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The unleashing of the French Revolution in 1789 resulted in the acceleration of time coupled with an inability to predict what might happen next. As unprecedented events outpaced the days, those caught up in the whirlwind had little time to make judicious decisions about which course of action to follow. The lack of reliable information and delays in communication between Paris and the provinces only exacerbated the situation. Consequently, some fled into exile in Europe and the United States, while others remained to take advantage of new opportunities provided by the revolutionary government. Between 1789 and 1794, the government moved from a position of hopeful cooperation to one of desperate measures instigated during the Terror of 1793–1794. As a result, those French citizens who had fled early in the revolution, including many aristocrats and the king's brothers, as well as the artist Elisabeth Vigee-LeBrun, could not return until many years later, while those who had remained, such as Vigée-LeBrun’s husband, the art dealer Jean-Baptiste Pierre LeBrun, as well as the artist Jacques-Louis David, the writers Sébastien Chamfort and André Chénier, and expelled Girondin deputies, chose survival strategies that they hoped would be successful. For all those concerned, timing was key to survival, and those who lived found that they had crossed a bridge between the Ancien Régime and the beginning of the modern world. It would not be possible to grasp the full import of the period between 1789 and 1795 until time had decelerated to a more reasonable level after the fall of Robespierre in 1794. Yet few could have then imagined that almost one hundred years would pass before a stable French republic would be established.
Europe and Russia are pushing against each other in a contest of economic doctrines and political ambitions, seemingly erasing the vision of cooperation that emerged from the end of the Cold War. Thane Gustafson argues that natural gas serves as a bridge over troubled geopolitical waters, uniting the region through common economic interests.
A historical look at styles of technological research and design. If it is true, as Tocqueville suggested, that social and class systems shape technology, research, and knowledge, then the effects should be visible both at the individual level and at the level of technical institutions and local environments. That is the central issue addressed in Constructing a Bridge, a tale of two cultures that investigates how national traditions shape technological communities and their institutions and become embedded in everyday engineering practice. Eda Kranakis first examines these issues in the work of two suspension bridge designers of the early nineteenth century: the American inventor James Finley and the French engineer Claude-Louis-Marie-Henri Navier. Finley--who was oriented toward the needs of rural, frontier communities--designed a bridge that could be easily reproduced and constructed by carpenters and blacksmiths. Navier--whose professional training and career reflected a tradition of monumental architecture and had linked him closely to the Parisian scientific community--designed an elegant, costly, and technically sophisticated structure to be built in an elite district of Paris. Charting the careers of these two technologists and tracing the stories of their bridges, Kranakis reveals how local environments can shape design goals, research practices, and design-to-construction processes. Kranakis then offers a broader look at the technological communities and institutions of nineteenth-century France and America and at their ties to technological practice. She shows how conditions that led to Finley's and Navier's distinct designs also fostered different systems of technical education as well as distinct ideologies and traditions of engineering research.The result of this two-tiered, comparative approach is a reorientation of a historiographic tradition initiated by Tocqueville (and explored more recently by Eugene Ferguson, John Kasson, and others) toward a finer-grained analysis of institutional and local environments as mediators between national traditions and individual styles of technological research and design.
In the latest addition to the History of Military Aviation series, Peter Dye describes how the development of the air weapon on the Western Front during World War I required a radical and unprecedented change in the way that national resources were employed to exploit a technological opportunity. World War I has long been recognized as an industrial war that consumed vast amounts of materiel and where logistical superiority gave the Allies an overwhelming advantage. The Bridge to Air Power is the first study that demonstrates how logistical competence provided a war-winning advantage for the Royal Flying Corps, the precursor to the Royal Air Force. It draws on a wide range of literature and original material to quantify these achievements while providing a series of illuminating case studies based around key battles. In particular, it highlights how the Royal Flying Corps’ logistical organization was able to maintain high levels of resilience and agility while sustaining military outputs under widely different operational conditions —successfully introducing many of the techniques that now comprise modern supply chain management.
An essential exploration of the engineering aesthetics of celebrated structures from long-span bridges to high-rise buildings What do structures such as the Eiffel Tower, the Brooklyn Bridge, and the concrete roofs of Pier Luigi Nervi have in common? According to The Tower and the Bridge, all are striking examples of structural art, an exciting area distinct from either architecture or machine design. Aided by stunning photographs, David Billington discusses the technical concerns and artistic principles underpinning the well-known projects of leading structural engineer-artists, including Othmar Ammann, Félix Candela, Gustave Eiffel, Fazlur Khan, Robert Maillart, John Roebling, and many others. A classic work, The Tower and the Bridge introduces readers to the fundamental aesthetics of engineering.
Two teenagers, strangers to each other, have decided to jump from the same bridge at the same time. But what results is far from straightforward in this absorbing, honest lifesaver from acclaimed author Bill Konigsberg. Aaron and Tillie don't know each other, but they are both feeling suicidal, and arrive at the George Washington Bridge at the same time, intending to jump. Aaron is a gay misfit struggling with depression and loneliness. Tillie isn't sure what her problem is -- only that she will never be good enough.On the bridge, there are four things that could happen:Aaron jumps and Tillie doesn't.Tillie jumps and Aaron doesn't.They both jump.Neither of them jumps.Or maybe all four things happen, in this astonishing and insightful novel from Bill Konigsberg.
Since winning the world's most prestigious pairs event in his early twenties, with the equally precocious Michael Rosenberg, Barnet Shenkin has continued to build a an impressive bridge career. Over the last 25 years, he has had the opportunity to play with and against some of the best in the world, and in this book he recounts his favourite hands and stories. While much of his early career was based in Scotland and England, Barnet now lives in Florida and is becoming well-known on the US tournament scene. The book comes to a climax with the US team's record-breaking world title win in January 2000, an event which Barnet covered as a journalist.