This textbook is about working in teams to create functioning software. It covers skills in agile software development methods, team working, version control and continuous integration and shows readers how to apply some of the latest ideas from lean, agile and Kanban. Part I, which focuses on People, describes various project roles and the skills needed to perform each role. This includes members of self-organizing teams, scrum masters, product owners and activities for managing other stakeholders. The skills needed to create Product artefacts are detailed in Part II. These include skills to create agile requirements, architectures, designs as well as development and security artefacts. The agile development Process to coordinate with co-workers is described in Part III. It introduces the skills needed to facilitate an incremental process and to use software tools for version control and automated testing. Eventually some more advanced topics are explained in Part IV. These topics include large projects comprising multiple cooperating teams, automating deployment, cloud software services, DevOps and evolving live systems. This textbook addresses significant competencies in the IEEE/ACM Computing Curricula Task Force 2020. It includes nearly 100 exercises for trying out and applying the skills needed for agile software development. Hints, tips and further advice about tackling the exercises are presented at the end of each chapter, and a case study project, with downloadable source code from an online repository, integrates the skills learned across the chapters. In addition, further example software projects are also available there. This way, the book provides a hands-on guide to working on a development project as part of a team, and is inspired by the needs of early career practitioners as well as undergraduate software engineering and computer science students.
This textbook is about working in teams to create functioning software. It covers skills in agile software development methods, team working, version control and continuous integration and shows readers how to apply some of the latest ideas from lean, agile and Kanban. Part I, which focuses on People, describes various project roles and the skills needed to perform each role. This includes members of self-organizing teams, scrum masters, product owners and activities for managing other stakeholders. The skills needed to create Product artefacts are detailed in Part II. These include skills to create agile requirements, architectures, designs as well as development and security artefacts. The agile development Process to coordinate with co-workers is described in Part III. It introduces the skills needed to facilitate an incremental process and to use software tools for version control and automated testing. Eventually some more advanced topics are explained in Part IV. These topics include large projects comprising multiple cooperating teams, automating deployment, cloud software services, DevOps and evolving live systems. This textbook addresses significant competencies in the IEEE/ACM Computing Curricula Task Force 2020. It includes nearly 100 exercises for trying out and applying the skills needed for agile software development. Hints, tips and further advice about tackling the exercises are presented at the end of each chapter, and a case study project, with downloadable source code from an online repository, integrates the skills learned across the chapters. In addition, further example software projects are also available there. This way, the book provides a hands-on guide to working on a development project as part of a team, and is inspired by the needs of early career practitioners as well as undergraduate software engineering and computer science students.
The Old Story, with a Difference: Pickwick's Vision explores in radically different ways from most approaches to nineteenth-century studies the tropes and metaphors of vision in Dickens' first novel, The Pickwick Papers. Julian Wolfreys provides a close reading of Dickens' Pickwick Papers and argues that this novel is an exemplary text for the re-consideration of concepts such as literature, history, the novel, and the whole notion of Victorian studies. True to the purpose of the Victorian Critical Interventions Series, Wolfreys challenges scholars to rethink the use of a canonical text in Victorian literature. Challenging the commonplaces of historicist criticism, and demonstrating the need for a return to close reading, The Old Story, with a Difference presents a reading of the novel grounded in the twinned rigors of materialist historiography and theoretical inflections tending toward attentiveness to epistemological and linguistic concerns. Through such an orientation, Wolfreys unpacks the relation between the tropes of visuality and matters of memory, history, and the necessity of fiction to bear witness to the cultures, past and present, from which literature becomes generated and which it mediates. In doing so, he situates an argument for rethinking Dickens' novel as the inaugural novel of Victorian fiction par excellence, in that novel's efforts to remain open to the traces of the past in particular ways. The Old Story, with a Difference holds profound implications for the study not only of Dickens' works but Victorian literature and culture in general. Provocative and inventive, this ambitious analysis will challenge, goad, and invite the reader to return to acts of materialist reading informed by ethical and ideological urgency, rather than relapsing into the commonplaces of humanist cliché.
Johnson considers how Mahler's body of music foregrounds the idea of artifice, construction and musical convention while also presenting itself as act of authentic expression and disclosure. This study of brings together a close reading of the renowned composer's music with wide-ranging cultural and historical interpretation.
Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions. British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.
In this wide-ranging, challenging theoretical study, Julian Wolfreys offers close readings of films, novels and poetry in order to draw attention to the ways in which texts resist acts of reading by performing their own idiomatic, wayward identities. Looking at the construction of identity in Lewis Carroll, Charlotte Perkins Gilman, James Joyce, Maya Deren, Sylvie Germain, Jacques Derrida, Michel Deguy, and George Eliot, Wolfreys asks the reader to reassess the textual performance of identity by attending to a rhetoric which is simultaneously both resistant to mastery and affirmative of dissonance.
(Technical Reference). More than simply the book of the award-winning DVD set, Art & Science of Sound Recording, the Book takes legendary engineer, producer, and artist Alan Parsons' approaches to sound recording to the next level. In book form, Parsons has the space to include more technical background information, more detailed diagrams, plus a complete set of course notes on each of the 24 topics, from "The Brief History of Recording" to the now-classic "Dealing with Disasters." Written with the DVD's coproducer, musician, and author Julian Colbeck, ASSR, the Book offers readers a classic "big picture" view of modern recording technology in conjunction with an almost encyclopedic list of specific techniques, processes, and equipment. For all its heft and authority authored by a man trained at London's famed Abbey Road studios in the 1970s ASSR, the Book is also written in plain English and is packed with priceless anecdotes from Alan Parsons' own career working with the Beatles, Pink Floyd, and countless others. Not just informative, but also highly entertaining and inspirational, ASSR, the Book is the perfect platform on which to build expertise in the art and science of sound recording.
Fallen Stars probes the underside of fame to reveal a host of glittering careers stunted by ill-health, alcoholism, drug addiction and egomania. Twenty-one tales of stardom turned sour, these are the tragic final years of some of the world's best-loved actors and comedians, a latter-day Hollywood Babylon that includes Benny Hill, Diana Dors, Peter Sellers, Carry On legends and many others.
Portobello Road is London’s most iconic street and a unique place to live and visit. Despite the waves of gentrification, soaring rents and the recent arrival of High Street chains, its Bohemian, anarchic, creative spirit still survives. Julian Mash, a former bookseller at the famous Travel Bookshop, meets the traders and shopkeepers, film-makers and fashionistas, punks, promoters and poets who make Portobello what it is. From his encounters with famous residents like Damon Albarn and life-long market traders like Peter Cain there emerges a vivid and sometimes surprising picture of one of Britain’s most famous neighbourhoods. This fascinatingly illustrated book explores how Portobello Road has been at the centre of trends as diverse as racial integration, health food, vintage fashion, the property boom and the life and death of record shops.
A unique account of the Japanese rock phenomenon from a legendary rock musician with an army of fans 'The most obscenely enjoyable book of the year ... enlightening, thrilling and occasionally hilarious ... Cope is a supremely engaging writer whose aim is to entertain, educate and freak out' Telegraph 'This book's astonishing blend of seriousness and hilariousness is testament to perhaps the most remarkable mind in rock today' Word Julian Cope, eccentric and visionary rock musician, follows the runaway underground success of his book Krautrocksampler with Japrocksampler, a cult deconstruction of Japanese rock music, and reveals what really happened when East met West after World War Two. It explores the clash between traditional, conservative Japanese values and the wild rock 'n' roll renegades of the 1960s and 70s, and tells of the seminal artists in Japanese post-war culture, from itinerant art-house poets to violent refusenik rock groups with a penchant for plane hijacking.
Syd Barrett was an English composer and purveyor of some of the most intriguing music ever written. Famous before his twentieth birthday, Barrett led the charge of psychedelia onstage at London's famed UFO club. With a Fender Telecaster and a primitive Binson echo unit, Barrett liberated the guitar from being, in critic Simon Reynolds' words, 'a riff machine, and turned it into a texture and timbre generator.' His inspired celestial flights of improvisation, and his more structured and whimsical short songs indicated a mind of unusual inventiveness. Chief in Barrett's mind was a Zen-like insistence on spontaneity; each performance had to be unique, and Barrett strived to push his music farther and farther out into the zone of complete abstraction. This in-depth analysis of Pink Floyd founding member Syd Barrett's life and work is the product of years of extensive research. Lost in the Woods traces Syd's swift evolution from precocious young art student to acid-fuelled psychedelic rock star, and examines the myriad musical and literary influences that he utilised in composing his hypnotic, groundbreaking songs. A never-forgotten casualty of the excesses, innovations, and idealism of the 1960s, Syd Barrett is one of the most heavily mythologized men in rock, and Lost in the Woods offers a rare portrayal of a unique spirit in freefall.
In this third edition of the classic Verdi, renowned authority Julian Budden offers a comprehensive overview of Verdi the man and the artist, tracing his ascent from humble beginnings to the status of a cultural patriarch of the new Italy, whose cause he had done much to promote, and demonstrating the gradual enlargement over the years of his artistic vision. This concise study is an accessible, insightful, and engaging summation of Verdi scholarship, acquainting the non-specialist with the personal details Verdi's life, with the operatic world in which he worked, and with his political ideas, his intellectual vision, and his powerful means of communicating them through his music. In his survey of the music itself, Budden emphasizes the unique character of each work as well as the developing sophistication of Verdi's style. He covers all of the operas, the late religious works, the songs, and the string quartet. A glossary explains even the most obscure operatic terms current in Verdi's time.
This anthology exhibits the diversity, inventiveness, and intellectual energy of the writings of J. Hillis Miller, the most significant North American literary critic of the twentieth century. From the 1950s onward, Miller has made invaluable contributions to our understanding of the practice and theory of literary criticism, the ethics and responsibilities of teaching and reading, and the role of literature in the modern world. He has also shown successive generations of scholars and students the necessity of comprehending the relationship between philosophy and literature. Divided into six sections, the volume provides more than twenty significant extracts from Millers works. In addition, there is a new interview with Miller, as well as a series of specially commissioned critical responses to Millers work by a number of the leading figures in literary and cultural studies today. Following a comprehensive critical introduction by the editor, each section has a brief introduction, directing the reader toward pertinent themes. There is also a comprehensive bibliography and a chronology of Millers professional life and activities. This reader, the first of Miller's work in English, provides an indispensable overview and introduction to one of the most original critical voices to have emerged since the inception of the teaching of English and American literature in universities in the English-speaking world.
In 1987, seven people embarked on a three month charity expedition to drive an old red Dennis fire engine from the northern tip of Europe to the southernmost point of Africa. After almost five months, 37,000km, 21 countries, and a journey through rainforest, bush veldt, deserts and urban developments, the author was one of five who completed their odyssey. The Cape Crusaders is his engaging account of the at times hazardous trip, including being mugged, arrested, having two near fatal accidents and a severe case of cerebral malaria. A must for any armchair adventure traveller.
With this irresistibly fresh debut about a set of twins in their first year of college in Ireland, Julian Gough ("Roddy Doyle in an extremely good mood." —The Washington Post Book World) has established himself as Ireland's most delightful new voice in fiction. Juno and Juliet Taylor are both beautiful blondes, but Juliet is convinced that Juno is the more beautiful, as well as the more intelligent, charming, worldly, and wise. Yet neither feels any sense of rivalry, which is good, given that their freshman year turns out to be more than either could handle alone. Juno has an erratic artist for a boyfriend and is stalked by a pervert who sends anonymous letters. And Juliet is in love with her grad-student tutor, who is stymied by her youth and preoccupied with his dying father. Hilarious and tender, ribald and smart, Juno & Juliet is a refreshing romp with two sisters whose love and devotion are infectious.
Julian Wolfreys introduces students to the central concept of transgression, showing how to interpret the concept from a number of theoretical standpoints. He demonstrates how texts from different cultural and historical periods can be read to examine the workings of 'transgression' and the way in which it has changed over time.
Haunted Selves, Haunting Places in English Literature and Culture offers a series of readings of poetry, the novel and other forms of art and cultural expression, to explore the relationship between subject and landscape, self and place. Utilizing an interdisciplinary approach grounded in close reading, the text places Jacques Derrida’s work on spectrality in dialogue with particular aspects of phenomenology. The volume explores writing and culture from the 1880s to the present day, proceeding through four sections examining related questions of identity, memory, the landscape, and our modern relationship to the past. Julian Wolfreys presents a theoretically informed understanding of the efficacy of literature and culture in connecting us to the past in an affective and engaged manner.
In Occasional Deconstructions, Julian Wolfreys challenges the notion that deconstruction is a critical methodology, offering instead a number of reintroductions or reorientations to the texts of Jacques Derrida and the idea or possibility of deconstructions. Proceeding from specific readings of various texts (both film and literary), as well as mobilizing a number of issues from Derrida's recent work surrounding questions of ethics, politics, and identity, Wolfreys considers the role of deconstruction in broader academic and institutional contexts, and questions whether, in fact, deconstruction can be called upon to function as theory at all. In this book, Wolfreys suggests that the patient, necessary work of reading, in which response and responsibility to the other has a chance to manifest itself, is necessary to the always political and ethical tracing of the material and the historical. He also contends that reading should be an encounter that gives place to an acknowledgment of the other, and that this singular act by which one is introduced to the other can never be programmed.
The recent economic crisis was not just caused by a failure of regulation or economic policy; it was a story of the failure of management in a fundamental sense—a deeply flawed approach to management that encouraged bankers to pursue opportunities without regard for their long-term consequences, and to put their own interests ahead of those of their employers and their shareholders. And looking more widely, there is a creeping disenchantment with management as a profession: surveys show that managers generate less respect than lawyers and bankers in the eyes of the general public, and there are few if any positive role models for management. "Change isn't just for the rank-and-file anymore; it's coming for you. Instant access to information and global resources have changed the world we live and work in. Julian Birkinshaw shows that 19th century industrial management won't work in a 21st century fluid workplace. Read this, or prepare to be 'game-changed' by someone who has." —Jack Hughes, CEO, TopCoder "Technological and social changes are having an enormous impact on the world of business, and on the way companies are managed. In this book, Julian Birkinshaw provides a roadmap for making sense of how the world of management is changing, and he provides useful advice for companies who want to harness the potential that Web 2.0 has to offer." —PV Kannan, CEO, 24/7 Customer "Julian Birkinshaw helps us look beyond our legacy management practices, and imagine bold new ways of leading, managing and organizing. Filled with mind-expanding examples, Reinventing Management is a must read for managers who want to build an organization that's truly fit for the future." —Gary Hamel, bestselling author of The Future of Management
This insightful guide provides a pragmatic roadmap for treating adult survivors of complex psychological trauma. Christine Courtois and Julian Ford present their effective, research-based approach for helping clients move through three clearly defined phases of posttraumatic recovery. Two detailed case examples run throughout the book, illustrating how to plan and implement strengths-based interventions that use a secure therapeutic alliance as a catalyst for change. Essential topics include managing crises, treating severe affect dysregulation and dissociation, and therapist self-care. The companion website offers downloadable reflection questions for clinicians and extensive listings of professional and self-help resources. A new preface in the paperback and e-book editions addresses key scientific advances. See also Drs. Courtois and Ford's edited volumes, Treating Complex Traumatic Stress Disorders in Adults, Second Edition, and Treating Complex Traumatic Stress Disorders in Children and Adolescents, which present research on the nature of complex trauma and review evidence-based treatment models. Winner (Second Place)--American Journal of Nursing Book of the Year Award, Psychiatric and Mental Health Nursing Category
A lively answer to those who sound alarms about population growth and resource use The Ultimate Resource challenges conventional beliefs about the scarcity of energy and natural resources, the pollution of the environment, and the perils of overpopulation for our standard of living. In this provocative book, Julian Lincoln Simon argues that natural resources are not finite in any meaningful way, and that using such resources now will not slow the rate of future economic growth. In the short run, all resources are limited. A greater use of any resource means pressure on its supply and hence an increased price. In the long run, however, history shows that human creativity overcomes natural obstacles to economic growth and leads to a lower cost and price than before. The ultimate resource, Simon contends, is the human imagination coupled to the human spirit. This timely book will fundamentally change how you think about a host of issues, from immigration and human fertility to forecasts of population change and the use of taxpayer dollars for population control. The Ultimate Resource demonstrates that the primary constraint on our national and world economic growth is our capacity for the creation of new ideas. The more people who can be trained to help solve the problems that confront us, the faster we might remove the obstacles, and the greater the economic inheritance we can bequeath to our descendants.
A professional book about the methods used to reach conclusions about the nature and behavior of humans argues that the method of specimens is more appropriate than the method of relative frequencies to discover how the human animal, as a species, functions.
The key aim of this volume is to demonstrate ways in which an understanding of history can be used to inform present-day transport and mobility policies. This is not to say that history repeats itself, or that every contemporary transport dilemma has an historical counterpart: rather, the contributors to this book argue that in many contexts of transport planning a better understanding of the context and consequences of past decisions and processes could lead to more effective policy decisions. Collectively the authors explore the ways in which the methods and approaches of historical research may be applied to contemporary transport and policy issues across a wide range of transport modes and contexts. By linking two bodies of academic research that for the most part remain separate this volume helps to inform current transport and mobility policies and to stimulate innovative new research that links studies of both past and present mobilities.
This book treats William Faulkner's major fiction--from Flags in the Dust through to Absalom, Absalom!--to a searching reappraisal under the spotlight of a media-historical inquiry. It proposes that Faulkner's inveterate attraction to the paradigms of romance was disciplined and masked by the recurrent use of metaphorical figures borrowed from the new media ecology. Faulkner dressed up his romance materials in the technological garb of radio, gramophony, photography, and cinema, along with the transportational networks of road and air that were being installed in the 1920s. His modernism emerges from a fraght but productive interplay between his anachronistic predilection for chivalric chichés and his extraordinarily knowledgeable interest in the most up-to-date media institutions and forms. Rather than see Faulkner as a divided author, who worked for money in the magazines and studios while producing his serious fiction in despite of their symbolic economies, this study demonstrates how profoundly his mature art was shot through with the figures and dynamics of the materials he publicly repudiated. The result is a richer and more nuanced understanding of the dialectics of his art.
Synthesizes existing research into a chronologically based narrative. This volume on Wolfgang Amadeus Mozart (1756 - 1791) takes the work and the life in parallel; for the vents of Mozart's life cannot be separated from his existence as a musical creator and performer.
In the context of the growing diversity of contemporary societies and the central importance of the electronic media, the place of popular culture in the school curriculum has become an increasingly controversial political issue. Based on in-depth research in an ethnically mixed, working-class secondary school, Cultural Studies Goes to School is concerned with the relationships between young people's involvement in popular culture outside school and their experiences of media education within the formal school curriculum. The first part of the book provides a detailed analysis of students' readings and uses of popular media, ranging from computer games and soap operas to comics and rap music. It offers a further challenge to received notions of young people as passive victims of ideological manipulation by the media and develops a social theory of reading that acknowledges the complex roles of gender, race and social class. The second part describes a number of classroom projects involving both critical and practical aspects of media education. Through analysis of students' work in a range of media, including photography, video and print, the authors develop a challenging theory of learning about popular culture and its place in the school curriculum. This book offers an exciting and accessible account of young people reading and making popular culture, which challenges many of the political claims and received wisdoms of academic Cultural Studies.
This volume illuminates musical connections between Britain and the continent of Europe, and Britain and its Empire. The seldom-recognized vitality of musical theatre and other kinds of spectacle in Britain itself, and also the flourishing concert life of the period, indicates a means of defining tradition and identity within nineteenth-century British musical culture. The objective of the volume has been to add significantly to the growing literature on these topics. It benefits not only from new archival research, but also from fresh musicological approaches and interdisciplinary methods that recognize the integral role of music within a wider culture, including religious, political and social life. The essays are by scholars from the USA, Britain, and Europe, covering a wide range of experience. Topics range from the reception of Bach, Mozart, and Liszt in England, a musical response to Shakespeare, Italian opera in Dublin, exoticism, gender, black musical identities, British musicians in Canada, and uses of music in various theatrical genres and state ceremony, and in articulating the politics of the Union and Empire.
Introducing the dynamic study of a literary period stretching from 1900 to the Second World War, the book reflects the exciting mix of European avant-garde, writers of the Harlem Renaissance and regional voices within Britain. Three distinct sections explore the major concepts, themes and issues that characterise the literature.
Few works in the nineteenth-century repertoire have aroused such extremes of hostility and admiration, or have generated so many scholarly problems, as Anton Bruckner's symphonies. In this 2004 book, Julian Horton seeks fresh ways of understanding the symphonies and the problems they have accrued by treating them as the focus for a variety of inter-disciplinary debates and methodological controversies. He isolates problematic areas in the works' analysis and reception, and approaches them from a range of analytical, historical, philosophical, literary, critical and psychoanalytical viewpoints. The symphonies are thus explored in the context of a number of crucial and sometimes provocative themes, including the political circumstances of the works' production, Bruckner and post-war musical analysis, issues of musical influence, the problem of editions, Bruckner and psychobiography, and the composer's controversial relationship to the Nazis.
A masterclass in the civil rights movement from one of the legendary activists who led it. Compiled from his original lecture notes, Julian Bond’s Time to Teach brings his invaluable teachings to a new generation of readers and provides a necessary toolkit for today’s activists in the era of Black Lives Matter and #MeToo. Julian Bond sought to dismantle the perception of the civil rights movement as a peaceful and respectable protest that quickly garnered widespread support. Through his lectures, Bond detailed the ground-shaking disruption the movement caused, its immense unpopularity at the time, and the bravery of activists (some very young) who chose to disturb order to pursue justice. Beginning with the movement’s origins in the early twentieth century, Bond tackles key events such as the Montgomery bus boycott, the Little Rock Nine, Freedom Rides, sit-ins, Mississippi voter registration, the Sixteenth Street Baptist Church Bombing, the March on Washington, the Civil Rights Act, Freedom Summer, and Selma. He explains the youth activism, community ties, and strategizing required to build strenuous and successful movements. With these firsthand accounts of the civil rights movement and original photos from Danny Lyon, Julian Bond’s Time to Teach makes history come alive.
Classical music shows a close relationship to language, and both musicology and philosophy have tended to approach music from that angle, exploring it in terms of expression, representation, and discourse. This book turns that idea on its head. Focusing on the music of Debussy and its legacy in the century since his death, After Debussy offers a groundbreaking new perspective on twentieth-century music that foregrounds a sensory logic of sound over quasi-linguistic ideas of structure or meaning. Author Julian Johnson argues that Debussy's music exemplifies this idea, influencing the music of successive composers who took up the mantle of emphasizing sound over syntax, sense over signification. In doing so, this music not only anticipates a central problem of contemporary thought--the gap between language and our embodied relation to the world--but also offers a solution. With a readable narrative structure grounded in an impressive body of literature, After Debussy ranges widely across French music, demonstrating the impact of Debussy's music on composers from Fauré and Ravel to Dutilleux, Boulez, Grisey, Murail and Saariaho. It ranges similarly through a set of French writers and philosophers, from Mallarmé and Proust to Merleau-Ponty, Jankélévitch, Derrida, Lyotard and Nancy, and even draws from the visual arts to help embody key ideas. In accessibly tackling substantial ideas of both musicology and philosophy, this book not only presents bold new ways of understanding each discipline but also lays the groundwork for exciting new discourse between them.
P. T. Barnum is looking for more attractions for his touring shows. The year is 1882 and Barnum's special agent, Henry Feder, seeks out a wonderful new violinist, Nicolaties. It is more than forty years since Europe's greatest violinist, Nicolo Paganini, died without last rites. A few people wonder why Nicolaties looks, behaves, and plays violin like that famed Paganini, but Henry Feder is starting to see an even bigger picture. There has been a struggle with Paganini's son and the church over burial of Paganini's unblest remains that strangely seems to focus on Nicolaties. Also, Nicolaties' vampire mentors do not like competition grabbing their star talent, and wonder if they should start clearing the field by converting Henry into a snack. As luck would have it one of the mentors, a female vampire finds something in that first bite she didn't bargain for, and Henry enters the fray acting more for the mentors than P. T. Barnum. Ultimately, artificial lightning crashes from the hand of a dark electrical genius, Nikola Tesla and the final battle begins.
Brave new work! If that has a familiar ring, it is no doubt because of Aldous Huxley's Brave new world . Published in 1932, Huxley's classic novel depicted a dystopian society based on the principles upon which Henry Ford's assembly line was built: Efficiency, mass production, conformity, predictability and mass consumerism. Brave new workplace could not be more different. At its essence, Brave new workplace presents an optimistic picture of a post-pandemic work environment that is productive, healthy, and safe. And each of the words, Brave new workplace, convey something very different about this perspective on work"--
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