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This unique textbook presents a novel, axiomatic pedagogical path from classical to quantum physics. Readers are introduced to the description of classical mechanics, which rests on Euler’s and Helmholtz’s rather than Newton’s or Hamilton’s representations. Special attention is given to the common attributes rather than to the differences between classical and quantum mechanics. Readers will also learn about Schrödinger’s forgotten demands on quantization, his equation, Einstein’s idea of ‘quantization as selection problem’. The Schrödinger equation is derived without any assumptions about the nature of quantum systems, such as interference and superposition, or the existence of a quantum of action, h. The use of the classical expressions for the potential and kinetic energies within quantum physics is justified. Key features: · Presents extensive reference to original texts. · Includes many details that do not enter contemporary representations of classical mechanics, although these details are essential for understanding quantum physics. · Contains a simple level of mathematics which is seldom higher than that of the common (Riemannian) integral. · Brings information about important scientists · Carefully introduces basic equations, notations and quantities in simple steps This book addresses the needs of physics students, teachers and historians with its simple easy to understand presentation and comprehensive approach to both classical and quantum mechanics..
We live in a world at risk. Dire predictions about our future or the demise of planet earth persist. Even fictional representations depict narratives of decay and the end of a commonly shared social reality. Along with recurring Hollywood blockbusters that imagine the end of the world, there has been a new wave of zombie features as well as independent films that offer various visions of the future. The Apocalypse in Film: Dystopias, Disasters, and Other Visions about the End of the World offers an overview of Armageddon in film from the silent era to the present. This collection of essays discusses how such films reflect social anxieties—ones that are linked to economic, ecological, and cultural factors. Featuring a broad spectrum of international scholars specializing in different historical genres and methodologies, these essays look at a number of films, including the silent classic The Four Horsemen of the Apocalypse, the black comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the Mayan calendar disaster epic, 2012, and in particular, Lars Von Trier’s Melancholia, the focus of several essays. As some filmmakers translate the anxiety about a changing global climate and geo-political relations into visions of the apocalypse, others articulate worries about the planet’s future by depicting chemical warfare, environmental disasters, or human made destruction. This book analyzes the emergence of apocalyptic and dystopic narratives and explores the political and social situations on which these films are based. Contributing to the dialogue on dystopic culture in war and peace, The Apocalypse in Film will be of interest to scholars in film and media studies, border studies, gender studies, sociology, and political science.
This book delineates how Thornton Wilder (1897–1975), a learned playwright and novelist, embeds himself within the classical tradition, integrating Greek and Roman motifs with a wide range of sources to produce heart-breaking masterpieces such as Our Town and comedy sensations such as Dolly Levi. Through this study of archival sources and close reading, readers will understand Wilder’s avant-garde staging and innovative time sequences not as a break with the past, but as a response to the classics. The author traces the genesis of unforgettable characters like Dolly Levi in The Matchmaker, Emily Webb in Our Town, and George Antrobus in The Skin of Our Teeth. Vergil’s expression, "Here are the tears of the world, and human matters touch the heart" haunts Wilder’s oeuvre. Understanding Vergil’s phrase as "tears for the beauty of the world," Wilder utilizes scenes depicting the beauty of the world and the sorrow when individuals recognize this too late. Wilder exhorts us to observe lovingly, alert to the wonder of the everyday. This work will appeal to actors and directors, professors and students in classics and in American literature, those fascinated by modern drama and performance studies, and non-specialists, theatre-goers, and readers in the general public.
Tuckar's introduction also examines the reception of Sorai's two Ben during the remainder of the Tokugawa, calling attention to radical tendencies in later developments of Sorai's thought as well as to the increasingly scathing critiques of his "Chinese" approach to philosophy, language, and politics. Finally, it traces the vicissitudes of the two Ben in modern Japanese intellectual history and their role in the formation of the ideas of Meiji intellectuals such as Nishi Amane (1829-1897) and Kato Hiroyuki (1836-1916)."--Jacket.
Hardcore bibliography meets Antiques Roadshow in an illustrated exploration of the role that cheap reprints played in Jane Austen's literary celebrity—and in changing the larger book world itself. Gold Winner of the 2019 Foreword INDIES Award for History by FOREWORD Reviews In the nineteenth century, inexpensive editions of Jane Austen's novels targeted to Britain's working classes were sold at railway stations, traded for soap wrappers, and awarded as school prizes. At just pennies a copy, these reprints were some of the earliest mass-market paperbacks, with Austen's beloved stories squeezed into tight columns on thin, cheap paper. Few of these hard-lived bargain books survive, yet they made a substantial difference to Austen's early readership. These were the books bought and read by ordinary people. Packed with nearly 100 full-color photographs of dazzling, sometimes gaudy, sometimes tasteless covers, The Lost Books of Jane Austen is a unique history of these rare and forgotten Austen volumes. Such shoddy editions, Janine Barchas argues, were instrumental in bringing Austen's work and reputation before the general public. Only by examining them can we grasp the chaotic range of Austen's popular reach among working-class readers. Informed by the author's years of unconventional book hunting, The Lost Books of Jane Austen will surprise even the most ardent Janeite with glimpses of scruffy survivors that challenge the prevailing story of the author's steady and genteel rise. Thoroughly innovative and occasionally irreverent, this book will appeal in equal measure to book historians, Austen fans, and scholars of literary celebrity.