In Britain at least, changes in the law are expected to be made by the enactment of statutes or the decision of cases by senior judges. Lawyers express opinions about the law but do not expect their opinions to form part of the law. It was not always so. This book explores the relationship between the opinions expressed by lawyers and the development of the law of Scotland in the century preceding the parliamentary union with England in 1707, when it was decided that the private law of Scotland was sufficiently distinctive and coherent to be worthy of preservation. Credit for this surprising decision, which has resulted in the survival of two separate legal systems in Britain, has often been given to the first Viscount Stair, whose Institutions of the Law of Scotland had appeared in a revised edition in 1693. The present book places Stair's treatise in historical context and asks whether it could have been his intention in writing to express the type of authoritative opinions that could have been used to consolidate the emerging law, and whether he could have been motivated in writing by a desire to clarify the relationship between the laws of Scotland and England. In doing so the book provides a fresh account of the literature and practice of Scots law in its formative period and at the same time sheds light on the background to the 1707 union. It will be of interest to legal historians and Scots lawyers, but it should also be accessible to lay readers who wish to know more about the law and legal history of Scotland
Few people may realize that Long Island is still home to American Indians, the region’s original inhabitants. One of the oldest reservations in the United States—the Poospatuck Reservation—is located in Suffolk County, the densely populated eastern extreme of the greater New York area. The Unkechaug Indians, known also by the name of their reservation, are recognized by the State of New York but not by the federal government. This narrative account—written by a noted authority on the Algonquin peoples of Long Island—is the first comprehensive history of the Unkechaug Indians. Drawing on archaeological and documentary sources, John A. Strong traces the story of the Unkechaugs from their ancestral past, predating the arrival of Europeans, to the present day. He describes their first encounters with British settlers, who introduced to New England’s indigenous peoples guns, blankets, cloth, metal tools, kettles, as well as disease and alcohol. Although granted a large reservation in perpetuity, the Unkechaugs were, like many Indian tribes, the victims of broken promises, and their landholdings diminished from several thousand acres to fifty-five. Despite their losses, the Unkechaugs have persisted in maintaining their cultural traditions and autonomy by taking measures to boost their economy, preserve their language, strengthen their communal bonds, and defend themselves against legal challenges. In early histories of Long Island, the Unkechaugs figured only as a colorful backdrop to celebratory stories of British settlement. Strong’s account, which includes extensive testimony from tribal members themselves, brings the Unkechaugs out of the shadows of history and establishes a permanent record of their struggle to survive as a distinct community.
Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that ’Your Best Provision’ for playing such music is a chest of old English viols, and he names five early English viol makers than which ’there are no Better in the World’. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.
Approaching the topic of civic activism on both a national and local level, Your America reveals essential lessons from twelve stories of ordinary citizens accomplishing extraordinary changes in their communities. Like Bill Graham, mayor of tiny Scottsburg, Indiana, who took on the telecommunications giants and wired his town for free wifi; or Katie Redford, a young law student who dusted off the Alien Tort Claims Act of 1789 and ended up changing the way American corporations behave overseas. Each profile is the result of a story on Now, the popular PBS show with a viewership of over 21⁄2 million people. For fans of the show, community activists, and the blogosphere, this book provides a blueprint for working together locally to create a better global community.
On March 31, 1943, the musical Oklahoma! premiered and the modern era of the Broadway musical was born. Since that time, the theatres of Broadway have staged hundreds of musicals--some more noteworthy than others, but all in their own way a part of American theatre history. With more than 750 entries, this comprehensive reference work provides information on every musical produced on Broadway since Oklahoma's 1943 debut. Each entry begins with a brief synopsis of the show, followed by a three-part history: first, the pre-Broadway story of the show, including out-of-town try-outs and Broadway previews; next, the Broadway run itself, with dates, theatres, and cast and crew, including replacements, chorus and understudies, songs, gossip, and notes on reviews and awards; and finally, post-Broadway information with a detailed list of later notable productions, along with important reviews and awards.
John Henry Newman (1801-90) was brought up in the Church of England in the Evangelical tradition. An Oxford graduate and Fellow of Oriel College, he was appointed Vicar of St Mary's Oxford in 1828; from 1839 onwards he began to have doubts about the claims of the Anglican Church and in 1845 he was received into the Roman Catholic Church. He was made a Cardinal in 1879. His influence on both the restoration of Roman Catholicism in England and the advance of Catholic ideas in the Church of England was profound. Volume VIII covers a turbulent period in Newman's life with the publication of Tract 90. His attempt to show the compatibility of the 39 Articles with Catholic doctrine caused a storm both in the University of Oxford and in the Church. He and others were horrified by the establishment of a joint Anglo-Prussian Bishopric in Jerusalem, considering it an attempt to give Apostolical succession to an heretical church. In 1842 he moved away from the hubbub of Oxford life to nearby Littlemore.
In the analytical introduction to the calendar, the authors discuss the physical characteristics and locations of the theatres; their acoustics and capacities; the Dublin theatre season; composition, administration, and management of the companies of performers; management styles and techniques; actors' contractual arrangements, conditions, and salaries; ticket prices; benefit and command performances; the composition of the repertory; costumes, scenery, wardrobe, and machinery, and much else. Special attention is paid to areas that have been neglected by previous histories, such as dance and dancers, and prologues and epilogues.
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