John R Leigh, born in Bolton, Lancashire, and educated in Cambridge, was musical, mathematical, scientific and literary. At school in the 1930s, his headmaster told him there would be no more wars and no need for more scientists. His life then ranged first from languages teacher, radar technician and RAF flight lieutenant in WWII, to marriage with a talented and literary American wife. After the war, John changed career to retrain in engineering—for a married man, a brave decision. Over the years, the keen theatre-going couple saw many diverse plays. Convinced that he had found an original approach to seeing Shakespearean dramas, he spent happy years describing and refining his thoughts: what ideas, prejudices and religious beliefs would surface in the minds of Shakespeare’s own audience, the groundlings and nobles? In our day, we cannot help but react with our own beliefs and social customs; yet in Globe Theatre, how would people have responded to seeing a ghost in the early sixteenth century? Rather differently than nowadays, John thought. (Hamlet studies form the greater part of his collected work.) Suppose you were seeing Hamlet for the first time: hence the title ‘The Naïve Shakespearean’.
John R Leigh, born in Bolton, Lancashire, and educated in Cambridge, was musical, mathematical, scientific and literary. At school in the 1930s, his headmaster told him there would be no more wars and no need for more scientists. His life then ranged first from languages teacher, radar technician and RAF flight lieutenant in WWII, to marriage with a talented and literary American wife. After the war, John changed career to retrain in engineering—for a married man, a brave decision. Over the years, the keen theatre-going couple saw many diverse plays. Convinced that he had found an original approach to seeing Shakespearean dramas, he spent happy years describing and refining his thoughts: what ideas, prejudices and religious beliefs would surface in the minds of Shakespeare’s own audience, the groundlings and nobles? In our day, we cannot help but react with our own beliefs and social customs; yet in Globe Theatre, how would people have responded to seeing a ghost in the early sixteenth century? Rather differently than nowadays, John thought. (Hamlet studies form the greater part of his collected work.) Suppose you were seeing Hamlet for the first time: hence the title ‘The Naïve Shakespearean’.
The planning for the conference held at Erice, Sicily, in November 1977, began with discussions among oceanographers from several countries on the need to consider the special problems and the recent results in the study of plankton "patchiness. " An approach to the Marine Sciences Panel of the NATO Science Committee resulted in a planning grant to determine the probable content and participation in such a meeting. The planning group consisted of B. Battaglia (Padua), G. E. B. Kullenberg (Copenhagen), A. Okubo (New York), T. Platt (Halifax, Nova Scotia) and J. H. Steele (Aberdeen). The group met in Aberdeen, Scotland, in September 1976. The proposal for a NATO School on the subject of "Spatial Pattern in Plankton Communities" was accepted by the Marine Science Panel and it was agreed that it be held at the Ettore Majorana Centre for Scientific Culture in Erice. The Centre began in 1963 with an International School of Subnuclear Physics and has since developed to include courses in many other subjects which cover various fields of basic and applied research. The original aim of the . Centre was to create, in Italy, a cultural forum of high scientific standard which would allow young research workers to appreciate problems currently of major interest in various fields of research.
Abandoning the Black Hero is the first book to examine the postwar African American white-life novel—novels with white protagonists written by African Americans. These fascinating works have been understudied despite having been written by such defining figures in the tradition as Richard Wright, Zora Neale Hurston, James Baldwin, Ann Petry, and Chester Himes, as well as lesser known but formerly best-selling authors Willard Motley and Frank Yerby. John C. Charles argues that these fictions have been overlooked because they deviate from two critical suppositions: that black literature is always about black life and that when it represents whiteness, it must attack white supremacy. The authors are, however, quite sympathetic in the treatment of their white protagonists, which Charles contends should be read not as a failure of racial pride but instead as a strategy for claiming creative freedom, expansive moral authority, and critical agency. In an era when “Negro writers” were expected to protest, their sympathetic treatment of white suffering grants these authors a degree of racial privacy previously unavailable to them. White writers, after all, have the privilege of racial privacy because they are never pressured to write only about white life. Charles reveals that the freedom to abandon the “Negro problem” encouraged these authors to explore a range of new genres and themes, generating a strikingly diverse body of novels that significantly revise our understanding of mid-twentieth-century black writing.
lt is a tremendous achievement to have provided this highly comprehensive but readable text, which informs such a large group of researchers and clinicians." Christopher Kennard, PhD, FRCP, FMedSci, Professor of Clinical Neurology, Head, Nuffield Department of Clinical Neurosciences, University of Oxford, John Radcliffe Hospital, Oxford, United Kingdom. "A monograph written with deep knowledge, understanding, wisdom, clarity, intelligibility - the superlatives could go on and on... A remarkable achievement and a great gift to all of us from the two modern giants of eye movement disorders." Michael Halmagyi, MD, Eye and Ear Research Unit, Neurology Department, Royal Prince Alfred Hospital, The University of Sydney, Australia. "The fifth edition of The Neurology of Eye Movements is a must for all neurologists and neuroscientists interested in how the human vestibular and oculomotor systems adapt to movement in space and to optimally viewing the world and its contents." Louis R. Caplan, MD, Department of Neurology, Beth Israel Deaconess Medical Center, Harvard Medical School, Boston, Massachusetts.
Derived from the full Oxford Dictionary of Opera, this is the most authoritative and up-to-date dictionary of opera available in paperback. Fully revised for this new edition, with over 3,500 entries, it is designed to be accessible to all those who enjoy opera, whether at the opera-house oron record. * Composers and their works * Singers and their notable performances * Plot summaries and separate entries for well-known roles, arias, and choruses * Leading conductors, producers, and designers * Opera companies and festivals
What should historians do with the words of the dead? Inquisition and Power reformulates the historiography of heresy and the inquisition by focusing on depositions taken from the Cathars, a religious sect that opposed the Catholic church and took root in southern France during the twelfth century. Despite the fact that these depositions were spoken in the vernacular, but recorded in Latin in the third person and rewritten in the past tense, historians have often taken these accounts as verbatim transcriptions of personal testimony. This belief has prompted some historians, including E. Le Roy Ladurie, to go so far as to retranslate the testimonies into the first-person. These testimonies have been a long source of controversy for historians and scholars of the Middle Ages. Arnold enters current theoretical debates about subjectivity and the nature of power to develop reading strategies that will permit a more nuanced reinterpretation of these documents of interrogation. Rather than seeking to recover the true voice of the Cathars from behind the inquisitor's framework, this book shows how the historian is better served by analyzing texts as sites of competing discourses that construct and position a variety of subjectivities. In this critically informed history, Arnold suggests that what we do with the voices of history in fact has as much to do with ourselves as with those we seek to 'rescue' from the silences of past.
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