Search results for ""Prelude""
DC Comics Justice League: The New 52 Omnibus Vol. 2
In 2011, DC s New 52 era ushered in daring reinventions of pop culture s greatest characters with the Justice League at the forefront! This omnibus collection of the second half of visionary writer Geoff Johns time on Justice League pits the team against some of their greatest threats, as super-villains look to inherit Earth in the Forever Evil saga! In a flash of light, the world s most powerful heroes vanish as the Crime Syndicate arrives from Earth-3! As this evil version of the Justice League takes over the DC Universe, no one stands in the way of them and complete domination no one except for Lex Luthor. His main ally in this seemingly impossible battle? Batman. But that s just a prelude to the main event: the Darkseid War! The Justice League first came together years ago to stop Darkseid and his Parademon army from invading our Earth. Now Darkseid will once again make the planet a war zone, as Earth becomes the frontline in his battle with the Anti-Monitor one of the most powerfully destructive creatures ever created! New York Times bestselling writer Geoff Johns teams up with some of comics top artists, including David Finch, Ivan Reis, and Jason Fabok for the biggest battles the DC Universe has ever seen! This hardcover omnibus collects Justice League #24-52, Forever Evil #1-7, DC Universe: Rebirth #1, DC Sneak Peek: Justice League #1, Justice League feat. Secret Society #234, Justice League of America feat. Black Adam #74, Justice League: Darkseid War Special #1, Justice League: Darkseid War: Batman #1, Justice League: Darkseid War: The Flash #1, Justice League: Darkseid War: Green Lantern #1, Justice League: Darkseid War: Lex Luthor #1, Justice League: Darkseid War: Shazam #1, and Justice League: Darkseid War: Superman #1.
£122.40
Pallas Athene Publishers Well-Kept Secrets: The Story of William Wordsworth
Written by his collateral descendant, sculptor Andrew Wordsworth, this insightful biography studies Wordsworth's poetry to understand more fully this deeply private and often enigmatic personality, and it observes the artist's life to better grasp the meaning of the deceptively immediate verses which conceal many layers of meaning. Andrew Wordsworth doesn't hesitate to describe faithfully his illustrious ancestor's complex and aloof personality, and his successes as well as his shortcomings. For example, he explains how after The Prelude (completed in 1805 but published posthumously) he composed little of note and his project with Coleridge, The Recluse, remained a literary pipe-dream. Perhaps, Wordsworth himself was the 'Recluse', increasingly isolated, ensconced in his bucolic corner in the Lake District, surrounded by his close family circle (the harem, as Coleridge called it): his sister Dorothy, his constant companion, and later his wife Mary and his daughters - tragically, Dorothy was to be afflicted by a mental illness for the last 20 years of her life. Moreover, Wordsworth became progressively conservative and nationalistic, abandoning entirely his earlier liberal ideals which led him to join the French revolutionaries several years earlier. One wonders if this need for a settled and steady life and for tradition was a reaction to the many upheavals he had experienced in his early life; he was orphaned as a young child and grew up separated from his brothers and sisters: he didn't see Dorothy for nine consecutive years. However, this lack of interest in the outside world and its progress was perhaps one of the causes stemming the flow of his creativity which nonetheless would change the course of English poetry forever. As Dr David Whitley notes, Well-Kept Secrets intersperses the narrative exploring Wordsworth's life with a wealth of poetic verses. This structure clearly shows how Wordsworth's art was intimately linked to his existence and how it was a means - more or less conscious - to come to terms with the world, with himself and the many contradictions running like chasms across his personality. It also enables Andrew Wordsworth to shed some new light on the interpretation of the poetry and to better understand the poet as a man.
£22.46
HarperCollins Publishers The Hobbit: Illustrated by the Author
For the first time ever, a beautiful slipcased edition of the enchanting prelude to The Lord of the Rings, illustrated throughout with over 50 sketches, drawings, paintings and maps by J.R.R. Tolkien himself, with the complete text printed in two colours and with many bonus features unique to this edition. Bilbo Baggins is a hobbit who enjoys a comfortable, unambitious life, rarely travelling further than the pantry of his hobbit-hole in Bag End. But his contentment is disturbed when the wizard, Gandalf, and a company of thirteen dwarves arrive on his doorstep one day to whisk him away on an unexpected journey ‘there and back again’. They have a plot to raid the treasure hoard of Smaug the Magnificent, a large and very dangerous dragon… Written for J.R.R. Tolkien’s own children, The Hobbit was published on 21 September 1937. With a beautiful cover design, a handful of black & white drawings and two maps by the author himself, the book became an instant success and was reprinted shortly afterwards with five colour plates. Tolkien’s own selection of finished paintings and drawings have become inseparable from his text, adorning editions of The Hobbit for more than 85 years. But the published art has afforded only a glimpse of Tolkien’s creative process, and many additional sketches, coloured drawings and maps – although exhibited and published elsewhere – have never appeared within the pages of The Hobbit. In this unique enhanced edition of Tolkien’s enchanting classic tale, the full panoply of his art is reproduced for the first time, presenting more than 50 illustrations to accompany Bilbo Baggins on his adventure ‘there and back again’. Unique to this edition are two poster-size, fold-out maps revealing all the detail of Thror’s Map and Wilderland, an illustrated 88-page booklet, and a printed art card reproducing Tolkien’s original dustjacket painting. It is additionally quarterbound in green leather, with raised ribs on the spine, stamped in three foils on black cloth boards, and housed in a custom-built clothbound slipcase. The pages are edged in gold and include a ribbon marker.
£112.50
Pen & Sword Books Ltd The English Electric Class 37/4 Diesel Locomotives
In the prelude to the privatisation of BR the Provincial Sector (later Regional Railways) became responsible for local / secondary train services and initiated the refurbishment of 31 Class 37 locomotives, fitted with train heating equipment - hence designated Class 37/4 - to support the shortfall of DMU trainsets. Their initial task was to work services on Scottish lines radiating from Inverness to points north and Glasgow to service the West Highland Line with a small batch based in South Wales to service Cambrian Line services and services from Cardiff traversing the Marches Line to serve Liverpool. These services were soon replaced by Sprinter trainsets thus releasing the fleet to other duties including freight operators hence, at privatisation in April 1994, the fleet became owned by freight companies who subsequently hired locomotives to both other freight companies and passenger operators. Throughout their working life the fleet members have proved invaluable and capable of powering a variety of services whose history confirms both the locomotives' adaptability and prowess in handling the duties allocated to them. Fred Kerr's book seeks to show this adaptability by detailing the reason for their initial creation and the tasks successfully undertaken once released from their initial roles as support for the shortage of DMU trainsets. The advent of privatisation saw an increased demand for their go-anywhere do anything' ability which is also displayed by the range of photographs that illustrate the wide range of duties performed by class members. Once withdrawn from service some class members were purchased for preservation and - such was their adaptability - that preserved examples were hired by train operators to cover duties that no other class of diesel locomotive was capable of achieving.
£22.50
Oxford University Press Introducing Einstein's Relativity: A Deeper Understanding
There is little doubt that Einstein's theory of relativity captures the imagination. Not only has it radically altered the way we view the universe, but the theory also has a considerable number of surprises in store. This is especially so in the three main topics of current interest that this book reaches, namely: black holes, gravitational waves, and cosmology. The main aim of this textbook is to provide students with a sound mathematical introduction coupled to an understanding of the physical insights needed to explore the subject. Indeed, the book follows Einstein in that it introduces the theory very much from a physical point of view. After introducing the special theory of relativity, the basic field equations of gravitation are derived and discussed carefully as a prelude to first solving them in simple cases and then exploring the three main areas of application. This new edition contains a substantial extension content that considers new and updated developments in the field. Topics include coverage of the advancement of observational cosmology, the detection of gravitational waves from colliding black holes and neutron stars, and advancements in modern cosmology. Einstein's theory of relativity is undoubtedly one of the greatest achievements of the human mind. Yet, in this book, the author makes it possible for students with a wide range of abilities to deal confidently with the subject. Based on both authors' experience teaching the subject this is achieved by breaking down the main arguments into a series of simple logical steps. Full details are provided in the text and the numerous exercises while additional insight is provided through the numerous diagrams. As a result this book makes an excellent course for any reader coming to the subject for the first time while providing a thorough understanding for any student wanting to go on to study the subject in depth
£45.45
Casemate Publishers Liberating Libya: British Diplomacy and War in the Desert
Free Libya! was the chant heard throughout Libya during the Arab Spring revolution that ended with the death of Colonel Gadaffi in October 2011. The story is about British involvement in Libya since the first treaty signed with the rulers in Tripoli in January 1692.The book is divided into four eras. The first covers the period up to the Italian invasion in 1911; the second covers the First World War and Italian pacification; the third covers the Western Desert Campaign; and the final part brings the reader up to date with recent events. In the words of the Foreign Secretary, Edward Grey, the 1911 Italian invasion of Libya "led straight to the catastrophe of 1914". Using memoirs of politicians and correspondents from both sides of the conflict, the author pieces together British involvement, shedding new light on the Senussi Campaign and the Duke of Westminster’s rescue of 100 British PoWs at Bir Hakkeim, as well as the story of Colonel Milo Talbot, who did as much as TE Lawrence to establish British influence with Arab leadership, but was never rewarded for his work.Even though hundreds of books have been written about the Western Desert Campaign, this book includes much unpublished material in addressing the contentious issues and explains why General Brian Horrocks wrote: "Command in the desert was regarded as an almost certain prelude to a bowler hat". The final part of the book begins with Britain’s operations to establish Libya as an independent kingdom and the rise of nationalism that led to Gadaffi’s coup in 1969. The story of the tense relationship with the Brotherly Leader during the 'Line of Death' era and subsequent rapprochement precedes an authoritative account of the 2011 revolution. The final chapter, brings the reader up to date with the current conflict as well as the migration crisis and the Manchester Arena bombers.
£22.50
Fairleigh Dickinson University Press Kenya's Independence Constitution: Constitution-Making and End of Empire
Kenya's Independence Constitution: Constitution-Making and End of Empire is a narrative of the evolution of the constitution that was put into effect as Kenya's history as a colonial possession came to an end. It details the attempts of the colony's political elite and the British Colonial Office to find a constitutional means to move Kenya to the status of independent state. As this process moved forward, political ethnicity assumed central significance. This produced an environment in which demands for a federal constitution, popularly termed majimbo, came to dominate constitutional discourse. Deep disagreement among Kenya's political elite over this issue marked the remainder of the colonial period. That elite, now represented by the Kenya African National Union (KANU) and the Kenya African Democratic Union (KADU), advocated different constitutional paths to independence. KADU's demands for a majimbo constitution dominated discourse during 1962 and early 1963, but deep disagreement characterized the constitutional negotiations. This resulted in a constitution for self-government (introduced on June 1, 1963) that was regional in character but fell short of a federal system. Almost as soon as it came into existence, this constitution faced pressure for substantial change from KANU, the party that won the 1963 general election. As a result, the British government was forced to make alterations in what became the independence constitution. The latter proved a prelude to the destruction of majimbo a year later. Kenya's Independence Constitution provides the first in-depth description of the final stage of colonial Kenya's constitutional evolution. This book not only provides a detailed account of the process of constitution-making, including definitive treatments of the final two constitutional conferences of 1962 and 1963. Utilizing British and Kenya cabinet papers and secret intelligence reports never featured in earlier accounts, the narrative also destroys many of the myt
£97.00
Quarto Publishing Group USA Inc The Selected Poems of Emily Dickinson: Volume 8
Explore the essence of life, love, nature, and time in exquisite verse with this elegantly designed edition of Emily Dickinson’s finest poems. Born in 1830 in Amherst, Massachusetts, to a prominent New England family and educated at Amherst Academy and Mt. Holyoke Female Seminary, Emily Elizabeth Dickinson lived most of her life in seclusion, devoted to writing. She scarcely left home, nor did she have many visitors. Only ten of her poems were published in her lifetime, submitted without her permission by friends. It was only after her death in 1886 that the scope of her work as a poet came to light—over 1,700 poems were discovered in a dresser drawer by her sister, Lavinia. Emily Dickinson’s poems reflect her loneliness, as well as her love of nature, the influence of the Metaphysical poets of seventeenth century England, and her strong Puritan religious beliefs. Yet, it is her use of language, form, and the deceptive simplicity of her verse that categorize her as an important force in nineteenth century American letters and, along with Walt Whitman, a founder of a distinctly American voice in modern poetry. PRELUDE THIS is my letter to the world, That never wrote to me,— That simple news that Nature told, With tender majesty. Her message is committed To hands I cannot see; For love of her, sweet countrymen, Judge tenderly of me! The Timeless Classics series from Rock Point brings together the works of classic authors from around the world. Complete and unabridged, these elegantly designed gift editions feature luxe, patterned endpapers, ribbon markers, and foil and deboss details on vibrantly colored cases. Celebrate these beloved works of literature as true standouts in your personal library collection.
£13.49
Lehigh University Press Theatre in Dublin, 1745–1820: A Calendar of Performances
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
£138.00
Rowman & Littlefield The Battle of the Somme
Fought during 1916, the Battle of the Somme was conceived by the French and British as a great offensive to be waged against Germany even as France poured incredible numbers of men into the slaughterhouse that was the desperate defense of Verdun. The French general-in-chief, Joseph “Papa” Joffre, was especially anxious to go on the offensive. For the French high command cherished the belief, born in the era of Napoleon, that the success of French arms depended on attack and that defense was anathema to what the nationalistic philosopher Henri Bergson called the “élan vital” of the French people, a quality, he argued, that set the Gallic race apart from the rest of the world. After more than five months, the British eked out a penetration of some six miles into German territory. The cost had been 420,000 Britons killed or wounded (70,000 men per mile gained)—and most of these were from “Kitchener’s Army,” so-called Pals Battalions, working- and middle-class volunteers promised that they could fight alongside their friends, co-workers, and neighbors. This meant that the Somme, more than any other battle before or since, devastated the young male population of entire British towns, villages, and neighborhoods. French losses were just under 200,000. The Germans lost at least 650,000. Just as the French refused to give up ground at Verdun, the Germans held on stubbornly at the Somme—so stubbornly that General Ludendorff actually complained that his men “fought too doggedly, clinging too resolutely to the mere holding of ground, with the result that the losses were heavy.” The only thing “conclusive” about the Somme was the ineluctable fact of death. No battle ever fought in any conflict provided a stronger incentive for all sides to reach a negotiated peace—the “peace without victory” that Woodrow Wilson, still standing on the sidelines, urged the combatants to agree upon. Instead, the Kaiser, appalled both by Verdun and the Somme, relieved Falkenhayn and replaced him with Hindenburg and Ludendorff, who had achieved great success on the Eastern Front. The new commanders created two new defensive lines, both well behind the Somme front. On the one hand, it was a retreat. On the other, it was a commitment to draw the French and British farther east and invite them to sacrifice more of their soldiery. The modest advance the British made was but the prelude to additional slaughter.
£17.99
HarperCollins Publishers Inc Across the Airless Wilds: The Lunar Rover and the Triumph of the Final Moon Landings
"THRILLING. ... Up-end[s] the Apollo narrative entirely." —The Times (London)A "brilliantly observed" (Newsweek) and "endlessly fascinating" (WSJ) rediscovery of the final Apollo moon landings, revealing why these extraordinary yet overshadowed missions—distinguished by the use of the revolutionary lunar roving vehicle—deserve to be celebrated as the pinnacle of human adventure and exploration.One of The Wall Street Journal's 10 Best Books of the Month8:36 P.M. EST, December 12, 1972: Apollo 17 astronauts Gene Cernan and Jack Schmitt braked to a stop alongside Nansen Crater, keenly aware that they were far, far from home. They had flown nearly a quarter-million miles to the man in the moon’s left eye, landed at its edge, and then driven five miles in to this desolate, boulder-strewn landscape. As they gathered samples, they strode at the outermost edge of mankind’s travels. This place, this moment, marked the extreme of exploration for a species born to wander. A few feet away sat the machine that made the achievement possible: an electric go-cart that folded like a business letter, weighed less than eighty pounds in the moon’s reduced gravity, and muscled its way up mountains, around craters, and over undulating plains on America’s last three ventures to the lunar surface. In the decades since, the exploits of the astronauts on those final expeditions have dimmed in the shadow cast by the first moon landing. But Apollo 11 was but a prelude to what came later: while Neil Armstrong and Buzz Aldrin trod a sliver of flat lunar desert smaller than a football field, Apollos 15, 16, and 17 each commanded a mountainous area the size of Manhattan. All told, their crews traveled fifty-six miles, and brought deep science and a far more swashbuckling style of exploration to the moon. And they triumphed for one very American reason: they drove.In this fast-moving history of the rover and the adventures it ignited, Earl Swift puts the reader alongside the men who dreamed of driving on the moon and designed and built the vehicle, troubleshot its flaws, and drove it on the moon’s surface. Finally shining a deserved spotlight on these overlooked characters and the missions they created, Across the Airless Wilds is a celebration of human genius, perseverance, and daring.
£12.99
Lehigh University Press Theatre in Dublin, 1745–1820: A Calendar of Performances
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
£138.00
Lehigh University Press Theatre in Dublin, 1745–1820: A Calendar of Performances
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
£138.00
Lehigh University Press Theatre in Dublin, 1745–1820: A Calendar of Performances
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
£138.00
Lehigh University Press Theatre in Dublin, 1745–1820: A Calendar of Performances
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
£138.00
Lehigh University Press Theatre in Dublin, 1745–1820: A Calendar of Performances
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
£138.00
New India Publishing Agency A Handbook of Minerals, Crystals, Rocks and Ores
The book is divided into four sections, minerals, crystals, rocks and ores. Section A incorporates nine s, begins with presenting salient features of the earth--its structure and composition. The second Minerals and Mineralogy briefly tells about their diversity and their categorisation and introduces the interesting way they are named. Crystal chemistry the third is the heart and soul of mineralogy and deals in somewhat details about the building blocks of minerals -atoms and ions and the way they form diverse types of minerals are. It tries to tell why every combination of chemical compounds cannot result into a naturally occurring mineral. The fourth and fifth s deal with Properties of Minerals, physical and optical. The s describe various physical properties that are helpful in the identification both in hand specimens and as thin section under the microscope. These two s are adequately aided with a number of illustrations, photographs and photomicrographs to bring home the point. five deals with classification of minerals and their occurrence and forms a prelude to the next two s on descriptive mineralogy. Important silicate and non silicate minerals are described in s eight and nine. A brief description of mineral uses is dealt with in both descriptive mineralogy as well Section D on mineral deposits, however, the last , Mineral uses presents an overall picture and will be interesting as well as educating to students and even general readeSection B is devoted to crystals and crystallography. one introduces the subject while two presents basic crystallographic elements. three deals with the main six crystals systems while also giving a preliminary idea about stereographic projection and x-ray crystallography. Section C covers petrology, beginning with introduction to science of petrology, rock nomenclature. two is devoted to the study of igneous rocks, including their forms, composition, textures, structures, classification and description. Sedimentary rocks is the theme of three while different aspects of metamorphic rocks including kinds and agents of metamorphism and classification and description of metamorphism. The last portion of this also considers metamorphism in the background of global tectonics. five, the rock cycle presents a concise summary of geological events that have shaped the planet earth. The last section D is what geology is all about for a man on the street and its significance in nation building--the Ore minerals. It begins with what ore is and its place in human affairs as a well as presenting the important terminology in economic geology. two deals with ore genesis and presents various hypogene and supergene process that carves out ore deposits from non economic materials. three, mineral deposits and global tectonics is becoming a very popular theme among the earth scientists. A brief introduction of the same will be certainly appreciated by the student community and prompt them for further study in this direction. A general survey of India's mineral resources is the theme of four. It covers almost all of the commonly used ores, metallic, non metallic or fuels. The last of section D and the boom, 'Indian mineral industry: some facts and figures' will present where our country stands in the realm of mineral resources. Latest available data of resources, production, export, import, organisations that matter and other useful facts and figures are presented.
£176.33