From the shores of the St Lawrence River, to the ones of the Atlantic Ocean, through those of the Mexican Gulf, partake in a 7,000 km long visual journey across North-America. Travel through 17 States and 2 Canadian Provinces and partake in a unique journey across the land of the free. Partake in this adventure, and escape for a moment through the photographs. *** After driving across 17 US States, Jp Valery is releasing his first photography ebook. The 126-pages debut work recounts the road trip performed by two friends from Montréal, to New-Orleans, to Washington. 17 states in 13 days for an unforgettable experience, now available for the grand public to discover. Jp envisions a natural photography. Thus, all pictures present in his book are not retouched, not cropped, not photoshopped, not modified, not reverted or rotated, and not staged.
As the fogs of Fall roll in on the New England shores and a unique atmosphere settles in the birthplace of the United States of America, navigate the Mystic Mists of Massachusetts through 58 photographs captured during a weekend of October 2018.
From the shores of the St Lawrence River, to the ones of the Atlantic Ocean, through those of the Mexican Gulf, partake in a 7,000 km long visual journey across North-America. Travel through 17 States and 2 Canadian Provinces and partake in a unique journey across the land of the free. Partake in this adventure, and escape for a moment through the photographs. *** After driving across 17 US States, Jp Valery is releasing his first photography ebook. The 126-pages debut work recounts the road trip performed by two friends from Montréal, to New-Orleans, to Washington. 17 states in 13 days for an unforgettable experience, now available for the grand public to discover. Jp envisions a natural photography. Thus, all pictures present in his book are not retouched, not cropped, not photoshopped, not modified, not reverted or rotated, and not staged.
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 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 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.
This is a reissue of Professor Stern's distinguished study of German prose from the death of Goethe to the heyday of the Wilhelminian Empire. Professor Stern argues that nineteenth-century German prose is characterized by a particular combination of the prophetic and the archaic, of the existential and the parochial, and is only partially and sometimes not at all related to the social and political realities of the age. In this sense, German literature of the period stands apart from the main stream of European realism and has, for that reason, received little attention from the common reader outside its own country. The book contains studies of Goethe, Grillparzer, Büchner, Schopenhauer, Heine, Stifter and Fontane, all of whom re-interpreted the world from points of view other than that of the common and commonly explored social certainties of their age. Consequently, Professor Stern suggests alternative criteria to the common notion of realism with which to asses their work.
A Conversation with Ambassador Walter Curley recounts the ambassador's early years and education, his roles in business and two presidential campaigns, and his service to the United States as a Marine Corps officer during World War II and in two appointments as ambassador. From dealing with the Soviets during the Cold War to coaxing cooperation from reluctant French officials and conducting relations with such historic figures as Chiang Kai-Shek, Francois Mitterrand, and Valery Giscard d Estaing, Ambassador Curley provides first-hand insights into the challenges that confront our nation's representatives abroad.
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.
An introduction to magnetohydrodynamics combining theory with advanced topics including the applications of plasma physics to thermonuclear fusion and plasma astrophysics.
Mark J.P. Wolf’s study of imaginary worlds theorizes world-building within and across media, including literature, comics, film, radio, television, board games, video games, the Internet, and more. Building Imaginary Worlds departs from prior approaches to imaginary worlds that focused mainly on narrative, medium, or genre, and instead considers imaginary worlds as dynamic entities in and of themselves. Wolf argues that imaginary worlds—which are often transnarrative, transmedial, and transauthorial in nature—are compelling objects of inquiry for Media Studies. Chapters touch on: a theoretical analysis of how world-building extends beyond storytelling, the engagement of the audience, and the way worlds are conceptualized and experienced a history of imaginary worlds that follows their development over three millennia from the fictional islands of Homer’s Odyssey to the present internarrative theory examining how narratives set in the same world can interact and relate to one another an examination of transmedial growth and adaptation, and what happens when worlds make the jump between media an analysis of the transauthorial nature of imaginary worlds, the resulting concentric circles of authorship, and related topics of canonicity, participatory worlds, and subcreation’s relationship with divine Creation Building Imaginary Worlds also provides the scholar of imaginary worlds with a glossary of terms and a detailed timeline that spans three millennia and more than 1,400 imaginary worlds, listing their names, creators, and the works in which they first appeared.
Commentators often see wide differences between policy as they consider how it should be conducted and how it actually emerges. Those who are involved in making trade policy, for their part, commonly accuse commentators of 'not living in the real world'. There is often a dialogue of the deaf. Part of Mr. Hayes' object has been to try to build bridges between practitioners and commentators, with suggestions for ways of improving the policy-making process in the future.'Hugh Corbet, Consultant, Trade Policy Research Centre, London. The external trade policies of the European Community are of great importance, both for its own people and for trading partners in the remainder of the world. Yet the processes by which the European Community of twelve countries attempts to reach agreement have remained somewhat mysterious. What has been the relative influence of principles of policy and of various political, bureaucratic and private interests, at both the Community and the national levels? This volume is based on a number of case-studies, and also contains chapters on the formation of attitudes to trade policy in three of the largest countries of the Community, Germany, France and the United Kingdom.
My quest for an answer to the riddle of President Kennedys assassination first began in April 1967 following a talk given by Warren Commission critic and best-selling author, Mark Lane at Michigan State University where I was a graduate student. My search has lasted well over twenty years. Gathering every scrap of information I could find on the assassination, I have arrived at what I believe is the most credible thesis to date. As a result of meticulous research, I am able to identify probable suspects in what I have come to believe was a far-reaching conspiracy which involved not only renegade elements from the CIA and organized crime figures, but one which extended to the highest echelons of the U. S. government. By pulling together existing knowledge of the assassination, while introducing new evidence, my book focuses primarily on six main principals (persons of interest), their motives and their activities in relation to the assassination and the links that connect them: 1. LEE HARVEY OSWALD: Accused by the Warren Commission In 1964 of being the sole assassin of President Kennedy. 2. JACK RUBY: Dallas night-club owner who, two days following the Presidents assassination, shot and killed Oswald. 3. CARLOS MARCELLO: Reputed crime boss of the New Orleans- Dallas Mafia during the time of the assassination. 4. GENERAL CHARLES PEARE CABELL: Deputy Director of the CIA from 1953 to 1962 when he was dismissed by President Kennedy along with other high-ranking intelligence officials for the failure of the Bay of Pigs invasion. 5. EARLE CABELL: Younger brother of General Charles P. Cabell who was Mayor of Dallas the day President Kennedy was assassinated. 6. FRED KORTH: Fort Worth businessman and banker who was Secretary of the Navy from 1962 to October 1963 when he was forced by President Kennedy to resign for his involvement in the TFX controversy. As to the motives of those individuals involved in the Presidents murder, I believe that the assassination was planned and carried out with a dual purpose in mind: 1. as an act of vengeance by those ex-high government officials who were dismissed by the President either for alleged wrongdoing as in the case of Fred Korth, or for incompetence as in General Cabells case. 2. to prevent the Presidents domestic and foreign policies- particularly in reference to his stand on the Vietnam conflict- from being implemented. Viewed in this light, the assassination of President Kennedy was an act of retribution by a group of mean-spirited, vengeance-seeking individuals who acted in the misguided belief that by assassinating this president they were furthering the national interest. Notwithstanding his immense popularity with the American people, President Kennedy was perceived by his killers to be a clear and present danger to the country and to its interests at home and abroad for several reasonsfor his stand on civil rights and racial equality; for his attempt to closely regulate the oil and gas industry; for his desire to normalize relations with Cuba; for his desire to ease tensions between the superpowers through a reduction in armaments; for his crackdown on organized crime; for his stated intention to withdraw U.S. forces from Vietnam. Removing him from office by political murder, therefore, excused his killers in their own eyes from any wrongdoing, for by killing this President, they were convinced that they were acting in the national interest against the seemingly dangerous policies of a chief executive who, if allowed to finish his presidency, would lead the nation to ruin. A wise mind will never censure anyone for having employed any extraordinary means for {preserving} a kingdom. Believing, like Machiavelli, that they were acting to preserve and maint
This is the only book to cover toxoplasmosis of animals and humans thoroughly in one single source. Found worldwide from Alaska to Australasia, Toxoplasma gondii is the cause of one of the most common parasitic infections in humans, livestock, companion animals, and wildlife, and is included on the list of potential bioterrorism microbes. Furthermore, T. gondii has been and continues to be used extensively as a model for the cell biology of apicomplexan parasites. In the decade since the second edition of this book was published, there has been an explosion of knowledge concerning the parasite Toxoplasma gondii and toxoplasmosis. This update provides unique information on all known host types for this parasite, with an additional chapter on history, substantial updates throughout, and a detailed focus on the biology of the parasite in Chapter 2. The third edition is compiled by author JP Dubey, an authority on T. gondii who has worked with virtually all hosts of the protozoan during the last 55 years, including humans, all livestock species, wildlife, and zoo animals. The book distills the voluminous and potentially confusing scientific literature, that has grown geometrically in the 30+ years since the publication of the first edition, into a comprehensive resource for all professionals, graduate students and researchers working in this field.
Following on from the companion volume Principles of Magnetohydrodynamics, this textbook analyzes the applications of plasma physics to thermonuclear fusion and plasma astrophysics from the single viewpoint of MHD. This approach turns out to be ever more powerful when applied to streaming plasmas (the vast majority of visible matter in the Universe), toroidal plasmas (the most promising approach to fusion energy), and nonlinear dynamics (where it all comes together with modern computational techniques and extreme transonic and relativistic plasma flows). The textbook interweaves theory and explicit calculations of waves and instabilities of streaming plasmas in complex magnetic geometries. It is ideally suited to advanced undergraduate and graduate courses in plasma physics and astrophysics.
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.
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.
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.
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. Spanning 1890 through the 1950s, all seven volumes of The London Stage series have been revised, corrected, and expanded. In addition, approximately 20 percent of the material—in particular, information about adaptations and translations, plot sources, and comment information—is new. Although each volume contains indexes specific to that decade, The London Stage 1890–1959: Accumulated Indexes combines all of the indexes into one comprehensive resource for more efficient research. For example, those wishing to locate all the references to a particular actor, play, or theatre whose history spanned more than one decade will find all of the entries listed in this set. This set includes four key indexes: general, genre, theatre, and title. The general index consists of numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. With approximately 40,000 people listed, this is the largest single source of theatrical personnel on the London stage during this period. The genre index comprises all entries for production types, including comedies, dramas, farces, and tragedies, as well as ballets, operas, adaptations, foreign works, pantomimes, and translations. The theatre index features every building to stage a production, from the Adelphi to Wyndham’s. The title index cites 14,000 productions, identifying every work produced on stage from Domestic Economy in January 1890 to When in Rome in December 1959. As a supplement to the individual volumes, The London Stage 1890–1959: Accumulated Indexes will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Make the jump to NetWare 5 with the proper support system -- an updated edition of the best-selling Novell's Administrator's Handbook series written by award-winning author Kelley J. P. Lindberg. Novell's NetWare 5 Administrator's Handbook is the unrivaled authority for serious NetWare administrators. Novell's NetWare 5 Administrator's Handbook covers Novell Directory Services(r), installation and configuration, Novell Distributed Print Services, Z.E.N.works, and Netscape FastTrack Server for NetWare. Lindberg, the former senior program manager for NetWare and intraNetWare, provides quick, clear answers on security issues, performance monitoring, Windows clients, upgrade procedures, disaster planning, protocols, architectures, and much more. Novell's NetWare 5 Administrator's Handbook also features time-saving worksheets, tables, and step-by-step instructions that are all designed to enhance your NetWare mastery.
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