David Morgan – författare

Essential Cell Biology features lively, clear writing paired with exceptional illustrations and Dynamic Figures in the Norton Illumine Ebook, making it the ideal textbook for a first course in cell biology. The Sixth Edition incorporates new research throughout, highlighting emerging research areas like COVID-19. Check Your Understanding questions with rich answer-specific feedback throughout each chapter in the Illumine Ebook allow students to assess their reading comprehension, while Smartwork problems provide the opportunity for concept application and practice.

For more than four decades, Molecular Biology of the Cell has distilled the vast amount of scientific knowledge to illuminate basic principles, enduring concepts and cutting-edge research. The Seventh Edition has been extensively revised and updated with the latest research, and has been thoroughly vetted by experts and instructors. The classic companion text, The Problems Book, has been reimagined as the Digital Problems Book in Smartwork, an interactive digital assessment course with a wide selection of questions and automatic-grading functionality. The digital format with embedded animations and dynamic question types makes the Digital Problems Book in Smartwork easier to assign than ever before—for both in-person and online classes.

Essential Cell Biology features lively, clear writing paired with exceptional illustrations and Dynamic Figures in the Norton Illumine Ebook, making it the ideal textbook for a first course in cell biology. The Sixth Edition incorporates new research throughout, highlighting emerging research areas like COVID-19. Check Your Understanding questions with rich answer-specific feedback throughout each chapter in the Illumine Ebook allow students to assess their reading comprehension, while Smartwork problems provide the opportunity for concept application and practice.

Surface Acoustic Wave Filters gives the fundamental principles and device design techniques for surface acoustic wave filters. It covers the devices in widespread use today: bandpass and pulse compression filters, correlators and non-linear convolvers and resonators. The newest technologies for low bandpass filters are fully covered such as unidirectional transducers, resonators in impedance element filters, resonators in double-mode surface acoustic wave filters and transverse-coupled resonators using waveguides.

The book covers the theory of acoustic wave physics, the piezoelectric effect, electrostatics at a surface, effective permittivity, piezoelectric SAW excitation and reception, and the SAW element factor. These are the main requirements for developing quasi-static theory, which gives a basis for the non-reflective transducers in transversal bandpass filters and interdigital pulse compression filters. It is also needed for the reflective transducers used in the newer devices.

A thorough revision of a classic on surface acoustic wave filters first published in 1985 and still in print Uniquely combines easy-to-understand principles with practical design techniques for all the devices in widespread use today Complete coverage of all the latest devices which are key to mobile phones, TVs and radar systems Includes a new foreword by Sir Eric Albert Ash

Images can be studied in many ways--as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive--they move us to action, calm us, reveal the power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents--human and non-human, material, geographic, and spiritual--become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe.

In this book, David Morgan surveys the enormous visual culture that shaped American Protestantism in the late 19th and 20th centuries. His purpose is to explain the rise of these images, their appearance and subject matter, how they were understood by believers, the uses to which they were put, and what their relation was to technological innovations, commerce, and the cultural politics of Protestantism. His overarching argument is that the role of images in American Protestantism greatly expanded and developed during this period.

In this volume contemporary staff describe their thinking and clinical work. Theoretical underpinnings for the understanding of perversion and violence, questions of risk and ethics and the institutional difficulties which emerge in the care of these patients are presented alongside chapters on clinical work, with adults and adolescents, including

For more than four decades, Molecular Biology of the Cell has distilled the vast amount of scientific knowledge to illuminate basic principles, enduring concepts, and cutting-edge research. The Seventh Edition has been extensively revised and updated with the latest research, and has been thoroughly vetted by experts and instructors. The classic companion text, The Problems Book, has been reimagined as the Digital Problems Book in Smartwork, an interactive digital assessment course with a wide selection of questions and automatic-grading functionality. The digital format with embedded animations and dynamic question types makes the Digital Problems Book in Smartwork easier to assign than ever before—for both in-person and online classes.

It is generally accepted that Britain was held together during the second world war by a spirit of national democratic `consensus'. But whose interests did the consensus serve? And how did it unravel in the years immediately after victory?This well observed and powerfully argued book overturns many of our assumptions about the national spirit of 1939-45. It shows that the current return to right-wing politics in Britain was prefigured by ideologies of change during and immediately after the war.

This is the history of the relationship between mass produced visual media and religion in the United States. It is a journey from the 1780s to the present - from early evangelical tracts to teenage witches and televangelists, and from illustrated books to contemporary cinema. David Morgan explores the cultural marketplace of public representation, showing how American religionists have made special use of visual media to instruct the public, to practice devotion and ritual, and to form children and converts. Examples include:studying Jesus as an American idolJewish kitchens and Christian ParlorsBilly Sunday and Buffy the Vampire SlayerUncle Tom’s Cabin and the anti-slavery movement. This unique perspective reveals the importance of visual media to the construction and practice of sectarian and national community in a nation of immigrants old and new, and the tensions between the assimilation and the preservation of ethnic and racial identities. As well as the contribution of visual media to the religious life of Christians and Jews, Morgan shows how images have informed the perceptions and practices of other religions in America, including New Age, Buddhist and Hindu spirituality, and Mormonism, Native American Religions and the Occult.

This is the history of the relationship between mass produced visual media and religion in the United States. It is a journey from the 1780s to the present - from early evangelical tracts to teenage witches and televangelists, and from illustrated books to contemporary cinema. David Morgan explores the cultural marketplace of public representation, showing how American religionists have made special use of visual media to instruct the public, to practice devotion and ritual, and to form children and converts. Examples include:studying Jesus as an American idolJewish kitchens and Christian ParlorsBilly Sunday and Buffy the Vampire SlayerUncle Tom’s Cabin and the anti-slavery movement. This unique perspective reveals the importance of visual media to the construction and practice of sectarian and national community in a nation of immigrants old and new, and the tensions between the assimilation and the preservation of ethnic and racial identities. As well as the contribution of visual media to the religious life of Christians and Jews, Morgan shows how images have informed the perceptions and practices of other religions in America, including New Age, Buddhist and Hindu spirituality, and Mormonism, Native American Religions and the Occult.

'From The Passion of the Christ to the presumed 'clash of civilizations', religion's role in culture is increasingly contested and mediated. Key Words in Religion, Media, and Culture is a welcome and interdisciplinary contribution that maps the territory for those who aim to make sense of it all. Highlighting the important concepts guiding state-of-the-art research into religion, media, and culture, this book is bound to become an important and frequently consulted resource among scholars both seasoned and new to the field.' –Lynn Schofield Clark'David Morgan has assembled here a fine team of scholars to prove beyond a doubt that the intersections of religion, media, and culture constitute one of the most stimulating fields of inquiry around today...This highly useful and theoretically sophisticated text will likely assume 'ritual' status in this emergent field.' – Rosalind I. J. Hackett, University of Tennessee, US'This volume is a major intervention in the literature on religion, media and culture. Drawing together leading international scholars, it offers a conceptual map of the field to which students, teachers and researchers will refer for many years to come. The publication of Key Words in Religion, Media and Culture is a significant moment in the formation of this area of study, and sets a standard for cross-disciplinary collaboration and theoretical and methodological sophistication for future work in this area to follow.' – Gordon Lynch, Birkbeck College, University of London, UK'This book offers a range of refreshing essays on the relationships between media and religion. Its selected keywords open doors to understanding contemporary society. The cultural perspectives on mediation and religious practices give some illuminating and surprising analyses.' – Knut Lundby, University of Oslo, Norway

'From The Passion of the Christ to the presumed 'clash of civilizations', religion's role in culture is increasingly contested and mediated. Key Words in Religion, Media, and Culture is a welcome and interdisciplinary contribution that maps the territory for those who aim to make sense of it all. Highlighting the important concepts guiding state-of-the-art research into religion, media, and culture, this book is bound to become an important and frequently consulted resource among scholars both seasoned and new to the field.' –Lynn Schofield Clark'David Morgan has assembled here a fine team of scholars to prove beyond a doubt that the intersections of religion, media, and culture constitute one of the most stimulating fields of inquiry around today...This highly useful and theoretically sophisticated text will likely assume 'ritual' status in this emergent field.' – Rosalind I. J. Hackett, University of Tennessee, US'This volume is a major intervention in the literature on religion, media and culture. Drawing together leading international scholars, it offers a conceptual map of the field to which students, teachers and researchers will refer for many years to come. The publication of Key Words in Religion, Media and Culture is a significant moment in the formation of this area of study, and sets a standard for cross-disciplinary collaboration and theoretical and methodological sophistication for future work in this area to follow.' – Gordon Lynch, Birkbeck College, University of London, UK'This book offers a range of refreshing essays on the relationships between media and religion. Its selected keywords open doors to understanding contemporary society. The cultural perspectives on mediation and religious practices give some illuminating and surprising analyses.' – Knut Lundby, University of Oslo, Norway

Religious belief is rooted in and sustained by material practice, and this book provides an extraordinary insight into how it works on the ground. David Morgan has brought together a lively group of writers from religious studies, anthropology, history of art, and other disciplines, to investigate belief in everyday practices; in the objects, images, and spaces of religious devotion and in the sensations and feelings that are the medium of experience. By avoiding mind/body dualism, the study of religion can break new ground by examining embodiment, sensation, space, and performance. Materializing belief means taking a close look at what people do, how they feel, the objects they exchange and display, and the spaces in which they perform whether spontaneously or with scripted ceremony. Contributions to the volume examine religions around the world—from Korea and Brazil to North America, Europe, and Africa. Belief is explored in a wealth of contexts, including Tibetan Buddhism, the hajj, American suburbia and the world of dreams, visions and UFOs.

Religious belief is rooted in and sustained by material practice, and this book provides an extraordinary insight into how it works on the ground. David Morgan has brought together a lively group of writers from religious studies, anthropology, history of art, and other disciplines, to investigate belief in everyday practices; in the objects, images, and spaces of religious devotion and in the sensations and feelings that are the medium of experience. By avoiding mind/body dualism, the study of religion can break new ground by examining embodiment, sensation, space, and performance. Materializing belief means taking a close look at what people do, how they feel, the objects they exchange and display, and the spaces in which they perform whether spontaneously or with scripted ceremony. Contributions to the volume examine religions around the world—from Korea and Brazil to North America, Europe, and Africa. Belief is explored in a wealth of contexts, including Tibetan Buddhism, the hajj, American suburbia and the world of dreams, visions and UFOs.

It is generally accepted that Britain was held together during the second world war by a spirit of national democratic `consensus'. But whose interests did the consensus serve? And how did it unravel in the years immediately after victory?This well observed and powerfully argued book overturns many of our assumptions about the national spirit of 1939-45. It shows that the current return to right-wing politics in Britain was prefigured by ideologies of change during and immediately after the war.

The near-absence of religion from contemporary discourse on art is one of the most fundamental issues in postmodernism. Artists critical of religion can find voices in the art world, but religion itself, including spirituality, is taken to be excluded by the very project of modernism. The sublime, "re-enchantment" (as in Weber), and the aura (as in Benjamin) have been used to smuggle religious concepts back into academic writing, but there is still no direct communication between "religionists" and scholars. Re-Enchantment, volume 7 in The Art Seminar Series, will be the first book to bridge that gap.The volume will include an introduction and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on religion and art including Boris Groys, James Elkins, Thierry de Duve, David Morgan, Norman Girardot, Sally Promey, Brent Plate, and Christopher Pinney.

The near-absence of religion from contemporary discourse on art is one of the most fundamental issues in postmodernism. Artists critical of religion can find voices in the art world, but religion itself, including spirituality, is taken to be excluded by the very project of modernism. The sublime, "re-enchantment" (as in Weber), and the aura (as in Benjamin) have been used to smuggle religious concepts back into academic writing, but there is still no direct communication between "religionists" and scholars. Re-Enchantment, volume 7 in The Art Seminar Series, will be the first book to bridge that gap.The volume will include an introduction and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on religion and art including Boris Groys, James Elkins, Thierry de Duve, David Morgan, Norman Girardot, Sally Promey, Brent Plate, and Christopher Pinney.

This fascinating study of devotional images traces their historical links to important strains of American culture. David Morgan demonstrates how popular visual images--from Warner Sallman's "Head of Christ" to velvet renditions of DaVinci's "Last Supper" to illustrations on prayer cards--have assumed central roles in contemporary American lives and communities. Morgan's history of popular religious images ranges from the late Middle Ages to the present day and analyzes what he calls "visual piety," or the belief that images convey. Rather than isolating popular icons from their social contexts or regarding them as merely illustrative of theological ideas, Morgan situates both Protestant and Catholic art within the domain of devotional practice, ritual, personal narrative, and the sacred space of the home. In addition, he examines how popular icons have been rooted in social concerns ranging from control of human passions to notions of gender, creedal orthodoxy, and friendship. Also discussed is the coupling of images with texts in the attempt to control meanings and to establish markers for one's community and belief.Drawing from the fields of music, sociology, theology, philosophy, psychology, and aesthetics,Visual Piety is the first book to bring to specialist and lay reader alike an understanding of religious imagery's place in the social formation and maintenance of everyday American life.

'Sacred gaze' denotes any way of seeing that invests its object - an image, a person, a time, a place - with spiritual significance. Drawing from many different fields, David Morgan investigates key aspects of vision and imagery in a variety of religious traditions. His lively, innovative book explores how viewers absorb and process religious imagery and how their experience contributes to the social, intellectual, and perceptual construction of reality. Ranging widely from thirteenth-century Japan and eighteenth-century Tibet to contemporary America, Thailand, and Africa, "The Sacred Gaze" discusses the religious functions of images and the tools viewers use to interpret them. Morgan questions how fear and disgust of images relate to one another and explains how scholars study the long and evolving histories of images as they pass from culture to culture. An intriguing strand of the narrative details how images have helped to shape popular conceptions of gender and masculinity. The opening chapter considers definitions of 'visual culture' and how these relate to the traditional practice of art history.Amply illustrated with more than seventy images from diverse religious traditions, this masterful interdisciplinary study provides a comprehensive and accessible resource for everyone interested in how religious images and visual practice order space and time, communicate with the transcendent, and embody forms of communion with the divine. "The Sacred Gaze" is a vital introduction to the study of the visual culture of religions.

David Morgan builds on his previous groundbreaking work to offer this new, systematically integrated theory of the study of religion as visual culture. Providing key tools for scholars across disciplines studying the materiality of religions, Morgan gives an accessibly written theoretical overview including case studies of the ways seeing is related to touching, hearing, feeling, and such ephemeral experiences as dreams, imagination, and visions. The case studies explore both the high and low of religious visual culture: Catholic traditions of the erotic Sacred Heart of Jesus, the unrecognizability of the Virgin in the Fatima apparitions, the prehistory of Warner Sallman's face of Jesus, and more. Basing the study of religious images and visual practices in the relationship between seeing and the senses, Morgan argues against reductionist models of "the gaze", demonstrating that vision is not something that occurs in abstraction, but is a fundamental way of embodying the human self.

David Morgan builds on his previous groundbreaking work to offer this new, systematically integrated theory of the study of religion as visual culture. Providing key tools for scholars across disciplines studying the materiality of religions, Morgan gives an accessibly written theoretical overview including case studies of the ways seeing is related to touching, hearing, feeling, and such ephemeral experiences as dreams, imagination, and visions. The case studies explore both the high and low of religious visual culture: Catholic traditions of the erotic Sacred Heart of Jesus, the unrecognizability of the Virgin in the Fatima apparitions, the prehistory of Warner Sallman's face of Jesus, and more. Basing the study of religious images and visual practices in the relationship between seeing and the senses, Morgan argues against reductionist models of "the gaze", demonstrating that vision is not something that occurs in abstraction, but is a fundamental way of embodying the human self.

Religions teach their adherents how to see and feel at the same time; learning to see is not a disembodied process but one hammered from the forge of human need, social relations, and material practice. David Morgan argues that the history of religions may therefore be studied through the lens of their salient visual themes. The Forge of Vision tells the history of Christianity from the sixteenth century through the present by selecting the visual themes of faith that have profoundly influenced its development. After exploring how distinctive Catholic and Protestant visual cultures emerged in the early modern period, Morgan examines a variety of Christian visual practices, ranging from the imagination, visions of nationhood, the likeness of Jesus, the material life of words, and the role of modern art as a spiritual quest, to the importance of images for education, devotion, worship, and domestic life. An insightful, informed presentation of how Christianity has shaped and continues to shape the modern world, this work is a must-read for scholars and students across fields of religious studies, history, and art history.

Masters explores the history of Christians and Jews in the Arab provinces of the Ottoman empire and how their identities as non-Muslims evolved over four hundred years. At the start of this period, in the sixteenth century, social community was circumscribed by religious identity and non-Muslims lived within the hierarchy established by Muslim law. In the nineteenth century, however, in response to Western influences, a radical change took place. Conflict erupted between Muslims and Christians in different parts of the empire in a challenge to that hierarchy. This marked the beginning, as the author illustrates, of the tensions which have to a large extent inspired the nationalist and religious rhetoric in the empire's successor states throughout the twentieth century. In this way, Masters negotiates the present through the past. His book will make a major contribution to an understanding of the political and religious conflicts of the modern Middle East.

Since the beginning of its history, Islam has encountered other religious communities both in Arabia and in the territories conquered during its expansion. Muslims faced other religions from the position of a ruling power and were therefore able to determine the nature of that relationship in accordance with their world-view and beliefs. Yohanan Friedmann's original and erudite study examines questions of religious tolerance as they appear in the Qur'an and in the prophetic tradition, and analyses the principle that Islam is exalted above all religions, discussing the ways in which this principle was reflected in various legal pronouncements. The book also considers the various interpretations of the Qur'anic verse according to which 'No compulsion is there in religion ...', noting that, despite the apparent meaning of this verse, Islamic law allowed the practice of religious coercion against Manichaeans and Arab idolaters, as well as against women and children in certain circumstances.

Using a wide range of archival and written sources, Rudi Matthee considers the economic, social and political networks established between Iran, its neighbours and the world at large, through the prism of the late Safavid silk trade. In so doing, he demonstrates how silk, a resource crucial to state revenue and the only commodity to span Iran's entire economic activity, was integral to aspects of late Safavid society, including its approach to commerce, export routes and, importantly, to the political and economic problems which contributed to its collapse in the early 1700s. In a challenge to traditional scholarship, the author argues that despite the introduction of a maritime, western-dominated channel, Iran's traditional land-based silk export continued to expand right up to the end of the seventeenth century. The book makes a major theoretical contribution to the debates on the social and economic history of the pre-modern world.