THE INGRAINED love of personal liberty inherent in the British people and their distrust in giving additional power to their governments made Great Britain one of the slowest countries in the world to institute police. Jurists were far in advance of public opinion. Jeremy Bentham (1747-1832) considered police necessary as a method of precaution to prevent crimes and calamities as well as to correct and cure them. Blackstone in his Commentaries (1765) wrote, "By public police and economy I mean the due regulation and domestic order of the kingdom, whereby the individuals of the State, like members of a well-governed family, are bound to conform their general behaviour to the rules of propriety, good neighbourhood and good manners; to be decent, industrious and inoffensive in their respective stations.
This study of the Bach Choir provides a much-needed overview of one of the major choral societies in London. Dr Basil Keen examines the background that led to the formation of an ad hoc body to give the first performance in England of J.S. Bach's B minor Mass. The musical and organizational effects of a permanent choral society drawn from one social group are traced during the first twenty years, after such time the pressures of social change led to a complete review followed by a restructuring of the methods of recruitment and internal organization. The rebuilding of the choir at the opening of the twentieth century, the expansion of the repertoire, the upheaval resulting from the First World War and the impact of these events on preparation and performance, are all considered. The book is essentially structured around the tenure of successive Musical Directors: Otto Goldschmidt, Charles Villiers Stanford, Walford Davies, Hugh Allen, Ralph Vaughan Williams, Adrian Boult, Reginald Jacques and David Willcocks, since their varied tastes and interests inevitably had a decisive influence on policy. Keen draws upon previously unpublished material, including minutes and correspondence of the Bach Choir, interviews with relatives and descendants, and examination of family records and correspondence. To date, there has been no survey of a major London choir that encompasses the full history of the organization in context. In this study, Dr Basil Keen provides a thorough examination of the Bach Choir, including the response of the choir to social changes; the influence of conductors and officials; changes in musical taste; relationships with composers and composition; major national and international events; and the effect of these matters on organization and repertoire.
Learning to Draw / A History is an evolving and transformative narrative sketch, alternately prose and poetry, that serves to document a personal and yet collective history with a roving artist's eye. Previously serialised in a number of small journals and zines, the work has met with some acclaim and this is the first complete version in a new architectural alignment. Although from post-war Britain, Basil King's literary lineage harkens back to the projective verse style of Pound and Williams, sweetened through his working associations with the likes of Blackburn, Ginsberg and Baraka. The weaving of subjects in this work is not unlike the purposeful mixing of colours on an artist's palette.
Basil Payne 1923 -2103 This is his first book, originally published in 1961. This volume contains a selection from ten years' work. The poems have been grouped thematically, rather than chronologically, because the author found that ""they seemed to arrange themselves that way."" They display an exciting command of language and ar remarkable for their blend of tenderness, irony and passion. The lost innocence of childhood and the recesses of adult experiences are, alike, poignantly explored. Here is an Irish poet of clarity, vigour and originality, whose first volume should have a particularly wide appeal. Cover by John Skelton, Dublin.
An edition of the letters of the poet Basil Bunting (1900-1985). This is a long-awaited first selected edition of the letters of Basil Bunting, one of the major modernist poets of the twentieth century. It includes a large portion of Bunting's correspondence (around 200 letters) to recipients including Ezra Pound, T. S. Eliot, Harriet Monroe, William Carlos Williams, Louis Zukofsky, Ted Hughes, George Oppen, Allen Ginsberg, Donald Davie, and Tom Pickard. Following Bunting from his first encounters with major literary figures in London and Paris in the 1920s to his death in Northumberland in 1985, this selection showcases a narrative that is crucial to the history of modernism and modern poetry in English. Highlights include a long and detailed dialogue with Ezra Pound in the 1930s on political, economic, and literary subjects, a rich, ruminative exchange with the American poet Louis Zukoksfy lasting over four decades, and various accounts of the excitements and controversies of the Anglo-American poetry scene of the 60s and 70s. Whether Bunting is writing from New York at the height of the Depression, Iran in the aftermath of World War II, or the north of England during preparation of his masterpiece Briggflatts (1966), his prose is unfailingly sharp, eloquent, entertaining, and caustic. This edition contains detailed annotations of Bunting's letters, a critical introduction, glossary of names, and an editorial commentary.
This may be a book about an 'ordinary' life but it is more than that, much more. Firstly, if Basil Jay's life has been 'ordinary', then the Bugatti Veyron Super Sports is a family saloon. In his life he has been described as many things. A Surveyor, a Businessman, and an Entrepreneur. A Musician, a Poet, a Writer and a Thespian. An Adventurer, a Chancer, a Receiver of Stolen Goods, an Alleged Money Launderer, a Tax Fugitive (as denounced in the Houses of Parliament). But most of all, a Husband, a Father and a Grandfather, and finally an ex-patriot living in a hot and balmy exile where he was effectively forced by an unrelenting tax inspector at the end of the nineteen-eighties (an action for which Basil is now able to offer his heartfelt thanks). He has been locked up for a killing in Afghanistan, witnessed a ritual stoning for adultery in Ghazni, held up by gunmen in the Khyber Pass, accused of drug smuggling in Pakistan, and spent almost five days, in a Turkish Bath in Istanbul whilst being coerced (unsuccessfully) to front a £300 million shakedown inTurkey - just an ordinary life. Basil uses his fascinating life as the thread with which to lead the reader through the six decades of the twentieth- century that followed the second world-war. The bombed ruins of the FORTIES, the austerity of the FIFTIES, the music and burgeoning promiscuity of the SIXTIES, the hopes of the SEVENTIES, the aspirations of the EIGHTIES, the political incompetence - but strange peace of the NINETIES, and into the so called, 'NEW DAWN' of the Third Millennium. Basil is an able guide, there is not a decade where he has not been in the thick of the social, political, or business action. His story is the story of an ordinary man, living an ordinary life, but getting into the most outrageously extra-ordinary scrapes, (almost all of them of his own making). It is a living, and a social history written in the honest and hilarious style for which Basil Jay has become known. It is a read which can be thoroughly recommended
This book, the fifth in the series developing Bernstein’s code theory, presents a lucid account of the most recent developments of this code theory and, importantly, shows the close relation between this development and the empirical research to which the theory has given rise. Pedagogy, Symbolic Control and Identity addresses the central issue of Bernstein’s research project: are there any general principles underlying the transformation of knowledge into pedagogic communication? In Bernstein’s view, we have studied only pedagogic messages and their institutional and ideological base. We have not studied the nature of the relay which makes messages possible. The discussion of this research forms part II of this book, where Bernstein makes explicit the methodology of the research and, in particular, the crucial significance of languages of description. This new edition of Bernstein's classic book is updated with three new chapters: on discourse, on official knowledge and identities, and a wide ranging interview with Joseph Solomon. The new edition, published as Volume Five in his Class, Codes, and Control Series, builds on the continuing tradition of Bernstein's highly influential work on class, education, language, and society.
Fully updated to cover developments including the Protection from Harassment Act 1997, the Human Rights Act, Regina vs. Ireland, and Regina vs. Burstow, this book provides comprehensive commentary on tort law. The authors provide a variety of comparative and economic perspectives upon the area.
The late Miss Clynes, sir? How dreadful. It must have been very sudden." "It was." Naomi Clynes was found dead, her head in the gas-oven. She left a suicide note, but Richardson, newly promoted to the rank of Inspector in the C.I.D., soon has cause to think this is a case of murder. With scarcely a clue beyond a postmark and a postage stamp, treasured by the deceased, he succeeds in bringing home the crime to a person whom no one would have suspected. The Case of Naomi Clynes was originally published in 1934. This new edition, the first in many decades, features an introduction by crime novelist Martin Edwards, author of acclaimed genre history The Golden Age of Murder. "Sir Basil Thomson is a past-master in the mysteries of Scotland Yard, and this novel is a highly capable piece of work...A brisk story, skilfully told." Times Literary Supplement "A first-class thriller. Written with lively vigour and a realism that can only come from an author who knows his subject, it can be wholeheartedly recommended as the best detective story of the week." Sunday Referee
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