Carrying over the reorganization that made the fifth edition such a convenient learning resource for students and working professionals alike, the newest edition of this comprehensive library technology primer is timelier and more compelling than ever. Burke's guide should be at the top of the reading list for any current or future library professional looking to stay at the forefront of technological advancement. Updated with new case studies to illuminate key areas, its incisive coverage includes

• complete analysis of the librarian's technological toolbox for teaching, security, databases, and more;
• expert advice on how to compare and evaluate competing technology solutions;
• social media, streaming media, and educating patrons about digital privacy;
• makerspaces and other technology programing, including virtual and augmented reality technologies;
• technology lending programs;
• open source catalog systems, discovery layers, and related library management systems;
• websites, web-based services, and free information resources;
• copyright and licensing as they pertain to the use of digital materials;
• new technology predictions for the future, with tips on how to stay up to date with the latest developments; and
• a refreshed glossary of useful terms.

Informed by a large-scale survey of librarians across the spectrum of institution types, this guide will be a true technology companion to readers at all experience levels.

The admired American painter Winslow Homer rose to national attention during the Civil War. But one of his most important early images remained unknown for a century. The renowned artist is best known for depicting ships and sailors, hunters and fishermen, rural vignettes and coastal scenes. Yet he also created some of the first serious black figures in American art. Near Andersonville (1865–66) is the earliest and least known of these impressive images.

Peter Wood, a leading expert on Homer’s images of blacks, reveals the long-hidden story of this remarkable Civil War painting. His brisk narrative locates the picture in southwest Georgia in August 1864 and provides its military and political context. Wood underscores the agony of the Andersonville prison camp and highlights a huge but little-known cavalry foray ordered by General Sherman as he laid siege to Atlanta. Homer’s image takes viewers “behind enemy lines” to consider the utter failure of “Stoneman’s Raid” from the perspective of an enslaved black Southerner.

By examining the interplay of symbolic elements, Wood reveals a picture pregnant with meaning. He links it to Abraham Lincoln’s presidential campaign of 1864 and underscores the enduring importance of Homer’s thoughtful black woman. The painter adopted a bottom-up perspective on slavery and emancipation that most scholars needed another century to discover. By integrating art and history, Wood’s provocative study gives us a fresh vantage point on Homer’s early career, the struggle to end slavery, and the dramatic closing years of the Civil War.

Unlike the myriad points of light we gaze at in the night sky, our nearest star allows us to study the wonders of stellar workings at blindingly close range--from a mere 93 million miles away. And what do we see? In this book, two of the world's leading solar scientists unfold all that history and science--from the first cursory observations to the measurements obtained by the latest state-of-the-art instruments on the ground and in space--have revealed about the Sun. Following the path of science from the very center of this 380,000,000,000,000,000,000-megawatt furnace to its explosive surface, Nearest Star invites readers into an open-ended narrative of discovery about what we know about the Sun and how we have learned it.

How did the Sun evolve, and what will it become? What is the origin of its light and heat? How does solar activity affect the atmospheric conditions that make life on earth possible? These are the questions at the heart of solar physics, and at the center of this book. Having made optical solar observations with many solar telescopes and in the rockets and satellites, the authors bring their extensive personal experience to this story of how astronomers study the Sun, and what they have discovered about phenomena from eclipses to neutrinos, space weather, and global warming. Richly illustrated with an assortment of pictures from the latest solar missions and the newest telescopes, this book is a very readable, up-to-date account of science's encounter with our nearest star.

In four elegant chapters, Robert Alter explains the prismlike radiance created by the association of three modern masters: Franz Kafka, Walter Benjamin, and Gershom Scholem. The volume pinpoints the intersections of these divergent witnesses to the modern condition of doubt, the no-man’s-land between traditional religion and modern secular culture.

Scholem, the devoted Zionist and master historian of Jewish mysticism, and Benjamin, the Marxist cultural critic, dedicated much of their thought and correspondence to Kafka, the explorer in fiction of radical alienation. Kafka’s sense of spiritual complexities was an inspiration to both thinkers in their resistance to the murderous simplification of totalitarian ideology. In Necessary Angels, Alter uncovers a moment when the future of modernism is revealed in its preoccupation with the past. The angel of the title is first Kafka’s: on June 25, 1914, the writer recorded in his diary a dream vision of an angel that turned into the painted wooden figurehead of a ship. In 1940, at the end of his life, Walter Benjamin devoted the ninth of his Theses on the Philosophy of History to a meditation on an angel by the artist Paul Klee, first quoting a poem he had written on that painting. In Benjamin’s vision, the figure from Klee becomes an angel of history, sucked into the future by the storm of progress, his face looking back to Eden. Benjamin bequeathed the Klee oil painting to Scholem; it hung in the living room of Scholem’s home on Abarbanel Street in Jerusalem until 1989, when his widow placed it in the Israel Museum.

Alter’s focus on the epiphanic force of memory on these three great modernists shows with sometimes startling, sometimes prophetic clarity that a complete break with tradition is not essential to modernism. Necessary Angels itself continues the necessary discovery of the future in the past.

The Necessary Earth is a study of the degree to which the long American experience with an open frontier has entered into an inherently American literature to distinguish it from that of other lands. Since literature is, in the author’s words, “a compound of time, place, and the individual projection of personal experience and reflection into objective forms,” the American compulsion to communicate their experience and their difference was a virtual guarantee that a native literature would arrive.

 The text falls into three major portions. The first considers the “age of wonder,” the impact of New World upon Old World comers to effect profound changes, and to set the new American on the parallel paths of idealism and pragmatism. The second part examines the effort of native-born writers to appropriate this experience for new metaphors and new literary theme. Without this effort, the frontier might have remained no more than a dwindling legend, and the transference to the theme of self-reliance might never have appeared. In the third portion the author turns to the twentieth century, examining here the degree to which the national theme of reliance on experience over tradition has persisted in the work of major authors.

 Ranging thus from Jamestown and Plymouth to Wallace Stevens, the book stresses, throughout, the pull of untamed nature on the human spirit, and the echoes of that experience in what is most intrinsic in American literature. Without denying frontier lawlessness or native chauvinism, Clough directs our attention primarily to the problems of the creation of a new language and a new metaphor to meet the new experience, and the persistence of a truly American note into a maturing of both manner and matter.

The Necromantics dwells on the literal afterlives of history. Reading the reanimated corpses—monstrous, metaphorical, and occasionally electrified—that Mary Shelley, Robert Browning, Charles Dickens, W. B. Yeats, Bram Stoker, and others bring to life, Renée Fox argues that these undead figures embody the present’s desire to remake the past in its own image. Fox positions “necromantic literature” at a nineteenth-century intersection between sentimental historiography, medical electricity, imperial gothic monsters, and the Irish Literary Revival, contending that these unghostly bodies resist critical assumptions about the always-haunting power of history.

By considering Irish Revival texts within the broader scope of nineteenth-century necromantic works, The Necromantics challenges Victorian studies’ tendency to merge Irish and English national traditions into a single British whole, as well as Irish studies’ postcolonial efforts to cordon off a distinct Irish canon. Fox thus forges new connections between conflicting political, formal, and historical traditions. In doing so, she proposes necromantic literature as a model for a contemporary reparative reading practice that can reanimate nineteenth-century texts with new aesthetic affinities, demonstrating that any effective act of reading will always be an effort of reanimation.

When did the West discover Chinese healing traditions? Most people might point to the "rediscovery" of Chinese acupuncture in the 1970s. In Needles, Herbs, Gods, and Ghosts, Linda Barnes leads us back, instead, to the thirteenth century to uncover the story of the West's earliest known encounters with Chinese understandings of illness and healing. As Westerners struggled to understand new peoples unfamiliar to them, how did they make sense of equally unfamiliar concepts and practices of healing? Barnes traces this story through the mid-nineteenth century, in both Europe and, eventually, the United States. She has unearthed numerous examples of Western missionaries, merchants, diplomats, and physicians in China, Europe, and America encountering and interpreting both Chinese people and their healing practices, and sometimes adopting their own versions of these practices.

A medical anthropologist with a degree in comparative religion, Barnes illuminates the way constructions of medicine, religion, race, and the body informed Westerners' understanding of the Chinese and their healing traditions.

Little is known about Nefertiti, the Egyptian queen whose name means “a beautiful woman has come.” She was the wife of Akhenaten, the pharaoh who ushered in the dramatic Amarna Age, and she bore him at least six children. She played a prominent role in political and religious affairs, but after Akhenaten’s death she apparently vanished and was soon forgotten.

Yet Nefertiti remains one of the most famous and enigmatic women who ever lived. Her instantly recognizable face adorns a variety of modern artifacts, from expensive jewelry to cheap postcards, t-shirts, and bags, all over the world. She has appeared on page, stage, screen, and opera. In Britain, one woman has spent hundreds of thousands of pounds on plastic surgery in hope of resembling the long-dead royal. This enduring obsession is the result of just one object: the lovely and mysterious Nefertiti bust, created by the sculptor Thutmose and housed in Berlin’s Neues Museum since before World War II.

In Nefertiti’s Face, Egyptologist Joyce Tyldesley tells the story of the bust, from its origins in a busy workshop of the late Bronze Age to its rediscovery and controversial removal to Europe in 1912 and its present status as one of the world’s most treasured artifacts. This wide-ranging history takes us from the temples and tombs of ancient Egypt to wartime Berlin and engages the latest in Pharaonic scholarship. Tyldesley sheds light on both Nefertiti’s life and her improbable afterlife, in which she became famous simply for being famous.

How can activists combat the political paralysis that characterises the anti-dialectical Marxism of Foucault, Derrida and Deleuze, without reverting to a dogmatic orthodoxy? This book explores solutions in the 'negative dialectics' of Theodor Adorno.

The poststructuralist shift from dialectics to 'difference' has been so popular that it becomes difficult to create meaningful revolutionary responses to neoliberalism. The contributors to this volume come from within the anti-capitalist movement, and close to the concerns expressed in Negri and Hardt's Empire and Multitude. However, they argue forcefully and persuasively for a return to dialectics so a real-world, radical challenge to the current order can be constructed.

This is a passionate call to arms for the anti-capitalist movement. It should be read by all engaged activists and students of political and critical theory.

The Negev, first published in 1971, told the story of some twenty years of study of southern Israel’s desert. It synthesized the findings of botanists, geologists, soil scientists, agronomists, archaeologists, historians, and engineers and told how the applications of their work produced an agricultural surplus in this forbiddingly dry, hot region.

Now Michael Evenari has amplified the book with data from another decade of work. He describes the efforts at a new farm at Wadi Mashash, extends the weather data another ten years, presents further work on the adaptations of plants and animals to desert conditions, and takes a much deeper look at the historical precedents for the method of runoff agriculture, which has made the desert bloom.