While new historicism has been routinely accused of spreading itself thin synchronically, the book's setup allows the argument to acquire its greatest scope diachronically, as Gallagher and Greenblatt deftly lob ideas about modernity's vexed relationship to the representation of materiality back and forth across their respective chapters. These virtuosic cross-currents will remind readers of the unique richness of collaborative writing, exemplified most prominently in Sandra Gilber and Susan Gubar's monumental feminist [End Page 168] intervention, The Madwoman in the Attic. Unlike Gilbert and Gubar, though, whose voices in their writings blend seamlessly together, the authors of Practicing New Historicism perform the acrobatic feat of simultaneously constructing and deconstructing the first person plural. Though they write as "we," Gallagher and Greenblatt largely retain a sense of the individual encounter with the text, an encounter that the book sees as central to the practice and value of new historicism: "No progress can be made on methodological problems without total immersion in practice, and that immersion is not for us fundamentally collaborative: it is doggedly private, individual, obsessive, lonely" (18). The book's bold attempt to traverse selective terrain from the medieval period to the nineteenth century (and, in the last chapter, beyond) might be frustrating to some historicists and historians. However, the authors' thick descriptions of their selected texts are often more convincing for the historical gaps between periods and places that they choose to leave open, for these underscore the fact that the object of their scrutiny is not, in the end, history, but representation.
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By contrast, four specimens of the silicified naturally fallen wood fragments had silica compositions varying from 9.7% to 39.2% of the total weight of the wood. From 14C measurements it was determined that three of these four specimens must have fallen into the lake overflow stream after 1955. Thus the silicification rate of the naturally fallen wood pieces in the hot spring water was 9.7% to 39.2% in a period of less than 36 years (between 1955 and 1991). This silicification rate would appear to be much slower than that of the experimental wood specimens, perhaps due to their likely intermittent immersion in the hot spring water, compared with the constant total immersion of the wood pieces in the experiment.
This book includes instructional design and practice of how immersive technology is integrated in discipline-based and interdisciplinary curriculum design. It focuses on pedagogical models and learning outcomes of immersive learning experiences and demonstrates how immersive learning can be applied in industries. This book brings scholars, researchers and educators together around an international and interdisciplinary consolidation and reflection on learning through immersion. The originality lies in how advanced technology and contemporary pedagogical models can integrate to enhance student engagement and learning effectiveness in higher education.
Christian Wagner, PhD, is Provost and Chair Professor of Social Media, Department of Information Systems, City University of Hong Kong. He received his Ph.D. in Business Administration from the University of British Columbia in 1989. Thereafter he spent seven years as a faculty member at the University of Southern California, before joining City University in January 1996. He has published widely in journals and books on immersive technology, social media and gamification. His latest research is on synthetic reality immersion and knowledge transfer. He specializes in the study of knowledge management with wikis and weblogs, collective intelligence, creativity, and use of games in learning and knowledge transfer. 2ff7e9595c
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