Between 1739 and 1742, Britain’s major war effort against Spain was concentrated in the Caribbean. This book sets out to examine the problems involved in operating and administering the overseas naval bases at the heart of this effort. Drawing largely on unpublished archive material, it paints a detailed picture of the organization and development of the yard facilities at Jamaica and English Harbor, as well as examining the problems of manning and supplying the ships stationed there. Making extensive use of ships’ muster books, the author provides for the first time a quantitative assessment of the problems of sickness and desertion facing the commanders in the West Indies. The title of this book is taken from the two most common diseases suffered by the men stationed in the Caribbean.
Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London explores Giardini’s influence on British musical life through his multifaceted career as performer, teacher, composer, concert promoter and opera impresario. The crux of the study is a detailed account of Giardini’s partnership with the music seller/publisher John Cox during the 1750s, presented using new biographical information which contextualizes their business dealings and subsequent disaccord. The resulting litigation, the details of which have only recently come to light, is explored here via a complex set of archival materials. The findings offer new information about the economics of professional music culture at the time, including detailed figures for performers’ fees, the printing and binding of music scores, the charges arising from the administration of concerts and operas, the sale, hire and repair of various instruments and the cost of what today we would call intellectual property rights. This is a fascinating study for musicologists and followers of Giardini, as well as for readers with an interest in classical music, social history and legal history.
Product Liability is a recognised authority in the field and covers the product liability laws through which manufacturers, retailers, and others may be held liable to compensate persons who are injured, or who incur financial loss, when the products which they manufacture or sell are defective or not fit for their purpose. Product defects may originate in the production process, be one of design, or be grounded in a failure to issue an adequate warning or directions for safe use and practitioners advising business clients or claimants will find this book provides all the necessary information for practitioners to manage a product liability claim. This new edition has been fully updated to take account of 10 years of development in case law and regulation, and the increasing impact of cross-border and transnational sale of goods. The Court of Justice of the European Union handed down major rulings concerning the Product Liability Directive which affect the application of the Directive and national arrangements and Fairgrieve and Goldberg examines this in detail. For any legal practitioner operating in areas which require knowledge of European product liability law, an understanding of the impact of recent developments is essential and this work is an essential resource for practitioners working on product liability, sale of goods, personal injury and negligence. The work provides comprehensive coverage of the law of negligence as it applies to product liability, of the strict liability provisions of the Consumer Protection Act 1987, and of the EU's Product Liability Directive on which the Act is based. Although the majority of cases involve pharmaceuticals and medical devices, in recent English cases the allegedly defective products have been as diverse as a child's buggy, an All Terrain Vehicle, and even a coffee cup. Many cases are brought as group actions, and the book examines the rights of those who are injured by defective products. As well as considering the perspective of the law as it has developed in the UK, this edition contains detailed discussion of case law from other jurisdictions including the USA, Australia, New Zealand, Canada, France and Germany. The coverage in the work is complemented by a full analysis of issues which arise in transnational litigation involving problems of jurisdiction and the choice of laws.
Scott's Shadow is the first comprehensive account of the flowering of Scottish fiction between 1802 and 1832, when post-Enlightenment Edinburgh rivaled London as a center for literary and cultural innovation. Ian Duncan shows how Walter Scott became the central figure in these developments, and how he helped redefine the novel as the principal modern genre for the representation of national historical life. Duncan traces the rise of a cultural nationalist ideology and the ascendancy of Scott's Waverley novels in the years after Waterloo. He argues that the key to Scott's achievement and its unprecedented impact was the actualization of a realist aesthetic of fiction, one that offered a socializing model of the imagination as first theorized by Scottish philosopher and historian David Hume. This aesthetic, Duncan contends, provides a powerful novelistic alternative to the Kantian-Coleridgean account of the imagination that has been taken as normative for British Romanticism since the early twentieth century. Duncan goes on to examine in detail how other Scottish writers inspired by Scott's innovations--James Hogg and John Galt in particular--produced in their own novels and tales rival accounts of regional, national, and imperial history. Scott's Shadow illuminates a major but neglected episode of British Romanticism as well as a pivotal moment in the history and development of the novel.
From the 1940s to the 1960s, the microcar posed a challenge to the large companies that mass-produced cars to uniform designs. The microcar was the opposite, produced by small entrepreneurial start-ups using quirky design concepts that offered motorists cheaper and more economical vehicles. This book is a beautifully illustrated history of the British microcar, from the early days of Bond and Reliant to the proliferation of micro marques during the 1950s and their demise during the 1960s. It explores many eccentric British concepts, comparing the cars to their influential European competitors, examining the social and economic reasons for the decline and disappearance of the microcar, but also saluting the signs of a microcar renaissance in the twenty-first century, this time from mainstream manufacturers.
This second edition of Sale of Businesses in Australia concentrates on the sale of small businesses trading as individuals or in partnership under the standard Sales of Business contracts promulgated by the various Law Societies and Real Estate Institutes. Several chapters also apply to the sale of businesses generally.Topics covered include:matters relating to the typical transaction: stock in trade, goodwill, plant and fixtures; additional matters such as intellectual property, business names, and the transfer of business leases; special contract provisions, including restraint of trade and employee provisions, and other special conditions commonly found in contracts; taxation implications of the sale; time stipulations; obligations on completion; disclosure obligations; remedies for commonly encountered types of breach by either party.The book serves as an ideal reference point for the busy legal practitioner involved in advising upon these transactions and has extensive references to the standard contracts in New South Wales, Victoria and Queensland.
“Get one before one gets you!” Motion Performance’s catchy sales pitch for builder Joel Rosen’s Phase III Specialty Muscle Cars sums up the escalating performance scene in the late 1960s. Special edition muscle cars were essential to keep pace. Joel and other independent car builders (such as Carroll Shelby, George Hurst, Dick Harrell, Mr. Norm, and Jim Wangers) did what the factories couldn’t do: take the muscle car and turn it into a tire-burning monster. Although the Pontiac GTO established the muscle car category in 1964, a host of corporate safety restrictions restrained factories from offering turn-key race cars off the showroom floor. Independent car builders enhanced appearance and amplified performance in an attempt to do what the manufacturers wouldn’t. Motion Performance issued a written guarantee: Phase III cars would run 11.5 at 120 mph down the quarter-mile! Some of the most iconic nameplates in automotive history were applied in this era with names that included Cheetah, Black Panther, Royal Bobcat, Super Hugger, Manta Ray, Super Snake, Deuce, Fast Track, and The Machine. How did manufacturers stealthily promote these special edition muscle cars as “halo cars” while pretending not to endorse them? What happened to these innovators when factories assimilated their ideas? It’s all covered inside. Muscle car historian Duncan Brown takes us through these special edition muscle cars, their creators, and the behind-the-scenes forces that shaped these wild beasts into legends that left a lasting legacy.
Emotion and Postmodernism: is it possible to imagine an odder couple, stranger bedfellows, less bad company? The Emotional Life of Postmodern Film brings this unlikely pair into sustained dialogue, arguing that the interdisciplinary body of scholarship currently emerging under the rubric of "affect theory" may be unexpectedly enriched by an encounter with the field that has become its critical other. Across a series of radical re-reappraisals of canonical postmodern texts, from Fredric Jameson's Postmodernism to David Cronenberg's Crash, Duncan shows that the same postmodern archive that has proven resistant to strongly subject-based and object-oriented emotions, like anger and sadness, proves all too congenial to a series of idiosyncratic, borderline emotions, from knowingness, fascination and bewilderment to boredom and euphoria. The analysis of these emotions, in turn, promises to shake up scholarly consensus on two key counts. On the one hand, it will restructure our sense of the place and role of emotion in a critical enterprise that has long cast it as the stodgy, subjective sister of a supposedly more critically interesting and politically productive affect. On the other, it will transform our perception of postmodernism as a now-historical aesthetic and theoretical moment, teaching us to acknowledge more explicitly and to name more clearly the emotional life that energizes it.
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