In addition to the thirty-six plays of the First Folio, some eighty plays have been attributed in whole or part to William Shakespeare, yet most are rarely read, performed or discussed. This book, the first to confront the implications of the 'Shakespeare Apocrypha', asks how and why these plays have historically been excluded from the canon. Innovatively combining approaches from book history, theatre history, attribution studies and canon theory, Peter Kirwan unveils the historical assumptions and principles that shaped the construction of the Shakespeare canon. Case studies treat plays such as Sir Thomas More, Edward III, Arden of Faversham, Mucedorus, Double Falsehood and A Yorkshire Tragedy, showing how the plays' contested 'Shakespearean' status has shaped their fortunes. Kirwan's book rethinks the impact of authorial canons on the treatment of anonymous and disputed plays.
Focuses on basic science, personal surgical experience, clinical functional and radiographic outcomes of primary TKA with special focus on challenging knees such as severe varus and valgus deformities with associated bone defects, fixed flexion deformities, soft tissue contractures, and arthrodesed knees. The issue of patella treatment with or without resurfacing is addressed intensively. This book will be useful for practicing knee replacement surgeons, orthopaedic surgeons in training, orthopeadic nurses, and physiotherapists with a special interest in knee arthroplasy.
At the close of the Second World War, modernist poets found themselves in an increasingly scientific world, where natural and social sciences claimed exclusive rights to knowledge of both matter and mind. Following the overthrow of the Newtonian worldview and the recent, shocking displays of the power of the atom, physics led the way, with other disciplines often turning to the methods and discoveries of physics for inspiration. In Physics Envy, Peter Middleton examines the influence of science, particularly physics, on American poetry since World War II. He focuses on such diverse poets as Charles Olson, Muriel Rukeyser, Amiri Baraka, and Rae Armantrout, among others, revealing how the methods and language of contemporary natural and social sciences—and even the discourse of the leading popular science magazine Scientific American—shaped their work. The relationship, at times, extended in the other direction as well: leading physicists such as Robert Oppenheimer, Werner Heisenberg, and Erwin Schrödinger were interested in whether poetry might help them explain the strangeness of the new, quantum world. Physics Envy is a history of science and poetry that shows how ultimately each serves to illuminate the other in its quest for the true nature of things.
Can environmental institutions be effective at bringing about a healthier environment? How? Institutions for the Earth takes a close look at the factors influencing organized responses to seven international environmental problems - oil pollution from tankers, acid rain in Europe, stratospheric ozone depletion, pollution of the North Sea and Baltic, mismanagement of fisheries, overpopulation, and misuses of farm chemicals to determine the roles that environmental institutions have played in attempting to solve them. Through rigorous, systematic comparison, it reveals common patterns that can lead to improvements in the collective management of these problems and suggests ways in which international institutions can further the case of environmental protection.The contributors identify three major functions performed by effective international environmental institutions: building national capacity, improving the contractual environment, and elevating governmental concern. The international organizations analyzed within this framework include the United Nations Environment Program, the Intergovernmental Maritime Organization, the Food and Agriculture Organization, numerous fisheries commissions, the Commission for Europe, the Oslo and Paris Commissions, the Helsinki Commission, and the United Nations Fund for Population Assistance.
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