Mandell Creighton (1843-1901) was a famous historian and the first editor of the English Historical Review. His intelligence and energy made an impression upon everyone he met. Admired by Queen Victoria, only his untimely death stopped him becoming Archbishop of Canterbury. His wife Louise (1850 -1936) was a prolific historian in her own right. Her strength of character and organisational ability made her a natural leader of Victorian women's movements. The writings of this remarkable couple, especially their letters, reveal their relationships with each other and with their seven children, their work and home life, their servants, houses, holidays in Italy, and the pleasures of their lives together.
A comprehensive and detailed examination of the law of evidence in the broadest of civil and criminal contexts. The emphasis is upon rigorous examination of the issues affecting all who work with the law of evidence whether in court, chamber practice or legal education. The fifth edition takes account of a range of relevant new legislation, including the following statutes: · Vulnerable Witnesses (Criminal Evidence) (Scotland) Act 2019 · Domestic Abuse (Scotland) Act 2018 · Abusive Behaviour and Sexual Harm (Scotland) Act 2016 · Inquiries into Fatal Accidents and Sudden Deaths etc (Scotland) Act 2016 · Criminal Justice (Scotland) Act 2016 It includes relevant case law, including significant developments in respect of opinion evidence, real evidence and corroboration.
In the decades following World War II, artists and designers developed the land art movement, consisting of outdoor artworks that can exist only in a specific place. Major works within this genre include Walter De Maria's Lightning Field (1977) located on an isolated high-desert plain in New Mexico; Robert Smithson's Spiral Jetty (1970) in the Great Salt Lake, the concrete cylinders of Nancy Holt's Sun Tunnels (1976), located in the Great Basin Desert in Utah; and other projects that nestle into environments ranging from open fields to concrete cityscapes. These works are typically depicted as they were when originally constructed. Yet their environmental contexts have transformed due to weather, agriculture, climate change, land-use policy, and more. In Second Site, James Nisbet presents the first sustained argument on how to account for the passage of time and environmental change in site-specific artworks, ranging from Richard Serra's Shift (1970)-whose initial small-farm-setting is now a growing exurb of Toronto-to Ant Farm's Cadillac Ranch (1974) and Nancy Holt's Dark Star Park (1984). Nisbet argues for an ecological reading of the artworks' environments, and coins the term "second site" to argue that manmade artworks and non-living things have their own durations but co-exist in the continuous experience of an environment. Any single photograph or experience of a site can provide only one view of an ever-changing existence. Nisbet advocates for new methods of evaluation, conservation, and depiction in order to "read" the content of these sites of time. In doing so, he uses site-specific artworks to help understand what it means for humans and their cultural production to live in an ecologically volatile world"--
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