The survivors of a devastated future Earth lie in suspended animation on a great satellite. When Earth is safe again, they will awaken. But when the Doctor, Sarah and Harry arrive on the Terra Nova, they find the systems have failed and the humans never woke. The Wirrrn Queen has infiltrated the satellite, and laid her eggs inside one of the sleepers. As the first of the humans wake, they face an attack by the emerging Wirrrn. But not everyone is what they seem, and the only way the Doctor can discover the truth is by joining with the dead mind of the Wirrrn Queen. The price of failure is the Doctor's death, and the end of humanity. This novel is based on a Doctor Who story which was originally broadcast from 25 January to 15 February 1975. Featuring the Fourth Doctor as played by Tom Baker, and his companions Sarah Jane Smith and Harry Sullivan
One of the most highly regarded books on the British campaign of the nineteenth-century Anglo-Zulu War fought in southern Africa. Robust and economically self-reliant, the Zulu Kingdom—created by Shaka kaSenzangakhona—was seen as a threat to British colonialism. In December 1878, the British High Commissioner in South Africa, Sir Henry Bartle Frere, picked a quarrel with the Zulu king, Cetshwayo kaMpande, in the belief that the Zulu army—armed primarily with shields and spears—would soon collapse in the face of British Imperial might. The war began in January 1879. Three columns of British troops under the command of Lt. Gen. Lord Chelmsford invaded Zululand. Almost immediately, the war went badly wrong for the British. On January 22, the Centre Column, under Lord Chelmsford’s personal command, was defeated at Isandlwana mountain. In one of the worst disasters of the colonial era, over 1,300 British troops and their African allies were killed. In the aftermath of Isandlwana, the Zulu reserves mounted a raid on the British border post at Rorke’s Drift, which was held by just 145 men. After ten hours of ferocious fighting, the Zulu were driven off. Eleven of the defenders of Rorke’s Drift were awarded the Victoria Cross. These are the best-known episodes of the war, and Rorke’s Drift went on to inspire the classic film Zulu, which established Michael Caine as a star. Drawing on new research performed since the centenary in 1979, the author delves deeply into the causes of the war, the conditions during it, and the aftermath.
The Anglo-Zulu War of 1879 has a character that inspires and fascinates readers and increasing numbers of visitors to South Africa. The two volume biographical dictionary of the participants is a unique venture and this second volume reveals much about the formidable Zulu nation which so nearly humbled the mighty British Empire which had provoked the conflict.Thanks to the deep knowledge and research abilities of the two authors this fascinating book provides detail on both the leaders of the Zulu armies, which totaled some 40,000 warriors. We learn of the terrible price paid by this proud nation not just from the defeat by the British but in the civil war of 1883 brought about as a result of the internal tensions unleashed by the Zulu War.The role of the Colonials, be they British settlers, Boer or non-Zulu Africans is also examined through highly informative entries on the main personalities.
An Aesthetics of Injury exposes wounding as a foundational principle of modernism in literature and film. Theorizing the genre of the narrative wound—texts that aim not only to depict but also to inflict injury—Ian Fleishman reveals harm as an essential aesthetic strategy in ten exemplary authors and filmmakers: Charles Baudelaire, Franz Kafka, Georges Bataille, Jean Genet, Hélène Cixous, Ingeborg Bachmann, Elfriede Jelinek, Werner Schroeter, Michael Haneke, and Quentin Tarantino. Violence in the modernist mode, an ostensible intrusion of raw bodily harm into the artwork, aspires to transcend its own textuality, and yet, as An Aesthetics of Injury establishes, the wound paradoxically remains the essence of inscription. Fleishman thus shows how the wound, once the modernist emblem par excellence of an immediate aesthetic experience, comes to be implicated in a postmodern understanding of reality reduced to ceaseless mediation. In so doing, he demonstrates how what we think of as the most real object, the human body, becomes indistinguishable from its “nonreal” function as text. At stake in this tautological textual model is the heritage of narrative thought: both the narratological workings of these texts (how they tell stories) and the underlying epistemology exposed (whether these narrativists still believe in narrative at all). With fresh and revealing readings of canonical authors and filmmakers seldom treated alongside one another, An Aesthetics of Injury is important reading for scholars working on literary or cinematic modernism and the postmodern, philosophy, narratology, body culture studies, queer and gender studies, trauma studies, and cultural theory.
The Anglo Zulu War continues to attract phenomenal interest. What was meant to be a quick punitive expedition led by Lord Chelmsford turned into a watershed for British Colonial power. The ignominious defeat at Iswandhlwana was a terrible blow to British military pride but the heroic stand at Rourkes Drift, while a minor event by comparison, allowed the powers-that-be to salvage some honor.This authoritative book covers all the main players, be they military, political or civilian, with concise yet readable individual entries. In addition to the military commanders on both sides, we have the VC winners, those at Rourkes Drift and survivors of the massacre. Individuals such as The Crown Prince Imperial whose actions made an impact all have entries.
In the early 1950s, German philosopher Martin Heidegger proclaimed the Austrian expressionist Georg Trakl to be the poet of his generation and of the hidden Occident. Trakl, a guilt-ridden lyricist who died of a cocaine overdose in the early days of World War I, thus became for Heidegger a redemptive successor to Hölderlin. Drawing on Derrida's Geschlecht series and substantial archival research, Dialogue on the Threshold explores the productive and problematic tensions that pervade Heidegger's reading of Trakl and reflects more broadly on the thresholds that separate philosophy from poetry, gathering from dispersion, the same from the other, and the native from the foreigner. Ian Alexander Moore examines why Heidegger was reluctant to follow Trakl's invitation to cross these thresholds, even though his encounter with the poet did compel him to take up, in astounding ways, many underrepresented topics in his philosophical corpus such as sexual difference, pain, animality, and Christianity. A contribution not just to Heidegger and Trakl studies but also, more modestly, to the old quarrel between philosophy and poetry, Dialogue on the Threshold concludes with new translations of eighteen poems by Trakl.
The forces of the independent Zulu kingdom inflicted a crushing defeat on British imperial forces at Isandlwana in January 1879. The Zulu army was not, however, a professional force, unlike its British counterpart, but was the mobilised manpower of the Zulu state. In this ground-breaking study, Ian Knight details just how the Zulu army functioned and ties its role firmly to the broader context of Zulu society and culture. After surveying the Zulu army from its creation during the wars of Shaka in the early nineteenth century, and the subsequent development of Zulu fighting methods, Ian Knight focuses in detail on the structure and condition of the Zulu army on the eve of the war in 1879. This indispensable book describes such key topics as enlistment, organisation, training and equipment. He also considers Zulu war aims and strategy, their view of artillery and cavalry, and how they were perceived by their colonial neighbours. Most of all, he reveals how the Zulu army functioned in wartime, from preparatory rituals to battlefield tactics, and the shock of battle itself.
This book examines part of the development of the Bruderhof community, which emerged in Germany in 1920. Community members sought to model their life on the New Testament. This included sharing goods. The community became part of the Hutterite movement, with its origins in sixteenth-century Anabaptism. After the rise to power of the Nazi regime, the Bruderhof became a target and the community was forcibly dissolved. Members who escaped from Germany and travelled to England were welcomed as refugees from persecution and a community was established in the Cotswolds. In the period 1933 to 1942, when the Bruderhof’s witness was advancing in Britain, its members were in touch with many individuals and movements. This book covers the Bruderhof’s connections with (among others) the Fellowship of Reconciliation, Dietrich Bonhoeffer, the Peace Pledge Union, the social work of Muriel and Doris Lester in East London, Jewish refugee groups, and artistic pioneers like Eric Gill. As significant numbers of British people joined the Bruderhof, its farming, publishing and arts and crafts activities extended considerably. But with the outbreak of the Second World War, German members came to be regarded with suspicion and British members became unpopular locally because they were pacifists. Although the Bruderhof was defended in Parliament, notably by Lady Astor, it seemed that German members would be interned as enemy aliens. The consequence was that by 1942 over 300 community members had left England. With Mennonite assistance, they began to forge a new life in South America. This book traces a remarkable Christian peace experiment being undertaken in a time of great political upheaval.
Johann Herolt OP (~1390-1468), a Dominican friar of Nrnberg, was the most prolific sermonist of fifteenth century Europe, producing a huge and widely used library of sermon materials under the penname Discipulus. For nearly forty years, Johann Herolt was teacher, preacher, confessor, administrator, and advocate of the sisters of St Katharines, the Dominican sister house. While he was vicar of St Katharines in 1436, he preached to the sisters a series of Advent, Christmas, and New Year sermons, using the imagery of an enclosed garden in which the rose tree of eternal wisdom grows a garden surrounded by the wall of the fear of God, and entered by the strait gate of diligence. His heartfelt discourse was about the monastic virtues of humility, patience, and obedience. The sermons were never published. The manuscript is a partial reconstruction from verbatim notes of a series of Advent, Christmas and New Year sermons.
By turns witty and inane, crude and learned, scurrilous and moralistic, jestbooks offer an important and often overlooked viewpoint on the lives of women in early modern England. This volume reproduces seven jestbooks with connections to early modern Englishwomen as well as showing something of the broad genre itself. Four have a direct connection to women through their jests and framing (Wyddow Edyth, VVestward for Smelts, Long Meg of VVestminster, and Pasqvils Iests), excerpts from two books specifically focus on women in some sections (The Schoolemaster and Wits Fittes and Fancies) and the volume also includes the extremely popular, general jestbook (A C. Mery Talys).
This unique volume contains, in parallel translation, a thousand of the most frequently performed Lieder, both piano-accompanied and orchestral. Composers are arranged alphabetically, with their songs appearing under poet in chronological order of composition - thus allowing the reader to engage in depth with a particular poet and at the same time to follow the composer's development. Richard Stokes, whose work in this field is already widely acclaimed, provides illuminating short essays on each of the fifty composers' approach to Lieder composition, as well as well as notes on all the poets who inspired the songs.The volume is notable for the accuracy and elegance of its translations, and for its fidelity to the German verse: every care has been taken to print the words of the sung text, while adhering to the versification and punctuation of the original poem.Beethoven, Schubert and Schumann, Goethe, Heine and Schiller are among the highlights of a book which illuminates one of the great musical traditions and will be an indispensable handbook for every music lover.
“You offer yourself to be slain,” General Sir John Hackett once observed, remarking on the military profession. “This is the essence of being a soldier.” For this reason as much as any other, the British army has invariably been seen as standing apart from other professions—and sometimes from society as a whole. A British Profession of Arms effectively counters this view. In this definitive study of the late Victorian army, distinguished scholar Ian F. W. Beckett finds that the British soldier, like any other professional, was motivated by considerations of material reward and career advancement. Within the context of debates about both the evolution of Victorian professions and the nature of military professionalism, Beckett considers the late Victorian officer corps as a case study for weighing distinctions between the British soldier and his civilian counterparts. Beckett examines the role of personality, politics, and patronage in the selection and promotion of officers. He looks, too, at the internal and external influences that extended from the press and public opinion to the rivalry of the so-called rings of adherents of major figures such as Garnet Wolseley and Frederick Roberts. In particular, he considers these processes at play in high command in the Second Afghan War (1878–81), the Anglo-Zulu War (1879), and the South African War (1899–1902). Based on more than thirty years of research into surviving official, semiofficial, and private correspondence, Beckett’s work offers an intimate and occasionally amusing picture of what might affect an officer’s career: wealth, wives, and family status; promotion boards and strategic preferences; performance in the field and diplomatic outcomes. It is a remarkable depiction of the British profession of arms, unparalleled in breadth, depth, and detail.
Among the many upheavals in North America caused by the French and Indian War was a commonplace practice that affected the lives of thousands of men, women, and children: being taken captive by rival forces. Most previous studies of captivity in early America are content to generalize from a small selection of sources, often centuries apart. In Setting All the Captives Free, Ian Steele presents, from a mountain of data, the differences rather than generalities as well as how these differences show the variety of circumstances that affected captives’ experiences. The product of a herculean effort to identify and analyze the captives taken on the Allegheny frontier during the era of the French and Indian War, Setting All the Captives Free is the most complete study of this topic. Steele explores genuine, doctored, and fictitious accounts in an innovative challenge to many prevailing assumptions and arguments, revealing that Indians demonstrated humanity and compassion by continuing to take numerous captives when their opponents took none, by adopting and converting captives into kin during the war, and by returning captives even though doing so was a humiliating act that betrayed their societies' values. A fascinating and comprehensive work by an acclaimed scholar, Setting All the Captives Free takes the study of the French and Indian War in America to an exciting new level.
The Zulu War of 1879 remains one of the best known British colonial wars and included two battles whose names reverberate through history. At Isandlwana the Zulus inflicted a crushing defeat on the British; the gallant British defence at Rorke's Drift followed and re-established British prestige. Yet as this book shows, there was more to the war than this. Six months of brutal fighting followed, until the Zulu kingdom was broken up, its king imprisoned and the whole structure of the Zulu state destroyed. Years of internecine strife followed, until the British finally annexed Zululand as a colonial possession.
Succinct, user-friendly, thoroughly referenced and prepared by leading experts in the field, this book is the only single textbook you will need to succeed in the Royal College of Psychiatrists' MRCPsych and other related higher examinations. Chapters follow the structure and syllabus of the examination ensuring that you receive the necessary essen
This unique and authoritative reference work contains more than 2,000 clear and concise entries on all aspects of modern and contemporary art. Its impressive range of terms includes movements, styles, techniques, artists, critics, dealers, schools, and galleries. There are biographical entries for artists worldwide from the beginning of the 20th century through to the beginning of the 21st, from the Finnish architect Alvar Aalto to the French sculptor Jacques Zwobada. With international coverage, indications of public collections and publicly sited works, and in-depth entries for key topics (for example, Cubism and abstract art), this dictionary is a fascinating and thorough guide for anyone with an interest in modern and contemporary culture, amateur or professional. Formerly the Dictionary of 20th Century Art, the text has been completely revised and updated for this major new edition. 300 entries have been added and it now contains entries on photography in modern art. With emphasis on recent art and artists, for example Damien Hirst, it has an exceptionally strong coverage of art from the 1960s, which makes it particularly ideal for contemporary art enthusiasts. Further reading is provided at entry level to assist those wishing to know more about a particular subject. In addition, this edition features recommended web links for many entries, which are accessed and kept up to date via the Dictionary of Modern Art companion website. The perfect companion for the desk, bedside table, or gallery visits, A Dictionary of Modern and Contemporary Art is an essential A-Z reference work for art students, artists, and art lovers.
The survivors of a devastated future Earth lie in suspended animation on a great satellite. When Earth is safe again, they will awaken. But when the Doctor, Sarah and Harry arrive on the Terra Nova, they find the systems have failed and the humans never woke. The Wirrrn Queen has infiltrated the satellite, and laid her eggs inside one of the sleepers. As the first of the humans wake, they face an attack by the emerging Wirrrn. But not everyone is what they seem, and the only way the Doctor can discover the truth is by joining with the dead mind of the Wirrrn Queen. The price of failure is the Doctor's death, and the end of humanity. This novel is based on a Doctor Who story which was originally broadcast from 25 January to 15 February 1975. Featuring the Fourth Doctor as played by Tom Baker, and his companions Sarah Jane Smith and Harry Sullivan
Explains how to select and use hand and power tools and provides detailed instructions for finishing interior walls, refinishing wood floors, panelling walls, and various other projects.
The following photographs give you a glimpse of Dr. Paisley's unusual and controversial life. This photographic life is in no way to be regarded as a conclusive biography. Instead, it offers, like any photographer's lens, a snapshot of some of the many moments caught on film, of Ian R.K. Paisley.
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