Masque and Opera in England, 1656–1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688–89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood. A companion volume will explore the phenomenon of "dramatick opera" and its precursors on London’s public stages between the early 1660s and the first decade of the eighteenth century.
English Dramatick Opera, 1661–1706 is the first comprehensive examination of the distinctively English form known as "dramatick opera", which appeared on the London stage in the mid-1670s and lasted until its displacement by Italian through-composed opera in the first decade of the eighteenth century. Andrew Walkling argues that, while the musical elements of this form are crucial to its definition and history, the origins of the genre lie principally in a tradition of spectacular stagecraft that first manifested itself in England in the mid-1660s as part of a hitherto unidentified dramatic sub-genre, to which Walkling gives the name "spectacle-tragedy". Armed with this new understanding, the book explores a number of historical and interpretive issues, including the physical and rhetorical configurations of performative spectacle, the administrative maneuverings of the two "patent" theatre companies, the construction and deployment of the technologically advanced Dorset Garden Theatre in 1670–71, the critical response to generic, technical, and ideological developments in Restoration drama, and the shifting balance between machine spectacle and song-and-dance entertainment throughout the later decades of the seventeenth century, including in the dramatick operas of Henry Purcell. This study combines the materials and methodologies of music history, theatre history, literary studies, and bibliography to fashion an entirely new approach to the history of spectacular and musical drama on the English Restoration stage. This book serves as a companion to the Routledge publication Masque and Opera in England, 1656–1688 (2017).
The Historical Arthur and The Gawain Poet: Studies on Arthurian and Other Traditions delves into the origins of Arthur and reveals the author of the famous Gawain Manuscript. Its first part contains evidence for the Arthur of film and legend as a real person, a Celtic commander (not a king) who fought battles in North Britain during the terrible volcanic winter of 536-7, before dying a hero's death in a conflict on Hadrian's Wall. Its second part moves on to Sir Gawain and the Green Knight, an Arthurian poem on magic, near-death, and near-seduction. Its author has always been unknown, but Dr. Breeze uses arguments of the US scholar Ann W. Astell to date the text to 1387 and name the poet as Sir John Stanley (d. 1414), a Cheshire and Lancashire grandee. He can now be recognized as an artist of genius, comparable to Chaucer himself. What is said in this book on John Stanley and his circle thus allows the greatest advance in Arthurian Studies since 1934, when Walter Oakeshott discovered the Winchester Malory amongst manuscripts of an English school library.
This book provides a musicological investigation into operas that include children. Just over 100 works have been selected here for an in-depth discussion of the composer, the children, and the productions, and around 250 relevant works from around the world are also referenced. Four composers to have most significantly proliferated the medium are discussed in even greater detail: César Cui, Benjamin Britten, Gian Carlo Menotti, and Peter Maxwell Davies. Since opera began, it has been inextricably linked to society, by reflecting and shaping our culture through music and narrative, and, as a result, children have been involved. Despite the contribution they played, for several centuries, their importance was overlooked. By tracing the development of children’s participation in opera, this book uncovers the changing attitudes of composers towards them, and how this was reflected in the wider society. From the early productions of the seventeenth century, to those of the twenty-first century, the operatic children’s role has undergone a fundamental change. It almost seems that contemporary composers of operas view the inclusion of children in some way as ubiquitous. The rise of the children’s opera chorus and the explosion of children’s-only productions attest to the changing view of the value they can bring to the art. Some of the children to have characterised these roles are discussed in this book in order to redress the disproportionate lack of acknowledgement they often received for their performances.
Traces the rise of public and private pension funds, which now control as much as 50 percent of the equity in American corporations, and argues that shareholders in those funds could use their power to make corporations more responsive to social needs.
The Derivatives Sourcebook is a citation study and classification system that organizes the many strands of the derivatives literature and assigns each citation to a category. Over 1800 research articles are collected and organized into a simple web-based searchable database. We have also included the 1997 Nobel lectures of Robert Merton and Myron Scholes as a backdrop to this literature.
A vastly entertaining and unique history of the interaction between spying and showbiz, from the Elizabethan age to the Cold War and beyond. 'A treasure trove of human ingenuity' The Times Written by two experts in their fields, Stars and Spies is the first history of the extraordinary connections between the intelligence services and show business. We travel back to the golden age of theatre and intelligence in the reign of Elizabeth I. We meet the writers, actors and entertainers drawn into espionage in the Restoration, the Ancien Régime and Civil War America. And we witness the entry of spying into mainstream popular culture throughout the twentieth century and beyond - from the adventures of James Bond to the thrillers of John le Carré and long-running TV series such as The Americans. 'Thoroughly entertaining' Spectator 'Perfect...read as you settle into James Bond on Christmas afternoon.' Daily Telegraph
Shareholder Actions is a comprehensive guide to the possible actions shareholders may be entitled to pursue, on whichever side of the dispute they might be involved. As well as unfair prejudice and derivative actions, and the many personal actions arising from the Companies Act 2006, the book covers actions based in common law and equity, as well as actions based in other statutory law. It also explores occurences of directors owing fiduciary duties directly to shareholders and the 'no reflective loss' rule providing a clear view of its scope, but also its limitations. The book refers to judgments in other related jurisdictions when it is necessary to substantiate a submission not already fully and authoritatively addressed by English law. Scottish cases are referred to where the House of Lords or Supreme Court have dealt with an issue, or where the point of law overlaps with English law. There are separate chapters on taxation issues, shareholder claims in Australia, due the large cross pollination between English and Australian law and, for comparative purposes, on Canada where a very different approach is taken with its common law based system and South Africa. In addition to an expanded section on procedure with detailed consideration of the availability of interlocutory relief, the new 3rd edition also covers significant developments in case law that there have been since the 2nd edition including in relation to: - Directors' duties, eg Julien v Evolving Technologies; Popely v Popely; Auden McKenzie (Pharma) Ltd v Patel; Re System Building Services Group; Dickinson v NAL Realisations (Staffordshire) Ltd and in the continuing Sharp v Blank litigation - Remedies following directors' breaches of duties, eg CPS v Aquila Advisory Ltd and in Interactive Technology v Fester - Derivative claims, eg Sevilleja Garcia v Marex Financial Ltd and Homes of England Ltd v Nick Bellman (Holdings) Ltd - Unfair prejudice petitions, eg Re G&G Properties Ltd; re Bankside Hotels Ltd, aka Griffith v Gourgey; George v McCarthy and Allnutt v Nags Head Reading Ltd - Just and equitable winding up, eg Chu v Lau - The doctrine of the non-recoverability of reflective loss, eg the decisions of both the Supreme Court and the Court of Appeal in the important case of Sevilleja Garcia v Marex Financial Ltd where this was considered and ultimately refined; and Re Hut Group Ltd, aka Zedra Trust Co (Jersey) Ltd v Hut Group Ltd - Access to company registers, eg Houldsworth Village Management v Barton - The liability of parent companies for the actions of their subsidiaries in Vedanta Resources Plc and Another v Lungowe This title is included in Bloomsbury Professional's Company and Commercial Law online service.
Temperature affects everything. It influences all aspects of the physical environment and governs any process that involves a flow of energy, setting boundaries on what an organism can or cannot do. This novel textbook reveals the key principles behind the complex relationship between organisms and temperature, namely the science of thermal ecology. It starts by providing a rigorous framework for understanding the flow of energy in and out of the organism, before describing the influence of temperature on what organisms can do and how fast they can do it. With these fundamental principles covered, the bulk of the book explores thermal ecology itself, incorporating the important extra dimension of interactions with other organisms. An entire chapter is devoted to the crucially important subject of how organisms are responding to climate change. Indeed, the threat of rapid climatic change on a global scale is a stark reminder of the challenges that remain for evolutionary thermal biologists, and adds a sense of urgency to this book's mission.
English Dramatick Opera, 1661–1706 is the first comprehensive examination of the distinctively English form known as "dramatick opera", which appeared on the London stage in the mid-1670s and lasted until its displacement by Italian through-composed opera in the first decade of the eighteenth century. Andrew Walkling argues that, while the musical elements of this form are crucial to its definition and history, the origins of the genre lie principally in a tradition of spectacular stagecraft that first manifested itself in England in the mid-1660s as part of a hitherto unidentified dramatic sub-genre, to which Walkling gives the name "spectacle-tragedy". Armed with this new understanding, the book explores a number of historical and interpretive issues, including the physical and rhetorical configurations of performative spectacle, the administrative maneuverings of the two "patent" theatre companies, the construction and deployment of the technologically advanced Dorset Garden Theatre in 1670–71, the critical response to generic, technical, and ideological developments in Restoration drama, and the shifting balance between machine spectacle and song-and-dance entertainment throughout the later decades of the seventeenth century, including in the dramatick operas of Henry Purcell. This study combines the materials and methodologies of music history, theatre history, literary studies, and bibliography to fashion an entirely new approach to the history of spectacular and musical drama on the English Restoration stage. This book serves as a companion to the Routledge publication Masque and Opera in England, 1656–1688 (2017).
Masque and Opera in England, 1656–1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688–89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood. A companion volume will explore the phenomenon of "dramatick opera" and its precursors on London’s public stages between the early 1660s and the first decade of the eighteenth century.
It wasn't just fate or luck that Peter walked on the water while the other apostles stayed in the boat, but why do some people walk in miracles and others don't? A fatalistic philosophy will tell you that miracles only happen if God wills them but believing that will really kill your faith!If you want to walk on water and experience...
Whether you are teaching a Sunday school class, leading a small group, discipling an individual, or studying on your own, this study guide is designed for you! Each lesson consists of the Lesson text, Outline, Teacher's Guide, Discipleship Questions, Answer Key, and Scriptures. As a bonus, you can download PDFs of the Outlines, Discipleship Questions, and Scriptures for each lesson in this study guide.
Autobiography of Andrew Dickson White Volume II", by Andrew Dickson White. Andrew Dickson White was a diplomat, historian and educator, who was the co-founder of Cornell University (1832-1918).
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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