Bruce Hastie, a young, naive Scottish engineer, comes to live in a London flat while he works as a graduate apprentice in a turbine factory. It is 1958. He has two contrasting flat-mates, selected by a special agency, a disillusioned actor, Benjamin Garrick, and a rough, crude washing machine salesman, Edward Flunk, also known as Skunk. Bruce starts work at General Turbines Limited in the smoke, grime and heat of the foundry. One lunch-break he finds his chargehand boss, a huge, strong, Yorkshireman nicknamed Heavy, reading and enjoying some Dylan Thomas poetry. This is a paradox that mystifies the class-conscious Bruce whom Heavy brands as an intellectual snob. Heavy expounds on his soapbox that the arts have been kept away from the working class, that they and society at large need saving from rampant materialism and its attendant viciousness by a good dose of the spiritual values that only poetry, art, theatre and classical music can offer. Then follows two chapters that develop the character of Skunk and Benjamin. Skunk, a self-appointed sexual conqueror of women, has the tables turned on him when he encounters an educated, beautiful but unbalanced seductress when called to fix her washing machine that supposedly has electrocuted her dog. Benjamin is sent home sick from rehearsal, accompanied by fellow actor Sally Frinton-Jones. His malaise is psychological for he is disillusioned by the theatre and his performance in it. By this time, Heavy has Bruce believing in his ideas about the need to educate the common masses in the arts. Benjamin, also a convert to Heavy’s “renaissance” through Bruce’s dogmatism, cannot persuade Sally of the practicality of those ideas. Bruce goes into action by piping Beethoven’s 5th Symphony into the motor assembly shop at General Turbines where 300 women work. The music is well received but when his report on allowing the foundryworkers time off to listen to writers, actors and poets is read by the crass managing director, Mr. Crumhorn, Bruce is fired on the spot. Undaunted, Bruce, Benjamin and fifteen members of the arts world are smuggled into the factory and, along with Heavy, begin teaching the foundryworkers the elements and meaning of theatre, music and poetry. At a de-briefing after this first experiment it is deemed a total failure by all except Heavy who urges continuance and patience with what has been started. Bruce runs out of money and needs a job so he buys a taxi and pumps beer in a local pub. By now he is friendly with Sally, and one night, while driving her to rehearsal, they make a detour to track Skunk around Soho. He makes a subterranean disappearance into a strip joint. Bruce and Sally follow but only find Monique of the Louvre doing her erotic show. Bruce, as expected, registers his disgust but follows Monique to the dressing area and there finds Skunk who turns out to be the proprietor of the establishment. Bruce unbends a little and ends up taking Monique, real name Penelope Scragg, back to her seedy flat. As when he first found Heavy reading poetry in the foundry, he is surprised again when Monique plays him her favorite piece of music, Mozart’s Eine Kleine Nachtmusik. Bruce begins to see Penelope with different eyes and he and Heavy take her to a concert at the Royal Festival Hall. She learns of the Renaissance Group’s activities and is highly amused until Bruce wants her to join the group. He wants her and Skunk to soften the degrading aspects of the strip joint by requiring its customers to enter an adjoining room after the performance and receive “spiritual” renewal in the guise of poetry, music and art. Penelope laughs her head off but Skunk smells money in it and gives it a try. Love blooms between Sally and Benjamin, and they decide to get married. Bruce’s relationship with Penelope deepens, and all is going well with the artistic education of

This book argues that new groups and radically new concepts of group identity emerged throughout the world during the Renaissance.

This manual of business and management know-how includes stories, specifics, and immediate takeaways crafted to illustrate and explain the dynamics of great teams—and how to create those change-producing forces in teams everywhere. The unconventional collection of applicable narratives, individual and team exercises, and sound management insight invites personal growth for everyone from business executives and parents to coaches and college students. Based on the Team Arch model from ArchPoint Consulting, the book provides deeper information focused on leveraging strengths and solving problems. Its whole team approach in the context of storytelling offers specific steps for individual team members to reach greater productivity and enjoyment at the workplace. The poignant real-life stories woven throughout additionally illustrate that team building and getting the job done right is not just about business plans and strategic workshops, but about the meaning that happens when people move toward each other and build relationships.

Between the years of 1447 (Nicholas V) and 1572 (Pius V), the Vatican became the official home of the Church, and a succession of Renaissance Popes — who were statesmen, warriors, and patrons of the arts as well as churchmen — turned Rome into an unparalleled center for culture, and turned the Church into the world's largest bureaucracy. These mercurial popes, such as Alexander VI, the infamous Borgia patriarch, and Julius 'Il Terrible' II, contributed to cultural achievements — the Basilica of St. Peters and Michaelangelo's Sistine Chapel — through the sale of indulgences, and targeted heretics with Inquisitions and witchhunts. In the midst of this explosion of great culture and violent debasement, Alexander VI, father of the ruthless Cesare and jezebel Lucrezia, came to be seen as the embodiment of this iniquity. But Gerard Noel shows that Alexander's legacy was tainted by false confessions and historical myth. In fact, Alexander created the blueprint for reform — the first of its kind — that would eventually lead to the Counter-Reformation. In his survey of the colorful reigns of the seventeen Renaissance Popes and his examination of the great Borgia myth, Noel brings to light the true legacy — political, artistic, religious — of an extraordinary time.

HONK! A Street Band Renaissance of Music and Activism describes the fast-growing and transnational phenomenon of street bands--particularly brass and percussion ensembles--and examines how this exciting phenomenon mobilizes communities to reimagine public spaces, protest injustice, and assert their activism. Through the joy of participatory musicmaking, HONK! bands foster active musical engagement in street protests while encouraging grassroots organization, representing a manifestation of cultural activity that exists at the intersections of community, activism, and music. This collection of twenty essays considers the parallels between the diversity of these movements and the diversity of the musical repertoire these bands play and share. In five parts, musicians, activists, and scholars voiced in various local contexts cover a range of themes and topics: History and Scope Repertoire, Pedagogy, and Performance Inclusion and Organization Festival Organization and Politics On the Front Lines The HONK! Festival of Activist Street Bands began in Somerville, Massachusetts, in 2006 as an independent, non-commercial, street festival. It has since spread to three continents. HONK! A Street Band Renaissance of Music and Activism explores the phenomenon that inspires street bands and musicians to "change the world" and provide musical, social, and political alternatives in modern times.

This contributed volume explores the renaissance of general relativity after World War II, when it transformed from a marginal theory into a cornerstone of modern physics. Chapters explore key historical processes related to the theory of general relativity, in addition to presenting a thorough treatment of the relevant science behind these episodes. A broad historiographical framework is introduced first, thus providing the broad context in which the given computational approaches and case studies occurred. Written by an international and interdisciplinary group of expert authors, these chapters will bring readers to a more complete understanding of Einstein’s theory. Specific topics include: Social and citation networks The Fock-Infeld dispute Wheeler’s turn to gravitation theory The position of general relativity in theories of fundamental interactions The pursuit of a quantum theory of gravity The emergence of dark matter in relation to cosmological models Institutional frameworks for gravitational wave search in Europe The Renaissance of General Relativity in Context is ideal for historians, philosophers, and sociologists of science. Students and researchers in physics will also be interested in the topics explored.

In The Dragoman Renaissance, E. Natalie Rothman traces how Istanbul-based diplomatic translator-interpreters, known as the dragomans, systematically engaged Ottoman elites in the study of the Ottoman Empire—eventually coalescing in the discipline of Orientalism—throughout the sixteenth and seventeenth centuries. Rothman challenges Eurocentric assumptions still pervasive in Renaissance studies by showing the centrality of Ottoman imperial culture to the articulation of European knowledge about the Ottomans. To do so, she draws on a dazzling array of new material from a variety of archives. By studying the sustained interactions between dragomans and Ottoman courtiers in this period, Rothman disrupts common ideas about a singular moment of "cultural encounter," as well as about a "docile" and "static" Orient, simply acted upon by extraneous imperial powers. The Dragoman Renaissance creatively uncovers how dragomans mediated Ottoman ethno-linguistic, political, and religious categories to European diplomats and scholars. Further, it shows how dragomans did not simply circulate fixed knowledge. Rather, their engagement of Ottoman imperial modes of inquiry and social reproduction shaped the discipline of Orientalism for centuries to come. Thanks to generous funding from the Andrew W. Mellon Foundation, through The Sustainable History Monograph Pilot, the ebook editions of this book are available as Open Access volumes from Cornell Open (cornellpress.cornell.edu/cornell-open) and other repositories.

The teacher work sample (TWS) has become increasingly widely adopted as an end-of-program, performance-based assessment for student teachers. Improving Teacher Quality offers a comprehensive introduction to teacher work sample methodology for teacher educators, student teachers, student teacher supervisors, cooperating teachers, program coordinators, and school administrators. This well-organized and clearly written guide shows how implementation of the TWS can catalyze a series of widespread changes in assessment, teaching, and program improvement. The authors use their extensive experience to describe how to implement the TWS in a carefully sequenced progression that includes creating a valid and reliable system of scoring, teaching reflective thinking skills, making program improvements, and conducting research with TWS data. Helpful suggestions are provided throughout for those interested in adopting the TWS as a performance-based assessment in their teacher education program, those interested in how the TWS can provide evidence of minimal competency, and those interested in how the TWS can provide data for making program improvements.

(Book). From its artful beginnings (Syd Barrett-era Pink Floyd, the Mothers of Invention, and those progressive forebearers, the Sgt. Pepper-era Beatles), through the towering guitar solos, monumental synthesizer banks, and mind-boggling special effects of the Golden Age of Prog (Rush, Pink Floyd, Yes, ELP, Genesis, Jethro Tull, King Crimson, UK), through the radio-friendly "pop era" (Asia, the Phil Collins-led Genesis, and a reformed Yes), and right up to the present state of the art (Marillion, Spock's Beard, and Mars Volta), this is a wickedly incisive tour of rock music at its most spectacular. This is indeed the book prog rock fans have been waiting for, the only one of its kind, as fantastic as the subjects it covers.