Since its publication in 1989, Texas, A Modern History has established itself as one of the most readable and reliable general histories of Texas. David McComb paints the panorama of Lone Star history from the earliest Indians to the present day with a vigorous brush that uses fact, anecdote, and humor to present a concise narrative. The book is designed to offer an adult reader the savor of Texan culture, an exploration of the ethos of its people, and a sense of the rhythm of its development. Spanish settlement, the Battle of the Alamo, the Civil War, cattle trails, oil discovery, the growth of cities, changes in politics, the Great Depression, World War II, recreation, economic expansion, and recession are each a part of the picture. Photographs and fascinating sidebars punctuate the text.
In this revised edition, McComb not only incorporates recent scholarship but also tracks the post–World War II rise of the Republican Party in Texas and the evolution of the state from rural to urban, with 88 percent of the people now living in cities. At the same time, he demonstrates that, despite many changes that have made Texas similar to the rest of the United States, much of its unique past remains.
The highly acclaimed first edition of this major work convincingly established Gerald Holton’s analysis of the ways scientific ideas evolve. His concept of “themata,” induced from case studies with special attention to the work of Einstein, has become one of the chief tools for understanding scientific progress. It is now one of the main approaches in the study of the initiation and acceptance of individual scientific insights.
Three principal consequences of this perspective extend beyond the study of the history of science itself. It provides philosophers of science with the kind of raw material on which some of the best work in their field is based. It helps intellectual historians to redefine the place of modern science in contemporary culture by identifying influences on the scientific imagination. And it prompts educators to reexamine the conventional concepts of education in science.
In this new edition, Holton has masterfully reshaped the contents and widened the coverage. Significant new material has been added, including a penetrating account of the advent of quantum physics in the United States, and a broad consideration of the integrity of science, as exemplified in the work of Niels Bohr. In addition, a revised introduction and a new postscript provide an updated perspective on the role of themata. The result of this thoroughgoing revision is an indispensable volume for scholars and students of scientific thought and intellectual history.
Through diagrams, sketches, and models, along with explications of the essential tools and materials required, Payne defines and delineates the precise step-by-step procedures of scenographic modelmaking: the basic preparations of construction, the process of making the model, and the experimental aspects of modelmaking. This new edition with 50 additional illustrations and other new information offers teachers, students, and beginning professionals alike a complete and comprehensive approach to creating and constructing the scenographic model.
Since it appeared in 1971, John Rawls's A Theory of Justice has become a classic. The author has now revised the original edition to clear up a number of difficulties he and others have found in the original book.
Rawls aims to express an essential part of the common core of the democratic tradition--justice as fairness--and to provide an alternative to utilitarianism, which had dominated the Anglo-Saxon tradition of political thought since the nineteenth century. Rawls substitutes the ideal of the social contract as a more satisfactory account of the basic rights and liberties of citizens as free and equal persons. "Each person," writes Rawls, "possesses an inviolability founded on justice that even the welfare of society as a whole cannot override." Advancing the ideas of Rousseau, Kant, Emerson, and Lincoln, Rawls's theory is as powerful today as it was when first published.
This diary of the exiled Trotsky is a powerfully evocative fragment of history and human personality. Of all the great figures of the Russian revolution Leon Trotsky touches our senses as the one who lived, and felt, and died as other men. He breaks through, or is forced through the screen of dialectic and bombast that conceals his colleagues. Understandably, we feel curiosity about and some sympathy for the man who was driven out as he had driven others, who wandered the world in danger foreseeing assassination, and who was struck down by his enemies in his last sanctuary so close to us. His life as a fugitive is a single human tragedy and he is, simply, more interesting than the others.
This extremely personal record is no disappointment. Written in France and Norway, it gives the day-to-day reflections of a fallen leader, of one who had wielded power and was now in an exceptional position to observe it in the hands of others. Naturally there are penetrating comments here on local and international politics, often timeless in their relevance, but with them comes admission to the private world of the revolutionary intellectual. Here Trotsky lived with anguish, was beset by loneliness, and sustained himself by pride and fanaticism.
But his concern was not wholly with himself and the impersonalities of politics. He set down his continuing anxiety for the safety of his beloved son, Sergei, and of his first wife to whom he was still deeply attached. They were in Russia, their fate unknown to him. In extraordinarily moving and unaffected words, he wrote, too, of his tender, still youthful passion for his adored second wife, Natasha (Natalia Ivanovna Sedov), the wise and courageous companion of his fighting years, the loyal woman who accompanied him into exile.
Finally, and until now unknown, there is his Testament, written in Mexico in February 1940 near the close of his life. Knowing that death was near, from illness if not from Stalin’s agents, he envisaged the form it might take, restated his defiance of Stalin and his imperishable confidence in the triumph of the People, and once more affirmed his love for Natasha. At the end there is the discontinued and unexplained sentence, “In case we both die...”
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