In two volumes. Volume I: 601 pages including a 522 page index of family names, in alphabetical order, describing the crest of every name listed and where to find an illustration in the volume of plates; a glossary of heraldic terms and other words; and nearly seventy pages of family mottoes with translations of those in Latin, French or other foreign languages. Volume II: contains 130 plates, each depicting 15 family crests in b&w and a further 18 plates illustrating regalia, insignia, crowns, flags, monograms, arms of principal cities etc. also in b&w. There is a key to all the plates which, in the case of the crests, shows which families have which crest.
With no formal training as an actor, Welsh-born Ray Milland (1907-1986), a former trooper in the British Army's Household Cavalry, enjoyed a half-century career working alongside some of the great directors and stars from the Golden Age of cinema. He won the Academy Award for Best Actor for his performance as the alcoholic writer in The Lost Weekend (1945), a defining moment that enabled him to break free from romantic leads and explore darker shades of his debonair demeanor, such as the veiled menace of his scheming husband in Hitchcock's Dial M For Murder (1954). A consummate professional with wide range, Milland took the directorial reins in several of his starring vehicles in the 1950s, most notably in the intelligent Western A Man Alone (1955). He comfortably slipped into most genres, from romantic comedy to adventure to film noir. Later he turned to science fiction and horror movies, including two with cult filmmaker Roger Corman. This first complete filmography covers the actor's screen career, with a concise introductory biography and an appendix listing his extensive radio and television credits.
This set includes all three books of the John Smyth Mysteries series: Who's Grace?, Desolation Highway, and Mountaintop Drive. In Who's Grace?, James Coggins presents a fast-paced murder mystery with a twist. A Christian magazine editor named John Smyth witnesses a murder through the window of an airplane as it descends for a landing in Winnipeg, Canada. Neither the city police nor the RCMP (Mounties) take his tip seriously until an unidentified woman's body turns up in some nearby woods two weeks later. The only clue to her identity is a necklace with a pendant bearing the name 'Grace.' Who is she, and where is her killer? As the case twists and turns, everyone involved gets to see clear evidence of the grace of God. In Desolation Highway, two bodies are found in the forest near the Yellowhead Highway in northern British Columbia, prompting Sergeant Wesson and other members of the local detachment of the Royal Canadian Mounted Police to begin searching for a serial murderer. Suspects include a woodsman who makes wildlife sculptures using a chainsaw, an antisocial doctor, a strange woman engaged in occult practices, and a group of Native youth addicted to gasoline sniffing. As more dismembered bodies turn up, John Smyth, editor of Grace magazine in Winnipeg, visits the area and starts putting pieces of the puzzle together. In Mountaintop Drive, it is just like a second honeymoon when diminutive editor John Smyth and his wife, Ruby, are invited to stay in a beautiful mountaintop house while attending a church convention in Canada's "Bible Belt." Everything seems perfect--until the woman next door is murdered. Has trouble from the impoverished streets of old Abbotsford invaded the upscale community of Mountaintop Drive?
Fast paced murder mystery with a twist. A Christian magazine editor named John Smyth witnesses a murder through the window of an airplane as it descends for a landing in Winnipeg, Canada. Neither the city police nor the RCMP (Mounties) take his tip seriously until an unidentified woman's body turns up in some nearby woods two weeks later. The only clue to her identity is a necklace with a pendant bearing the name 'Grace.' Who is she, and where is her killer? As the case twists and turns, everyone involved gets to see clear evidence of the grace of God.
This text explores how self-consciousness and self-understanding differ phenomenologically from the experience and comprehension of others, and the extent to which such relations are constitutively interdependent. Jardine argues that Husserl’s analyses of selfhood and intersubjectivity are animated by the question of what's at stake in recognising an agent’s engagement as the situated response of a person, rather than simply as the comportment of an animal or living body. Drawing centrally from the freshly excavated Ideas II drafts and manuscripts, the author develops Husserl’s often fragmentary investigations of attention, habit, emotion, freedom, the common world, and action, and considers their implications for subjectivity and the experience of others. Empathy, Embodiment, and the Person also brings Husserlian phenomenology into dialogue with twenty-first century philosophical concerns, from accounts of selfhood and agency from analytic philosophy to the treatment of social experience in critical theory. The book shows the reader that transcendental phenomenology can be rejuvenated by engaging with a broader philosophical landscape and will appeal to researchers, students, and instructors in the field.
Neil Young is one of rock and roll’s most important, influential and enigmatic figures, an intensely reticent artist who has granted no writer access to his inner sanctum -- until now. In Shakey, Jimmy McDonough tells the whole story of Young’s incredible life and career: from his childhood in Canada to the founding of folk-rock pioneers Buffalo Springfield; to the bleary conglomeration of Crazy Horse and simultaneous monstrous success of Crosby, Stills, Nash & Young; to the depths of the Tonight’s the Night depravity and the strange changes of the Geffen years; and Young’s unprecedented nineties “comeback” with Ragged Glory and Harvest Moon. No detail is spared -- not the sex, drugs, relationships, breakups, births, deaths, nor the variety of chameleon-like transformations that have enabled Young to remain one of the most revered musical forces of our time. Shakey (the title refers to one of Young’s many aliases) is not only a detailed chronicle of the rock era told through the life of one uncompromising artist, but the compelling human story of a lonely kid for whom music was the only outlet; a driven yet tortured figure who learned to control his epilepsy via “mind over matter”; an oddly passionate model train mogul who -- inspired by his own son’s struggle with cerebral palsy -- became a major activist in the quest to help those with the condition. Based on interviews with hundreds of Young’s associates (many speaking freely for the first time), as well as extensive exclusive interviews with Young himself, Shakey is a story told through the interwoven voices of McDonough -- biographer, critic, historian, obsessive fan -- and the ever-cantankerous (but slyly funny) Young himself, who puts his biographer through some unforgettable paces while answering the question: Is it better to burn out than to fade away?
Film historian James Chapman has mined Hitchcock's own papers to investigate fully for the first time the spy thrillers of the world's most famous filmmaker. Hitchcock made his name as director of the spy movie. He returned repeatedly to the genre from the British classics of the 1930s, including The 39 Steps and The Lady Vanishes, through wartime Hollywood films Foreign Correspondent and Saboteur to the Cold War tracts North by Northwest, Torn Curtain and his unmade film The Short Night. Chapman's close reading of these films demonstrates the development of Hitchcock's own style as well as how the spy genre as a whole responded to changing political and cultural contexts from the threat of Nazism in the 1930s and 40s to the atom spies and double agents of the post-war world.
On Monday 19 September 1803, the most significant trial in the history of Ireland took place in Dublin. At the dock stood a twenty-five year old former Trinity College student and doctor’s son. His name was Robert Emmet and he was standing trial for heading a rebellion on 23 July 1803. The iconic power of Robert Emmet in Irish history cannot be overstated. Emmet looms large in narratives of the past, yet the rebellion, which he led, remains to be fully contextualised. Patterson’s book repairs this omission and explains the complex process of politicisation and revolutionary activity extending into the 1800s. He details the radicalisation of the grass roots, their para-militarism and engagement in secret societies. Drawing on an intriguing range of sources, Patterson offers a comprehensive insight into a relatively neglected period of history. This work is of particular significance to undergraduate and post-graduate students and lecturers of Irish history.
In this new edition of Licence To Thrill, James Chapman builds upon the success of his classic work, regarded as the definitive scholarly study of the history of the James Bond film series from the first picture, Dr No (1962), to the present. He considers the origins of the films in the spy thrillers of Ian Fleming and examines the production histories of the films in the contexts of the British and international film industries. This edition includes a new introduction and chapters on Quantum of Solace (2008), Skyfall (2012), Spectre (2015) and No Time to Die (2021). Chapman explores how the films have changed over time in response to developments in the wider film culture and society at large. He charts the ever-evolving Bond formula, analysing the films' representations of nationhood, class, and gender in a constantly shifting cinematic and ideological landscape.
This definitive work lists over 5,500 arms recorded in the official heraldic Public Register of Scotland. This is the authentic Register of Arms for Scotland since, according to Scottish law, no persons of Scottish descent whose arms are not registered in the Public Register have a right to armorial bearings unless they can prove that they represent families whose arms are known to have been in existence previous to 1672. The "Ordinary" contains coats of arms systematically grouped under their component parts to enable the searcher to ascertain to whom an unnamed coat of arms belongs. At the same time, the arms of particular families can be found by consulting the extensive index. The information given in each entry includes a description of the arms, the name of the holder, and the date of registration.
James Denney is now best known, though in increasingly restricted circles, for his book The Death of Christ, considered for over a century a lucid and standard exposition of objective atonement understood in substitutionary terms. However, there is breadth and depth to Denney's thought, a richness and passion in his theological work, an attractive integrity and spiritual immediacy in his writing, that resists any reducing of his legacy to that of being an apologist for one aspect of Christian doctrine. By exploring his early years growing up in Greenock, Scotland, following his intellectual development through university and college years in Glasgow, and considering the impact of a long pastoral ministry in Broughty Ferry, Dundee, a context is created for studying the mind, personality and faith that informed his mature theological writing. For twenty years, from 1897Ð1917, he taught biblical theology and exegesis in his denominational College in Glasgow, developing his theology through articulation, and then exploring and expounding the gospel of Christ as first and originally expressed in the apostolic experience and testimony embedded in the New Testament documents. The theological work of Denney, taken as a whole, was both intellectually engaged and ecclesially focused, as he sought to construct a secure basis for biblical faith. His theology was offered in the service of the church, his learning a self-conscious discipleship of the intellect. This is the major study of Denney to use the large corpus of Denney's unpublished theological papers and sermons held in New College Library, in the University of Edinburgh. These, together with Denney's published work, and wider biographical research, form the basis of this study, an intellectual and contextual biography of one of Scotland's most attractive and forceful theological personalities.
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