What was Shakespeare thinking while he was writing Hamlet? What did he and Ben Jonson talk about when they were having a drink together? Did he meet Queen Elizabeth? What might Shakespeare have said to the formidable monarch? In The Shakespeare Diaries, J. P. Wearing, Professor Emeritus of English at the University of Arizona, blends fact with fiction to create a unique fictional autobiography of the great playwright that takes the reader into The Bard’s life like never before. The Shakespeare Diaries provides a window into Shakespeare’s world—his day-to-day life, his work, his friends and associates, and his view of daily events—thus giving readers a vivid impression of the Elizabethan era and Shakespeare’s role within that society. Writing in diary form, in the delightfully whimsical style of Shakespeare himself, Wearing incorporates many fragments of lines and phrases from The Bard’s plays and poems. Fascinating endnotes provide further annotation and information for those readers who wish to know more. Readers new to Shakespeare will be drawn in by such an intimate portrait, while seasoned aficionados (students, teachers, scholars, actors, and theatre-goers) will relish this fresh, offbeat approach to the man and his work.
Like Snow Falling on Cedars, a stirring tale of wartime love April, 1944. The quiet rural village of Stark, New Hampshire is irrevocably changed by the arrival of 150 German prisoners of war. And one family, unexpectedly divided, must choose between love and country. Camp Stark is under the command of Major John Brennan, whose beautiful daughter, Collie, will serve as translator. Educated at Smith and devoted to her widowed father, Collie is immediately drawn to Private August Wahrlich, a peaceful poet jaded by war. As international conflict looms on the home front, their passion blinds them to the inevitable dangers ahead. Inspired by the little-known existence of a real World War II POW camp, The Major’s Daughter is a fresh take on the timeless theme of forbidden love.
A hardbacked facsimile copy of The History of the Ancient Parish of Sandbach Co. Chester Including the Two Chapelries of Holmes Chapel and Goostrey: from Original Records. First published by J. P. Earwaker for private circulation in 1890 and restricted to 150 copies of which 100 were for presentation. Contains the heraldry and pedigrees of the landowning families of the area.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1920–1929: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1920 through December 1929. The volume chronicles more than 4,000 productions at 51 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Bulldog Drummond, The Emperor Jones, The Enchanted Cottage, Gentlemen Prefer Blondes, Hay Fever, Saint Joan, and Six Characters in Search of an Author, as well as numerous musical comedies (British and American), foreign works, operas, and ballets, revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1920-1929 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1890–1899: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1890, through the 31st of December, 1899. The volume chronicles more than 3,000 productions at 31 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Alice in Wonderland, Arms and the Man, Cyrano de Bergerac, An Ideal Husband, The Prisoner of Zenda, and The Second Mrs. Tanqueray, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1890–1899 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Even without wings, a true goddess will find a way to fly. Sentenced to death by the damming testimony of the only man she trusts, Velvet is rescued by Nora Hartington, bastard daughter of King George III, stunning socialite turned pirate queen. On the high seas Velvet, is stolen by the duke who betrayed her. He takes her aboard his own vessel in the throes of a black storm and claims that by proxy, and the king’s decree, she is his alone.. Velvet is haunted by a magic she held, used, and now regrets with all her soul. A dark collection of precious stones hosting ancient powers which once transformed a frightened prince and princess of France into a snow-white owl and a golden stag. With the full force of the British monarchy and Napoleon’s army closing in, Velvet’s haven is also her doom. In the lush bed of the captain’s cabin, Henry attempts to hold Velvet to a vow she did not make. Tossed and battered by waves tall as mountains, locked in a passion neither can escape, they are victims to the gods of the deep. Shipwrecked and washed to the white shores of a storied pirate retreat, Ile Sainte-Marie, island of legend and birthplace of the magic which has shaped Velvet’s life and threatens to steal everything she loves. Ghosts, enchantments, lost loves, and bloody sacrifice teach Velvet that time and reality are fragile, varied, sparkling dimensions just out sight, and the things that truly matter, always come with the steepest price.
Magic is sacred, but real love is divine. To save them from the Guillotine a spell is cast, and Marie-Thérèse Charlotte of France, daughter of Marie Antoinette, is changed into an owl, her brother, the young dauphin, into a golden stag. The old gypsy witch who repaid a blood debt by saving their lives, takes the princess’s memories and names her Velvet. For eight years Velvet exists safely wrapped in the spell. On her eighteenth year, rumors of her life reach the ears of King George III. In a bout of fearful madness, he orders the death of the French heirs. When soldiers torch their camp, Velvet and her brother, are forced to run for their lives. Nora Hardington, a young woman on a mission into the dangerous underbelly of London, finds Velvet wounded and dying. Risking her own life, she rescues Velvet. Together, they enlist the help of the dark stranger sent to carry out the king’s command. As they search for the spell to return her brother’s humanity, Velvet lives all the sides of life she was previously denied. Her adventures are fraught with assassins, pirates, ancient enchantments, bloody battle, mythical lore, and all manner of dastardly love.
The island of secrets, and the lover’s cave broke velvet’s heart. that’s more, the spell she needed to save her brother required the life of the duke who haunted her waking moments and disturbed her dreams. unable to kill henry, velvet ran from the temptation of him to the waiting arms of napoleon, and the french throne which came at a heavy price. On the high seas, velvet struggled with her desire to take back her father’s throne, and save her people from a tyrant, or find freedom for herself espionage betrayal, passion, and sacrifice teach velvet what matters on her dramatic quest to run from true love. but in the case of destiny, can one ever run fast enough? Duke, assassin, pirate and betrayer, henry will do what he must to keep the girl he has come to adore even sacrifice his own life. difficult really when she insists on escaping his advances and spurning his ardent touch. with lines to cross, mayhem to cause and a thousand questions of magic which will never be answered, for the duke, there is only one question which truly matters—how do you get the girl who has no need of a knight, regardless of the shine in his armor. Locked in eternal combat, and kisses fraught with secrets and lies, velvet and henry will learn the most painful of lessons—in a world of revolution, turmoil and political unrest, love is still the bloodiest battlefield of all.
The American film noir, the popular genre that focused on urban crime and corruption in the 1940s and 1950s, exhibits the greatest amount of narrative experimentation in the modern American cinema. Spurred by postwar disillusionment, cold war anxieties, and changing social circumstances, these films revealed the dark side of American life and, in doing so, created unique narrative structures in order to speak of that darkness. J.P. Telotte's in-depth discussion of classic films noir--including The Lady from Shanghai, The Lady in the Lake, Dark Passage, Double Indemnity, Kiss Me Deadly, and Murder, My Sweet--draws on the work of Michel Foucault to examine four dominant noir narrative strategies.
The growing pains of a startup’s initial year in business require a keen awareness of uncertainties and a willingness to adapt in order to survive. Today’s new founders greatly benefit from taking a behind-the-scenes look at successful companies such as Etsy, HotelTonight, Fiverr, and more in regards to how they overcame the challenges of their first year. Startups in Action is your curated source for critical insights and inspiration from those who have been there before. This book documents the month-to-month journeys of these companies in their first year, zeroing in on key decisions that helped them recover from missteps, and adapt to complications, to eventually grow and succeed. Were the founders full-time from the beginning? How long did it take them to build a working prototype? How many end-users did they have in the first year? The answers to these questions are of interest to those who are just starting out and want to learn by example. Collected from interviews with the founders themselves, author JP Silva answers these questions and reveals how each of the startups charted their paths to success. Startups in Action is equal parts inspirational and practical, providing guidance through a foundation of relatability to help cope with situations and surprises experienced during a startup’s first year. Startup discourse is rife with myths and oversimplification. Cut through the noise and learn the events, actions, and counteractions only attainable from the founders themselves. As more and more aspiring entrepreneurs are about to start their journeys, the value of knowledge about difficult choices and obstacles that companies face in their first year is critical. With Startups in Action, you will benefit from the invaluable knowledge of experience and be prepared to face the challenges of building a successful startup. What You Will Learn Acquire critical insights from the most successful startups, easily available and collated in one bookCompare and contrast the first year journey of your startup with that of giants such as Etsy, StubHub, Fiverr, and moreLearn how to build better startups by understanding what you should or should not do Who This Book Is For This book is for new and aspiring founders, and those curious to learn about the journeys of successful startups.
The Boone family: a genealogical history of the descendants of George and Mary Boone, who came to America in 1717. Containing many unpublished bits of early Kentucky history. Also a biografical sketch of Daniel Boone, the Pioneer by one of his descendant.
In this twisty psychological thriller from the New York Times bestselling author of The Girl Before, an actress plays both sides of a murder investigation. “[A] rich, nuanced, highly literary take on the Gone Girl theme.”—Booklist (starred review) Claire Wright is desperate. A British drama student in New York without a green card, she takes the only job she can get: working for a firm of divorce lawyers, posing as an easy pickup in hotel bars to entrap straying husbands. But then the game changes. When one of her targets becomes the suspect in a murder investigation, the police ask Claire to use her acting chops to lure him into a confession. From the start, she questions the part she’s being asked to play: Is Patrick Fogler a killer? Or is there more to this setup than she’s being told? Claire will soon realize she is playing the deadliest role of her life. Praise for Believe Me “For readers who enjoyed the paranoia factor in A. J. Finn’s The Woman in the Window or the unreliable narrator of Paula Hawkins’s The Girl on the Train.”—Library Journal “Produces a bobsled run’s worth of twists.” —Publishers Weekly “An intense, stylish psychological thriller.”—Good Housekeeping “A dark and haunting thriller . . . A superb evocation of conflicted emotions, this never lets you guess what’s coming next.”—Daily Mail “I so enjoyed it—what a twisty, exciting read.”—Sabine Durrant, author of Lie With Me
This well-known book reasserts the central importance of political and religious ideology in the origins of the English Civil War. Recent historiography has concentrated on its social and economic causes: Sommerville reminds us what the people of the time thought they were fighting about. Examining the main political theories in c.17th England - the Divine Right of Kings, government by consent, and the ancient constitution - he considers their impact on actual events. He draws on major political thinkers like Hobbes and Locke, but also on lesser but more representative figures, to explore what was new in these ideas and what was merely the common currency of the age. This major new edition incorporates all the latest thinking on the subject.
Thermodynamics: Fundamentals and Applications is a 2005 text for a first graduate course in Chemical Engineering. The focus is on macroscopic thermodynamics; discussions of modeling and molecular situations are integrated throughout. Underpinning this text is the knowledge that while thermodynamics describes natural phenomena, those descriptions are the products of creative, systematic minds. Nature unfolds without reference to human concepts of energy, entropy, or fugacity. Natural complexity can be organized and studied by thermodynamics methodology. The power of thermodynamics can be used to advantage if the fundamentals are understood. This text's emphasis is on fundamentals rather than modeling. Knowledge of the basics will enhance the ability to combine them with models when applying thermodynamics to practical situations. While the goal of an engineering education is to teach effective problem solving, this text never forgets the delight of discovery, the satisfaction of grasping intricate concepts, and the stimulation of the scholarly atmosphere.
For centuries, London theatre has celebrated a rich and influential history, and in 1976, the first volume of J. P. Wearing’s reference series provided scholars and other researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The London Stage 1900-1909 A Calendar of Productions, Performers, and Personnel, Second Edition provides a chronological calendar of London shows from January 1900 through December 1909. The volume chronicles more than 3,000 productions at 35 selected, major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and references to reviews. A comment section includes other interesting information, such as a plot description, the first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Candida, His House in Order, The Only Way, The Playboy of the Western World, Raffles (The Amateur Cracksman), and The Scarlet Pimpernel, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original, well-received calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are indexed fully by title, genre, and theatre. A general index also includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, ticket prices, or other relevant subjects. An authoritative reference providing essential details, this work will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Originally published in 1932, this book contains five essays on events during the reign of Pope Gregory VII, born Hildebrand of Sovana. Whitney also discusses the role played by Peter Damiani and Berengar of Tours in the dramatic political and religious events of the eleventh century. This book will be of value to anyone with an interest in church history and the role of the papacy in European history.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1930–1939: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1930 through December 1939. The volume chronicles more than 4,250 productions at 61 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Barretts of Wimpole Street, French without Tears, George and Margaret, The Greeks Had a Word for It, Laburnum Grove, Lady Precious Stream, The Late Christopher Bean, Love on the Dole, Me and My Girl, Private Lives, and 1066 and All That, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1930-1939 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1950–1959: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1950, through the 31st of December, 1959. The volume chronicles more than 3,100 productions at 52 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Look Back in Anger, One Way Pendulum, The Birthday Party, A Taste of Honey, Chicken Soup with Barley, Five Finger Exercise, The Hostage, and Waiting for Godot, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1950-1959 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of relevant newspapers and periodicals. This second edition of The London Stage 1910–1919: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1910 through December 1919. The volume chronicles more than 3,000 productions at 35 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and closing dates Number of performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as a plot description, first-night audience reception, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Chu Chin Chow, The Gaol Gate, Hindle Wakes, Justice, Kismet, Pygmalion, and Rebecca of Sunnybrook Farm, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information on adaptations and translations, plot sources, and comments—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1910–1919 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1940–1949: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1940 through December 1949. The volume chronicles more than 2,400 productions at 53 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Light of Heart, Mr. Bolfry, Perchance to Dream, Pacific 1860, Bless the Bride, The Lady’s Not for Burning, The Late Edwina Black, Outrageous Fortune, Seagulls over Sorrento, and Buoyant Billions, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1940-1949 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
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