends—were succoured; yet no free Negro was safe from legalized abduction and forced enslavement, and the city served as a center for the revived African slave trade. Earl Fornell makes the charming, colorful, cosmopolitan, contradictory city of Galveston the focal point of his study of the Texas Gulf Coast on the eve of the Civil War. The years 1845-1860 were crucial for this area; during that period the economy became more and more dependent upon slave labor, and thus the stage was set for secession. Dr. Fornell describes with clarity the interrelated events, the decisions, and the conflicts that went into the development of Galveston and the Texas Gulf Coast during these years. He portrays the people and their way of life. He introduces us to some of the notables who helped to shape the destiny of Texas: Sam Houston, the old general; Lorenzo Sherwood, the golden-tongued propounder of radical economic doctrines; Willard Richardson, Hamilton Stuart, Ferdinand Flake, and Edward Cushing, the newspapermen whose writing both reflected and guided the thought of their fellow citizens; Arthur Lynn, the British consul whose observing and compassionate nature brought him onto the stage of Galveston history with striking frequency and whose voluminous letters provide a rich source for historical details; and William Ballinger, a minor player on the stage but one whose conscience and interests mirrored those of many other thoughtful Galvestonians. Always present, affecting and affected by virtually every aspect of life on the Coast, the slave-labor problem grew ever more acute as the expanding railroad system laid more and more of the land open for development. Dr. Fornell shows with keen insight how it eventually forced Texans into a position where conflict with the federal government was unavoidable and the decision to secede from the Union inevitable. The late Earl W. Fornell, a native of Wisconsin, held B.A. and M.A. degrees in political science from the New School for Social Research, the M.A. degree in political history from Columbia University, and the Ph.D. degree in political history from Rice University. He taught at Columbia, Amarillo College, Rice, and Lamar State College of Technology.
As the subtitle indicates, this book has three majors concerns. The first and most important concern is an examination of the film adaptations of Woolf’s novels—To the Lighthouse, Orlando, and Mrs. Dalloway—in the order the films were released. This is the heart of the matter, a fairly conventional effort to acknowledge film reviews as well as the criticism of academicians in film or literature as a starting point for a fresh view of these three film adaptations. Since many film specialists prefer that no film ever be adapted from literary fiction and many literature specialists have similarly wished that their favorite novels had never been filmed, the effort to mediate the two sides can be challenging. Of the three films, To the Lighthouse is the least successful, tending toward the old Masterpiece Theater mode of attempting to be faithful to the “source text,” to use the term of the film theorist Robert Stam, but missing the essence of the novel. Director Sally Potter’s Orlando is cinematically the most venturesome and attractive, although some Woolf readers condemn Potter’s erasure of Woolf’s intent to celebrate her affair with Vita Sackville-West (whose son Nigel Nicolson called Woolf's Orlando “the longest and most charming love-letter in literature”). Mrs. Dalloway tends toward the Merchant/Ivory style of treating literary masterworks—indeed, the film credits include a debt of gratitude to the producer/director partnership—and is generally carried by the star power of Vanessa Redgrave, although it is difficult to imagine her having a crush on another young woman, even at eighteen. The book’s second concern is Woolf’s interest in what she would call “the cinema.” As a member of Bloomsbury, she saw and participated in the discussion of the cinema, especially avant-garde films, which she considered to be more the future of cinema than film adaptations, upon which she heaped great scorn for their ravenous, if not rapacious, consumption of vulnerable literary fiction such as Leo Tolstoy’s Anna Karenina. Woolf specialists such as Leslie Hankins proclaim her one of the earliest and most significant British film theorists for the brilliant essay “The Cinema” (1925), as film was just beginning to establish itself as art and not merely popular entertainment. The third concern is a complex effort to explore the David Hare/Stephen Daldry film adaptation of Michael Cunningham’s Pulitzer Prize–winning novel The Hours, an homage to Mrs. Dalloway in which Virginia Woolf has a starring role, as portrayed by Oscar winner Nicole Kidman. The film and Kidman’s prosthetic nose produced a violent division among the Woolfians who either commended its bringing legions of new readers to Mrs. Dalloway and potentially to “Woolf”—Mrs. Dalloway becoming the best-seller it could not have been in her lifetime—or were outraged by the film’s diminishment of probably the most important female British novelist of the 20th century. Even Nobel Laureate Doris Lessing spoke out against the travesty of a novelist she considered a foremother of later 20th-century writers.
The new millennium has recently dawned bringing with it a series of catastrophic events that were set in motion by a single episode. The events seem to coincide with the prediction of the Sleeping Prophet Edgar Cayce. Only a male volcanologist named Paul and a sexy French lady named Loren can prevent the deaths of millions of people on the west coast of North America as the devastation begins. World leaders are depending on the expertise of these two scientists to guide them through, while some military experts remain sceptical. He is the best volcanologist in the world, banished to Canada from the United States Geological Survey by his wife's lover. She is a brilliant, sexy seismologist that every man wants, but only Paul can possess. Paul hired her and promoted her, but never really understood her magnetic attraction. As they fall in love, the world realizes that they cannot survive without them. Follow the lives of Paul and Loren through North America's worst disaster since the ice age, while discovering how they save the world and each other. Paul's ex-wife attempts to save herself through murder, only to lose her dignity to another. A sceptical American President becomes their closest friend, while his popularity soars from their predictions. From Portland to the South Pacific, Paul and Loren continue to save Americans, while meddling young women flirt with danger. The duo is in the right location at the right time to save the people, but prevent the cataclysmic events. In the end they are rewarded for their efforts by a grateful American President, but that's when the reader learns that this is only the beginning of the story.
How could things deteriorate so quickly in twenty-four hours? From a banquet to a burial! The dark shadow of the executioner's cross sliced across that unforgettable day. A tragic day -- yet planned by a sovereign God. Watch anew as Jesus prays his prayer of submission to the Father's will, as he passes through the sting of betrayal, as he faces undaunted the inhumane and hateful treatment, and as he speaks unexpected last words that leave a legacy of love. Walk with Jesus from the garden to the tomb, to that first Easter morning, the dawning of hope and joy. For the shadow of the cross is the anguished prelude to the best news you will ever hear: "He is risen!
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