This book focuses on the extent to which the physical terrain features across Egypt, Libya and Tunisia affected British operations throughout the campaign in North Africa during the Second World War. One main theme of the work analyses the terrain from the operational and tactical perspective and argues that the landscape features heavily influenced British operations and should now be considered alongside other standard military factors. The work differs from previous studies in that it considers these additional factors for the entire campaign until the Axis surrender in May 1943. Until now it has been widely assumed that much of the Western Desert coastal plateau was a broadly level, open region in which mobile armored operations were paramount. However this work concentrates on the British operations to show they were driven by the need to capture and hold key features across each successive battlefield. At the operational level planning was led by the need to hold key ground across Libya and especially the province of Cyrenaica during the crucial middle period of the campaign. A secondary theme of the work argues that British forces began to improvise certain tactical doctrines, which altered the early practice of combined arms assaults into one of the Infantry and Armored formations fighting largely separated battles until the autumn of 1942. Other developments in doctrine which were affected by the terrain included the practice of unit dispersal to hold key ground and the use of temporary units such as Jock columns to harass and engage the enemy. The two themes are inter-linked and contribute fresh insights to the debate on British methods of warfare. The author has consulted key primary documents, reports, war diaries and published memoirs, from major UK archives and compared these with the campaign historiography to develop the main themes of the work. These include the National Archives, the Churchill Archives Center, the Liddell-Hart Center for Military History, the National Army Museum, John Rylands Center, Imperial War Museum at London and Duxford and London and the Tank Museum Archives at Bovington. The sources include unit war diaries, after action reports, along with many of the key published and some unpublished memoirs. His text is supported by 24 pages of specially commissioned color maps.
How did literary discourse about empire contribute to discussions about the implications of modernity and progress in eighteenth-century Spain? Writing the Americas seeks to answer this question by examining how novels, plays and short stories imagined and contested core notions about enlightened knowledge. Expanding upon recent transatlantic and postcolonial approaches to Spain's Enlightenment that have focused mostly on historiographical and scientific texts, this book disputes the long-standing perception of the Spanish Enlightenment as an "imitative" movement best defined best by its similarities with French and British contexts. Instead, through readings of major and minor texts by authors such as José Cadalso, Gaspar Melchor Jovellanos, Pedro Montengón and José María Blanco White, Writing the Americas argues that literary texts advanced a unique exploration of the compatibility between supposed universal principles and local histories, one which often diverged noticeably from dominant trends and patterns in Enlightenment thought elsewhere. The authors studied often drew directly from Spain's own imperial experiences to submit prevailing ideas about culture, commerce, education and political organization to scrutiny. Writing the Americas provides a new critical lens through which to reexamine the aesthetic and political content of eighteenth-century Spanish cultural production. While in the past, much of the debate about whether Spanish neoclassicism was "modern" literature has centered on formalistic qualities or romantic notions of "originality" or "subjectivity," ultimately, Writing the Americas locates the modernity of these literary works within the very ideological tensions they display towards the prevailing intellectual trends of the time. The interdisciplinary content and approach of Writing the Americas make it a valuable resource for a broad range of scholars including specialists in eighteenth-century and modern Hispanic literature and culture, colonial Hispanic literature and culture, transatlantic American studies, European Enlightenment studies, and modernity studies.
Off the Record is a revealing exploration of piano performing practices of the high Romantic era. Author and well-known keyboard player Neal Peres Da Costa bases his investigation on a range of early sound recordings (acoustic, piano roll and electric) that capture a generation of highly-esteemed pianists trained as far back as the mid-nineteenth-century. Placing general practices of late nineteenth-century piano performance alongside evidence of the stylistic idiosyncrasies of legendary pianists such as Carl Reinecke (1824-1910), Theodor Leschetizky (1830-1915), Camille Saint-Saëns (1838-1921) and Johannes Brahms (1833-1897), he examines prevalent techniques of the time--dislocation, unnotated arpeggiation, rhythmic alteration, tempo fluctuation--and unfolds the background and lineage of significant performer/pedagogues. Throughout, Peres Da Costa demonstrates that these early recordings do not simply capture the idiosyncrasies of aging musicians as has been commonly asserted, but in fact represent a range of established expressive practices of a lost age. An extensive collection of these fascinating and sometimes rare professional recordings of the Romantic age masters are available on a companion web site, and in addition, Peres Da Costa, himself a renowned period keyboardist, illustrates points made throughout the book with his own playing. Of essential value to student and professional pianists, historical musicologists of 19th and early 20th century performance practice, and also to the general music aficionado audience, Off the Record is an indispensable resource for scholarly research, performance inspiration, and listening enjoyment.
This book focuses on the extent to which the physical terrain features across Egypt, Libya and Tunisia affected British operations throughout the campaign in North Africa during the Second World War. One main theme of the work analyses the terrain from the operational and tactical perspective and argues that the landscape features heavily influenced British operations and should now be considered alongside other standard military factors. The work differs from previous studies in that it considers these additional factors for the entire campaign until the Axis surrender in May 1943. Until now it has been widely assumed that much of the Western Desert coastal plateau was a broadly level, open region in which mobile armored operations were paramount. However this work concentrates on the British operations to show they were driven by the need to capture and hold key features across each successive battlefield. At the operational level planning was led by the need to hold key ground across Libya and especially the province of Cyrenaica during the crucial middle period of the campaign. A secondary theme of the work argues that British forces began to improvise certain tactical doctrines, which altered the early practice of combined arms assaults into one of the Infantry and Armored formations fighting largely separated battles until the autumn of 1942. Other developments in doctrine which were affected by the terrain included the practice of unit dispersal to hold key ground and the use of temporary units such as Jock columns to harass and engage the enemy. The two themes are inter-linked and contribute fresh insights to the debate on British methods of warfare. The author has consulted key primary documents, reports, war diaries and published memoirs, from major UK archives and compared these with the campaign historiography to develop the main themes of the work. These include the National Archives, the Churchill Archives Center, the Liddell-Hart Center for Military History, the National Army Museum, John Rylands Center, Imperial War Museum at London and Duxford and London and the Tank Museum Archives at Bovington. The sources include unit war diaries, after action reports, along with many of the key published and some unpublished memoirs. His text is supported by 24 pages of specially commissioned color maps.
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