An exciting archeological exploration of ancient Egypt that examines the potential for discovering the remaining “lost” tombs of the pharaohs. Tombs, mummies, and funerary items make up a significant portion of the archeological remains that survive ancient Egypt and have come to define the popular perception of Egyptology. Despite the many sensational discoveries in the last century, such as the tomb of Tutankhamun, the tombs of some of the most famous individuals in the ancient world—Imhotep, Nefertiti, Alexander the Great, and Cleopatra—have not yet been found. Archeologist Chris Naunton examines the famous pharaohs, their achievements, the bling they might have been buried with, the circumstances in which they were buried, and why those circumstances may have prevented archeologists from finding these tombs. In Searching for the Lost Tombs of Egypt, Naunton sheds light on the lives of these ancient Egyptians and makes an exciting case for the potential discovery of these lost tombs.
An exciting archeological exploration of ancient Egypt that examines the potential for discovering the remaining “lost” tombs of the pharaohs. Tombs, mummies, and funerary items make up a significant portion of the archeological remains that survive ancient Egypt and have come to define the popular perception of Egyptology. Despite the many sensational discoveries in the last century, such as the tomb of Tutankhamun, the tombs of some of the most famous individuals in the ancient world—Imhotep, Nefertiti, Alexander the Great, and Cleopatra—have not yet been found. Archeologist Chris Naunton examines the famous pharaohs, their achievements, the bling they might have been buried with, the circumstances in which they were buried, and why those circumstances may have prevented archeologists from finding these tombs. In Searching for the Lost Tombs of Egypt, Naunton sheds light on the lives of these ancient Egyptians and makes an exciting case for the potential discovery of these lost tombs.
This book argues that Shakespeare was permanently preoccupied with the brutality, corruption, and ultimate groundlessness of the political order of his state, and that the impact of original Tudor censorship, supplemented by the relatively depoliticizing aesthetic traditions of later centuries, have together obscured the consistent subversiveness of his work. Traditionally, Shakespeare’s political attitudes have been construed either as primarily conservative, or as essays in richly imaginative ambiguation, irreducible to settled viewpoints. Fitter contends that government censorship forced superficial acquiescence upon Shakespeare in establishment ideologies — monarchic, aristocratic and patriarchal — that were enunciated through rhetorical set pieces, but that Shakespeare the dramatist learned from Shakespeare the actor a variety of creative methods for sabotaging those perspectives in performance in the public theatres. Using historical contextualizations and recuperation of original performance values, the book argues that Shakespeare emerged as a radical writer not in middle age with King Lear and Coriolanus — plays whose radicalism is becoming widely recognized — but from his outset, with Henry VI and Taming of the Shrew. Recognizing Shakespeare’s allusiveness to 1590s controversies and dissident thought, and recovering the subtextual politics of Shakespeare’s distinctive stagecraft reveals populist, at times even radical meaning and a substantially new, and astonishingly interventionist, Shakespeare.
First Published in 2004. Four things dominated the life of the mediaeval noble: warfare, politics, land and family. It is with these central themes that this book is concerned. It encompasses the whole of the upper segment of the late medieval society; examines the relation of social status and political influence; describes the noble household and council; examines in detail the territorial and familial policies pursued by great landholders; emphasises the inter-relationship of local and national affairs; is arranged thematically, making it ideal for student use and has implications for the whole medieval period.
Implantable Hearing Devices is written for ear, nose, and throat surgeons in training who must know about implantable hearing devices as they advance in otologic surgery. It is also a resource for otologic surgeons desiring to know more about the devices available. The technology is evolving rapidly along with the criteria for candidacy, and this text covers the entire spectrum of implantable hearing devices that are available, including but not limited to cochlear implants. Complex issues are presented in an easy to understand format by a host of internationally well-respected authors. Many practitioners have to refer to multiple resources for answers to their questions because the discipline is changing so rapidly. Implantable Hearing Devices is a clear, concise, but comprehensive book that offers answers to the universal problems that otologic surgeons face. Disclaimer: Please note that ancillary content (such as documents, audio, and video, etc.) may not be included as published in the original print version of this book.
At least three of director Jacques Tourneur's films--Cat People, I Walked with a Zombie and The Leopard Man--are recognized as horror classics. Yet his contributions to these films are often minimized by scholars, with most of the credit going to the films' producer, Val Lewton. A detailed examination of the director's full body of work reveals that those elements most evident in the Tourneur-Lewton collaborations--the lack of monsters and the stylized use of suggested violence--are equally apparent in Tourneur's films before and after his work with Lewton. Mystery and sensuality were hallmarks of his style, and he possessed a highly artistic visual and aural style. This insightful critical study examines each of Tourneur's films, as well as his extensive work on MGM shorts (1936-1942) and in television. What emerges is evidence of a highly coherent directorial style that runs throughout Tourneur's works.
The spiritual encounter with the 'otherness' that Christians call God is often seen as the province of the very holy, or is simply dismissed in our rational, scientific culture - but it is part of the experience of being human, recognised down the ages. I
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.