In this illuminating new study of Mozart's operas, Nicholas Till shows that the composer was not a "divine idiot" but an artist whose work was informed by the ideas and discoveries of his time. Examining the dramatic emergence of a modern society in eighteenth-century Austria, Till reappraises the history and meaning of the Enlightenment and Mozart's role within it. Book jacket.
Discussion concerning the ’musicality’ of Samuel Beckett’s writing now constitutes a familiar critical trope in Beckett Studies, one that continues to be informed by the still-emerging evidence of Beckett’s engagement with music throughout his personal and literary life, and by the ongoing interest of musicians in Beckett’s work. In Beckett’s drama and prose writings, the relationship with music plays out in implicit and explicit ways. Several of his works incorporate canonical music by composers such as Schubert and Beethoven. Other works integrate music as a compositional element, in dialogue or tension with text and image, while others adopt rhythm, repetition and pause to the extent that the texts themselves appear to be ’scored’. But what, precisely, does it mean to say that a piece of prose or writing for theatre, radio or screen, is ’musical’? The essays included in this book explore a number of ways in which Beckett’s writings engage with and are engaged by musicality, discussing familiar and less familiar works by Beckett in detail. Ranging from the scholarly to the personal in their respective modes of response, and informed by approaches from performance and musicology, literary studies, philosophy, musical composition and creative practice, these essays provide a critical examination of the ways we might comprehend musicality as a definitive and often overlooked attribute throughout Beckett’s work.
A Hand in God's Till is a thought-provoking and passionate story of love, tragedy and hope, set against the sexual and spiritual backdrop of 1967's “Summer of Love”. As Adam Busk arrives in London, having been expelled from the strict confines of boarding school, he is hungry for excitement. He is quickly drawn to the burgeoning underground scene of psychedelic music, mind expanding drugs and the promise of sex, where he meets the enigmatic Belinda. When she disappears, Adam finds himself embroiled in the murky world of drug dealers and corrupt police. "Wrapped in each other's arms, our tears eventually sealed our eyes, transporting us to the refuge of sleep, not as lovers, but as guardians of each other's pain." From a Notting Hill commune to a mystical quest across England, this is as much a journey of self discovery for Adam as it is a revelation of the times. If you're intrigued by the era, but too young to have been there, or simply want to revisit this evocative time, A Hand in God's Till will take you on an unforgettable trip.
This is Volume VII of nine in a collection on Historical Sociology. Originally published in 1951, this is a study of educational institutions and movements, social and economic conditions and developments in a period that is seen as the actual realisation of modern education.
First published in 1999, this volume why Europe’s arguably most successful political party, the Swedish Social Democratic Party, become so divided over European integration. Why were its grass-roots so reluctant to embrace EU membership and why did a Social Democratic government decide to stand aside from the launch of the single European currency? What connection is there between Europe and the Swedish model of political economy? While much has been written in English on Swedish Social Democracy, little of this literature has dealt with its difficulties during the 1990s and especially with its acute problems over Europe. This book fills that gap. Using original, primary data, Nicholas Aylott addresses the topic from macro and micro-political perspectives, taking account of historical, cultural, geopolitical and economic constraints, but also the interests and calculations of key individuals at critical junctures. It places the experience of Swedish Social Democracy into a broad comparative framework, drawing especially from the experiences of its Scandinavian sister parties. Up-to-date analysis of the party’s debate on EMU is included.
Adam Smith is celebrated all over the world as the author of The Wealth of Nations and the founder of modern economics. A few of his ideas - that of the 'Invisible Hand' of the market and that 'It is not from the benevolence of the butcher, the brewer, or the baker that we expect our dinner, but from their regard to their own interest' - have become icons of the modern world. Yet Smith saw himself primarily as a philosopher rather than an economist, and would never have predicted that the ideas for which he is now best known were his most important. This book, by one of the leading scholars of the Scottish Enlightenment, shows the extent to which The Wealth of Nations and Smith's other great work, The Theory of Moral Sentiments, were part of a larger scheme to establish a grand 'Science of Man', one of the most ambitious projects of the European Enlightenment, which was to encompass law, history and aesthetics as well as economics and ethics. Nicholas Phillipson reconstructs Smith's intellectual ancestry and formation, of which he gives a radically new and convincing account. He shows what Smith took from, and what he gave to, the rapidly changing and subtly different intellectual and commercial cultures of Glasgow and Edinburgh as they entered the great years of the Scottish Enlightenment. Above all he explains how far Smith's ideas developed in dialogue with those of his closest friend, the other titan of the age, David Hume. This superb biography is now the one book which anyone interested in the founder of economics must read.
TAKE Notice, That in this Edition I have made very many Additions to every sheet in the book: and, also, that those books of mine that are printed of that Letter the small Bibles are printed with, are very falsely printed: there being twenty or thirty gross mistakes in every sheet, many of them such as are exceedingly dangerous to such as shall venture to use them: And therefore I do warn the Public of them: I can do no more at present; only take notice of these Directions by which you shall be sure to know the True one from the False. The first Direction.—The true one hath this Title over the head of every Book, The Complete Herbal and English Physician enlarged. The small Counterfeit ones have only this Title, The English Physician. The second Direction.—The true one hath these words, Government and Virtues, following the time of the Plants flowering, &c. The counterfeit small ones have these words, Virtues and Use, following the time of the Plants flowering. The third Direction.—The true one is of a larger Letter than the counterfeit ones, which are in Twelves, &c., of the Letter small Bibles used to be printed on. I shall now speak something of the book itself. All other Authors that have written of the nature of Herbs, give not a bit of reason why such an Herb was appropriated to such a part of the body, nor why it cured such a disease. Truly my own body being sickly, brought me easily into a capacity, to know that health was the greatest of all earthly blessings, and truly he was never sick that doth not believe it. I have now but two things to write, and then I have done. 1. What the profit and benefit of this Work is. 2. Instructions in the use of it. Instructions for the right use of the book: And herein let me premise a word or two. The Herbs, Plants, &c. are now in the book appropriated to their proper planets. Therefore, First, Consider what planet causeth the disease; that thou mayest find it in my aforesaid Judgment of Diseases. Secondly, Consider what part of the body is afflicted by the disease, and whether it lies in the flesh, or blood, or bones, or ventricles. Thirdly, Consider by what planet the afflicted part of the body is governed: that my Judgment of Diseases will inform you also. Fourthly, You may oppose diseases by Herbs of the planet, opposite to the planet that causes them: as diseases of Jupiter by herbs of Mercury, and the contrary; diseases of the Luminaries by the herbs of Saturn, and the contrary; diseases of Mars by herbs of Venus, and the contrary. Fifthly, There is a way to cure diseases sometimes by Sympathy, and so every planet cures his own disease; as the Sun and Moon by their Herbs cure the Eyes, Saturn the Spleen, Jupiter the liver, Mars the Gall and diseases of choler, and Venus diseases in the instruments of Generation. NICH. CULPEPER.
Nicholas Cresswell was twenty-four years old when he left his birthplace of Edale, England to sail for Virginia, believing that ""a person with a small fortune may live much better and make greater improvements in America than he can possibly do in England."" From the time he left, sailing from Liverpool in 1774, until the time he returned, he kept a diary detailing his experiences in pre-Revolutionary America. As a loyal subject to King George, Cresswell found himself often unhappy in America, detailing the turmoil and abuses often suffered by Loyalists in the colonies. Confining his travel mainly to the mid-Atlantic region, Cresswell not only had occasion to attend a slave gathering and observe what went on there, but also traded amongst many of the native tribes, including the Lenape, Tuscarora, Ottawa and Shawnee. Despite his ambivalence about returning to England, (toward the end of the book he moans, ""I wish to be at home and yet dread the thought of returning to my native Country a Beggar "" (P. 251)), life in the colonies becomes too much for this loyal subject and Cresswell's journal ends in 1777 with his return to England.
Titanic. The Marilyn Monroe of ocean liners. A sleek, sultry beauty, taken out way before her time. A kind of 21st century Flying Dutchman, with interiors by Cesar Ritz, still striving to achieve the waters of a port she can never reach. Fuelled by a subtle mixture of horror, fascination and sheer, fatal glamour, she surges heedlessly across the still, starlit calm of our collective subconscious, hell bent on achieving her chilling, near midnight rendezvous with her killer. Titanic is a brilliantly lit stage, carrying her cast of exotic, terminally endangered extras toward an abyss at once both unfathomable and inconceivable. Here’s where any similarity with any other tome about the Titanic ends. For the first time ever, a succession of key characters and groups of individuals come to the fore. Centre stage, over seventeen chapters, we meet the men whose decisions, actions and omissions combined like some slow burning powder trail to trigger a final, cataclysmic conclusion; the foundering, in mid Atlantic, of the biggest moving object ever seen on the face of the planet. One by one, a series of individuals take a bow. Seemingly omnipotent owners and hugely experienced ship’s officers. Engineers and designers. Would be rescuers and embattled wireless operators. We meet them as individuals, not supermen. Their histories, backgrounds and life experiences are assessed for the first time ever, putting their actions on the night that Titanic sank into a context, a light as stark as that of the distress rockets, arcing into the sky...
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.