A Gilbert is of no use without a Sullivan.' With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sullivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards . Offering previously-unpublished draft libretti and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan.
A Gilbert is of no use without a Sullivan.' With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sullivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards . Offering previously-unpublished draft libretti and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan.
The Correspondence of Michael Faraday Michael Faraday (1791-1867) was one of the most important men of science in nineteenth century Britain. His discoveries of electro-magnetic rotations (1821) and electro-magnetic induction (1831) laid the foundations of the modern electrical industry. His discovery of the magneto-optical effect and diamagnetism (1845) led him to formulate the field theory of electro-magnetism, which forms one of the cornerstones of modern physics. These and a whole host of other fundamental discoveries in physics and chemistry, together with his lecturing at the Royal Institution, his work for the state (including Trinity House), his religious beliefs and his lack of mathematical ability, make Faraday one of the most fascinating scientific figures ever. All these aspects of his life and work and others, such as his health, are reflected in his letters which, in this final volume, cover Faraday's life to his death in August 1867. Also published here are letters that could not be dated and letters that should have been included in volumes one to five but which had not been located when those volumes were published. In total just over 80% of the letters in this volume are previously unpublished. The dominant topic of the 1860s (covered in nearly 40% of the letters) is Faraday's involvement with the lighthouse service relating in particular to his advice to Trinity House and the Board of Trade on matters such as electric light and the controversial issue of fog signals. Also detailed is the complex process by which his various posts were transferred to John Tyndall. Similar issues existed with Faraday's gradual withdrawal from his duties at the Royal Institution, including the misguided attempt to make him President. And, of course, running through many of the letters are comments on his declining health and impending death. Major correspondents include the Astronomer Royal G.B. Airy, the Secretary of Trinity House P.H. Berthon, the Birmingham glassmaker J.T. Chance, the Assistant Secretary of the Board of Trade T.H. Farrer, the German mathematician Julius Plü cker, the Cambridge trained mathematical natural philosophers James Clerk Maxwell and William Thomson, Faraday's colleagues at the Royal Institution Henry Bence Jones, John Tyndall and Benjamin Vincent, the Swiss chemist Christian Schoenbein and the astronomer James South.
Many believe Max SteinerÕs score for King Kong (1933) was the first important attempt at integrating background music into sound film, but a closer look at the industryÕs early sound era (1926Ð1934) reveals a more extended and fascinating story. Viewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in HollywoodÕs initial development, recasting the history of film sound and its relationship to the ÒGolden AgeÓ of film music (1935Ð1950). Slowik follows filmmakersÕ shifting combinations of sound and image, recapturing the volatility of this era and the variety of film music strategies that were tested, abandoned, and kept. He explores early film music experiments and accompaniment practices in opera, melodrama, musicals, radio, and silent films and discusses the impact of the advent of synchronized dialogue. He concludes with a reassessment of King Kong and its groundbreaking approach to film music, challenging the filmÕs place and importance in the timeline of sound achievement.
(series copy)These encyclopedic companions are browsable, invaluable individual guides to authors and their works. Useful for students, but written with the general reader in mind, they are clear, concise, accessible, and supply the basic cultural, historical, biographical and critical information so crucial toan appreciation and enjoyment of the primary works. Each is arranged in an A-Z fashion and presents and explains the terms, people, places, and concepts encountered in the literary worlds of James Joyce, Mark Twain, and Virginia Woolf.As a keen explorer of the mundane material of everyday life, James Joyce ranks high in the canon of modernist writers. He is arguably the most influential writer of the twentieth-century, and may be the most read, studied, and taught of all modern writers. The James Joyce A-Z is the ideal companionto Joyce's life and work. Over 800 concise entries relating to all aspects of Joyce are gathered here in one easy-to-use volume of impressive scope.
Examines the life and writings of James Joyce, including a biographical sketch, detailed synopses of his works, social and historical influences, and more.
Hitler looks behind the image of the dictator and explores his childhood, his military service during World War I, his artistic aspirations, the formation of his political and religious views, his troubled love life, his rise to power and his life as leader of the Third Reich.
Henry James Framed is a cultural history of Henry James as a work of art. Throughout his life, James demonstrated an abiding interest in—some would say an obsession with—the visual arts. In his most influential testaments about the art of fiction, James frequently invoked a deeply felt analogy between imaginative writing and painting. At a time when having a photographic carte de visite was an expected social commonplace, James detested the necessity of replenishing his supply or of distributing his autographed image to well-wishing friends and imploring readers. Yet for a man who set the highest premium on personal privacy, James seems to have had few reservations about serving as a model for artists in other media and sat for his portrait a remarkable number of twenty-four times. Surprisingly few James scholars have brought into primary focus those occasions when the author was not writing about art but instead became art himself, through the creative expression of another’s talent. To better understand the twenty-four occasions he sat for others to represent him, Michael Anesko reconstructs the specific contexts for these works’ coming into being, assesses James’s relationships with his artists and patrons, documents his judgments concerning the objects produced, and, insofar as possible, traces the later provenance of each of them. James’s long-established intimacy with the studio world deepened his understanding of the complex relationship between the artist and his sitter. James insisted above all that a portrait was a revelation of two realities: the man whom it was the artist’s conscious effort to reveal and the artist, or interpreter, expressed in the very quality and temper of that effort. The product offered a double vision—the strongest dose of life that art could give, and the strongest dose of art that life could give.
This innovative account of the Gilbert and Sullivan partnership provides a unique insight into the experience of both attending and performing in the original productions of the most influential and enduring pieces of English-language musical theatre. In the 1870s, Savoy impresario Richard D’Oyly Carte astutely realized that a conscious move to respectability in a West End which, until then, had favored the racy delights of burlesque and French operetta, would attract a new, lucrative morally ‘decent’ audience. This book examines the commercial, material and human factors underlying the Victorian productions of the Savoy operas. Unusually for a book on ‘G&S’, it focuses on people and things rather than author biography or literary criticism. Examining theatre architecture, interior design, marketing, and typical audiences, as well as the working conditions and personal lives of the members of a Victorian theatre-company, ‘Respectable Capers’ explains how the Gilbert and Sullivan operas helped to transform the West End into the family-friendly ‘theatre land’ which still exists today.
Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds. Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays. The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe. Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.
A compelling history of the famous London club and its members' impact on Britain's scientific, creative, and official life When it was founded in 1824, the Athenæum broke the mold. Unlike in other preeminent clubs, its members were chosen on the basis of their achievements rather than on their background or political affiliation. Public rather than private life dominated the agenda. The club, with its tradition of hospitality to conflicting views, has attracted leading scientists, writers, artists, and intellectuals throughout its history, including Charles Darwin and Matthew Arnold, Edward Burne-Jones and Yehudi Menuhin, Winston Churchill and Gore Vidal. This book is not presented in the traditional, insular style of club histories, but devotes attention to the influence of Athenians on the scientific, creative, and official life of the nation. From the unwitting recruitment of a Cold War spy to the welcome admittance of women, this lively and original account explores the corridors and characters of the club; its wider political, intellectual, and cultural influence; and its recent reinvention.
In Electronic Business Communications, Mike Chesher and Ricky Kaura tell you all that you need to know about electronic commerce over the Internet. All the major topics are covered: - How electronic business communications can give you the edge over your competitors; - How you can develop effective business strategies for electronic commerce; - All you need to know about EDI/E-commerce Security concerns? What security concerns ̈ the Internet is open for business! - What are the E-commerce standards and why do they matter? - Making the most of trading via the Internet and value added networks; - Breakthroughs in Web-based EDI and Internet applications Information highway initiatives; - Lots of case studies are included. Anyone working in or coming into contact with the exciting world of business electronic communications will find something to interest them here.
The Thames Torso Murders have been overshadowed by Jack the Ripper and his crimes, but were just as brutal and gruesome. They began in 1887 in London's East End, just north of the Thames River in Rainham, England. The killer took one victim that year, another in 1888, and two more in 1889. He resumed his crimes in 1902, taking his last victim south of the Thames and leaving her body in a pile of dismembered parts as he had done with most of his other victims. This work delves deep into the case of the Thames Torso Murders. It begins with a look at London in the late 1800s, a time of great confusion and tremendous population increase, and the killer's path to London, which seems to include a murder in Paris in 1886. The book then examines in great detail each murder and the investigation that may have been hindered by the search for Jack the Ripper. It also raises the idea that Jack the Ripper and the Torso Murderer may have been the same man--Severin Klosowski, better known as George Chapman, the Borough Poisoner. It ends with an examination of Serial Killers; the Ripper, Torso, and Borough Poisoner murder cases; the search for clues to the serial killer responsible for the five Thames Torso murders; and Wolff Levisohn, a dark horse who seems to have known much about all three sets of murders, testified at Chapman's murder trial, and then faded away as Chapman was sent to the gallows.
In our communities composed of people from various cultures, countries, and backgrounds, where does the church stand? How representative is it? And how can local churches best minister and evangelize within an increasingly multicultural society? 'Cultural Change and Your Church' is an invaluable resource for understanding the transformation of our cultural landscape and, most importantly, for learning how to embrace the resulting opportunities to minister to all people. Michael Pocock and Joseph Henriques consider the Bible's examples and teaching related to diversity, introduce several churches currently modeling cross-cultural ministry, and suggest hands-on ways for church leaders to encourage change and proactive thinking.
If theology doesn't stretch our minds, it probably won't stretch our lives. In Café Theology, Michael Lloyd invites us to travel on a journey from Creation to New Creation, visiting the Fall, the Incarnation, Resurrection and Ascension, and stopping off at the Trinity and the Church. Michael's inimitable gift for mixing insightful theology with unflinching honesty and a fantastic sense of humour offers an enriching view of life and the Life-Giver. You don't have to be a professor to understand this book - it's written for anyone who wants to explore theology more deeply, with a study guide to help think through each topic. Readers will be refreshed and encouraged as this distinctive book makes theology applicable to our ordinary lives.
The Hammer studio is best known for its horror film output from the mid-1950s through the 1970s. This book provides facts about the hundreds of actresses who appeared in those films, including ones released in the twenty-first century by a resurgent Hammer. Each woman's entry includes her Hammer filmography, a brief biography if available, and other film credits in the horror genre. The book is illustrated with more than 60 film stills and posters.
1. The book offers a more holistic and systematic review of how sustainability would influence businesses 2. The book provides an overview and insight into potential strategies of approaches to sustainability and business
Although New Guinea's Thunderbolt pilots faced several different types of enemy aircraft in capricious tropical conditions, by far their most common adversary was the Nakajima Ki-43-II Hayabusa, codenamed 'Oscar' by the Allies. These two opposing fighters were the products of two radically different design philosophies. The Thunderbolt was heavy, fast and packed a massive punch thanks to its battery of eight 0.50-cal machine guns, while the 'Oscar' was the complete opposite in respect to fighter design philosophy – lightweight, nimble, manoeuvrable and lightly armed. It was, nonetheless, deadly in the hands of an experienced pilot. The Thunderbolt commenced operations in New Guinea with a series of bomber escort missions in mid-1943, and its firepower and superior speed soon saw Fifth Air Force fighter command deploying elite groups of P-47s to Wewak, on the northern coast. Flying from there, they would pick off unwary enemy aircraft during dedicated fighter patrols. The Thunderbolt pilots in New Guinea slowly wore down their Japanese counterparts by continual combat and deadly strafing attacks, but nevertheless, the Ki-43-II remained a worthy opponent deterrent up until Hollandia was abandoned by the IJAAF in April 1944. Fully illustrated throughout with artwork and rare photographs, this fascinating book examines these two vastly different fighters in the New Guinea theatre, and assesses the unique geographic conditions that shaped their deployment and effectiveness.
Worth Spellman, ex-army, ex-airborne, the silent killer of the jungle, had won many battles, but none as debilitating as the ones raging within his own body. The love he had for Lucinda, his dead wife, pulled at him in the daytime. The eyes of Luke, the dead army soldier, in the eyes of the drowning victim Kristin, pushed at him in the nighttime. All that changed one Friday in late August when an old cowboy, Joe Ortega, walked up to him on the white sands of Destin. In the process of solving the mystery of the pale blue horses, Spellman met two powerful women, N'aola N'estreme, who set him free from the ghosts of his past, and Carressa Stewart, who set him free from the melancholy of his future.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.