To see the introduction, the table of contents, a generous selection of sample pages, and more, visit the website The Army of Northern Virginia website. The Confederate Army of Northern Virginia was one of the greatest fighting formations in history: a combination of an outstanding commander and an excellent fighting force. This book offers an in-depth study of why this formation was so successful against Northern armies, which often had a greater wealth of resources and manpower and some very able leaders. Almost always outnumbered, Lee's forces were able to record a number of notable victories by giving free rein to subordinates and utilizing the fighting qualities of the army's units to the full. Also includes color and black and white maps.
Volumes three and four of this monumental work include full entries for all such illustrious names as those of the Cibbers--Colley, Theophilus, and Susanna Maria--Kitty Clive, and Charlotte Charke, George Colman, the Elder, and the Younger, William Davenant, and De Loutherboug. But here also are full entries for dozens of important secondary figures and of minor ones whose stories have never been told, as well as a census (and at least a few recoverable facts) for even the most inconsiderable performers and servants of the theatres. As in the previous volumes in this distinguished series, the accompanying illustrations include at least one picture of each subject for whom a portrait exists.
The penultimate volume of the vast project begun some two decades ago, Volume 15, illustrated like its predecessors with bandw portraits and other artwork, provides information on theatre people including singer Catherine Tofts, comedian James Tokely, bearded lady and harpsichordist Barbara Van Beck, proprietor, playwright, and architect John Vanbrugh, theatrical families like the Vaughans and the husband- and-wife thespians John Baptista and Susanna Verbruggen and the dancing Vestres--Gaetan Appoline Balthazar and his illegitimate son Marie Jean Augustin, as well as a host of Wards (some related, some not). Annotation copyright by Book News, Inc., Portland, OR
In recent times, physicists have come to appreciate information’s central role in the universe’s grand plan. That and the fact that an explicit understanding of the informational relationships involved may well be key to unlocking many of the universe’s deepest secrets. That makes the birth of both Computer and Information Science not only essential to the explosion of modern technological success, but also to our understanding of reality itself. In recognizing that, what unfolds is a story not only about Alan Turing and his pioneering colleagues, but also great thinkers like Albert Einstein, Michael Faraday, Ludwig Wittgenstein and others. It therefore pulls in much of modern history and touches on seminal events like the birth of the atomic bomb. It also hints at the reasons behind the various social and political divides we see in the world today. So, in many ways, the story of how we became more informed about information is also the story of the modern age. What you will read of here is the role that information plays in that ongoing saga and many of the twists and turns that have brought us to where we are with information today. In it you will learn that, unbeknown to Turing and others, their work would not only help overthrow the Nazis and thaw the chilling atmosphere of the Cold War to come, but also echo down the ages to remain relevant in a conflict still raging today. That sees the Computer and Information Scientists at loggerheads as they fight to find a right and justifiable place for meaning in information’s definition. About The Open Group Press The Open Group Press is an imprint of The Open Group for advancing knowledge of information technology by publishing works from individual authors within The Open Group membership that are relevant to advancing The Open Group mission of Boundaryless Information FlowTM. The key focus of The Open Group Press is to publish high-quality monographs, as well as introductory technology books intended for the general public, and act as a complement to The Open Group standards, guides, and white papers. The views and opinions expressed in this book are those of the authors, and do not necessarily reflect the consensus position of The Open Group members or staff.
In contrast to each other, Volume 5 is a sociological portrait of mostly little people in their tragic and comic efforts to achieve fame on the London stage during the Restoration and eighteenth century, whereas Volume 6 is dominated by the glamour of David Garrick, Nell Gwyn, and Joseph Grimaldi, the celebrated clown. Some 250 portraits individualize the great and small of the theatres of London.
Tobe completed in 12volumes, this monumental work here begins publication with the first two volumes--Abaco to Bertie and Bertin to Byzard. When completed, it is expected that the biographical dictionary will include information on more than 8,500 individuals. Hundreds of printed sources have been searched for this project, and dozens of repositories combed, and the names of personnel listed have been filtered through parish registers whenever possible. From published and unpublished sources, from wills, archives of professional societies and guilds, from records of colleges, universities, and clubs, and from the contributions of selfless scholars, the authors have here assembled material which illuminates theatrical and musical activity in London in the 1660-1800 period. The information here amassed will doubtless be augmented by other specialists in Restoration and eighteenth-century theatre and drama, but it is not likely that the number of persons now known surely or conjectured finally to have been connected with theatrical enterprise in this period will ever be increased considerably. Certainly, the contributions made here add immeasurably to existing knowledge, and in a number of instances correct standard histories or reference works. The accompanying illustrations, estimated to be some 1,400 likenesses--at least one picture of each subject for whom a portrait exists--may prove to be a useful feature of the Work. The authors have gone beyond embellishment of the text, and have attempted to list all original portraits any knowledge of which is now recoverable, and have tried to ascertain the present location of portraits in every medium.
Philip Ross Bullock looks at the life and works of Rosa Newmarch (1857-1940), the leading authority on Russian music and culture in late nineteenth- and early twentieth-century England. Although Newmarch's work and influence are often acknowledged - most particularly by scholars of English poetry, and of the role of women in English music - the full range of her ideas and activities has yet to be studied. As an inveterate traveller, prolific author, and polyglot friend of some of Europe's leading musicians, such as Elgar, Sibelius and Jank, Newmarch deserves to be better appreciated. On the basis of both published and archival materials, the details of Newmarch's busy life are traced in an opening chapter, followed by an overview of English interest in Russian culture around the turn of the century, a period which saw a long-standing Russophobia (largely political and military) challenged by a more passionate and well-informed interest in the arts Three chapters then deal with the features that characterize Newmarch's engagement with Russian culture and society, and - more significantly perhaps - which she also championed in her native England; nationalism; the role of the intelligentsia; and feminism. In each case, Newmarch's interest in Russia was no mere instance of ethnographic curiosity; rather, her observations about and passion for Russia were translated into a commentary on the state of contemporary English cultural and social life. Her interest in nationalism was based on the conviction that each country deserved an art of its own. Her call for artists and intellectuals to play a vital role in the cultural and social life of the country illustrated how her Russian experiences could map onto the liberal values of Victorian England. And her feminism was linked to the idea that women could exercise roles of authority and influence in society through participation in the arts. A final chapter considers how her late interest in the music of Czechoslovakia pi
Volumes three and four of this monumental work include full entries for all such illustrious names as those of the Cibbers--Colley, Theophilus, and Susanna Maria--Kitty Clive, and Charlotte Charke, George Colman, the Elder, and the Younger, William Davenant, and De Loutherboug. But here also are full entries for dozens of important secondary figures and of minor ones whose stories have never been told, as well as a census (and at least a few recoverable facts) for even the most inconsiderable performers and servants of the theatres. As in the previous volumes in this distinguished series, the accompanying illustrations include at least one picture of each subject for whom a portrait exists.
Volume 8 discusses, among others, the careers of Charles Incledon, the "English Ballad-Singer," boxing champion of England, "Gentleman" John Jackson, and members of the famous Kemble family-- Charles, Maria Theresa, Frances, Henry, John Philip, Priscilla, Elizabeth, Roger, and Stephen.
According to Aristotle, a well-crafted recognition scene is one of the basic constituents of a successful narrative. It is the point when hidden facts and identities come to light-in the classic instance, a son discovers in horror that his wife is his mother and his children are his siblings. Aristotle coined the term 'anagnorisis' for the concept. In this book Philip F. Kennedy shows how 'recognition' is key to an understanding of how one reads values and meaning into, or out of, a story. He analyses texts and motifs fundamental to the Arabic literary tradition in five case studies: the Qur'an; the biography of Muhammad; Joseph in classical and medieval re-tellings; the 'deliverance from adversity' genre and picaresque narratives.
In contrast to each other, Volume 5 is a sociological portrait of mostly little people in their tragic and comic efforts to achieve fame on the London stage during the Restoration and eighteenth century, whereas Volume 6 is dominated by the glamour of David Garrick, Nell Gwyn, and Joseph Grimaldi, the celebrated clown. Some 250 portraits individualize the great and small of the theatres of London.
The murders in London between 1888-91 attributed to Jack the Ripper constitute one of the most mysterious unsolved criminal cases. This story is the result of many years meticulous research. The author reassesses all the evidence and challenges everything we thought we knew about the Victorian serial killer and the vanished East End he terrorized.
This is a definitive account of the land and the people of Old Monocacy in early Frederick County, Maryland. The outgrowth of a project begun by Grace L. Tracey and completed by John P. Dern, it presents a detailed account of landholdings in that part of western Maryland that eventually became Frederick County. At the same time it provides a history of the inhabitants of the area, from the early traders and explorers to the farsighted investors and speculators, from the original Quaker settlers to the Germans of central Frederick County. In essence, the book has a dual focus. First it attempts to locate and describe the land of the early settlers. This is done by means of a superb series of plat maps, drawn to scale from original surveys and based both on certificates of survey and patents. These show, in precise configurations, the exact locations of the various grants and lots, the names of owners and occupiers, the dates of surveys and patents, and the names of contiguous land owners. Second, it identifies the early settlers and inhabitants of the area, carefully following them through deeds, wills, and inventories, judgment records, and rent rolls. Finally, in meticulously compiled appendices it provides a chronological list of surveys between 1721 and 1743; an alphabetical list of surveys, giving dates, page reference--text and maps--and patent references; a list of taxables for 1733-34; and a list of the early German settlers of Frederick County, showing their religion, their location, dates of arrival, and their earliest records in the county. Winner of the 1988 Donald Lines Jacobus Award
This volume is the first in a trilogy, a fascinating historical biography about the authors great-great-grandmother, Sarah Valentine. Born in 1819 in the deprived East End of London, she led a life filled with heartache and adversity. England was in a deep depression, along with the whole of Europe, brought on by the Napoleonic wars. This was, of course, during the time of Charles Dickens, who would have known the area well. Some of Sarah Valentines experiences mirrored those of Dickenss characters, in that she was taken in by a Fagin of the time and fell into thievery. She was later thrown into the Shoreditch workhouse, where she fell afoul of a number of feral girls, who were quite happy to inflict serious harm to anyone who got in their way. In his in-depth biography, Philip Coates offers remarkable insight into the daily struggles of a real-life, penniless young woman who survived a depraved and dangerous environment. His meticulous research has produced a unique portrait of a family member who was born in a turbulent time in Londons history.
To understand the long march of events in North Carolina from secession to surrender is to understand the entire Civil War--a personal war waged by Confederates and Unionists, free blacks and the enslaved, farm women and plantation belles, Cherokees and mountaineers, conscripts and volunteers, gentleman officers and poor privates. In the state's complex loyalties, its sprawling and diverse geography, and its dual role as a home front and a battlefield, North Carolina embodies the essence of the whole epic struggle in all its terrible glory. Philip Gerard presents this dramatic convergence of events through the stories of the individuals who endured them--reporting the war as if it were happening in the present rather than with settled hindsight--to capture the dreadful suspense of lives caught up in a conflict whose ending had not yet been written. As Gerard reveals, whatever the grand political causes for war, whatever great battles decided its outcome, and however abstract it might seem to readers a century and a half later, the war was always personal.
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