World-wide in scope and focusing on the second half of the 20th century, this work provides biographies and discographies of some 500 composers and conductors of light and popular orchestral music, including film, show, theatre and mood music. The book is arranged in two sequences: 1) Biographies and select discographies, both arranged alphabetically, of the well-known and better-known conductors and composers. These entries also include a list of suggested reading for those wishing to further their studies; and 2) Select discographies of conductors about whom little or no biographical information is available. The bibliography at the end of the book covers discographical sources, popular music and film music. This is the first time that the lives and recordings of such artists as Kostelanetz, Faith, and Gould as well as the orchestral recordings of such great popular composers as Gershwin, Kern, Porter, Rodgers, Berlin and Coward have been documented and presented in an encyclopedic form.
History meets high-altitude adventure This engaging analysis of twentieth-century imperialism takes early mountaineering beyond the realm of recreation. Vertical Margins sets Halford Mackinder's 1899 climb of Mt. Kenya, Annie Smith Peck's 1908 ascent of Huascaran in Bolivia, and John Baptiste Noel's filming of the 1924 British attempt on Mt. Everest in the larger historical context of American and British foreign policy and neo-imperialism. Reuben Ellis shows that mountain exploration reached far beyond the motivations of adrenaline-driven adventurers to an aggressive ideology of power and expansion that fed the "New Imperialism"--the end of the era of European empire-building and the beginnings of American dominance in world affairs. With so many mountains at the margins of European and American territorial and economic domains, mountaineering often overlapped with the motivations of empire; the earth's mountains came to be regarded as frontiers open to the full range of political, economic, and personal concerns that drove geographical exploration.
This book analyzes the iconographic traditions of Jeremiah and of melancholy to show how Donne, Herbert, and Milton each fashions himself after the icons presented in Rembrandt's Jeremiah Lamenting the Destruction of Jerusalem , Sluter's sculpture of Jeremiah in the Well of Moses, and Michelangelo's fresco of Jeremiah in the Sistine Chapel.
Based on extensive research at eight universities - Harvard, Yale, Columbia, Johns Hopkins, Chicago, Stanford, Michigan, and California at Berkeley - Reuben examines the aims of university reformers in the context of nineteenth-century ideas about truth. She argues that these educators tried to apply new scientific standards to moral education, but that their modernization efforts ultimately failed.
Biblical criticism, originally known as Higher criticism of the Bible, got started throughout the 18th and 19th centuries. At that time, Protestant scholars attacked the Bible: an intellectual, academic attack. They devised a method of studying the Bible that became known as higher criticism and now biblical criticism. These Bible critics taught that most of the Bible contained legend and myth. Some even claimed that Jesus never existed. For the liberal-moderate Bible scholar then and now, the Word of God, the Bible has become the word of man, and a very chaotic, distorted word at that. The modern-day liberal-moderate Bible scholar says that much of the Bible “is just wrong.” This thinking is the result of biblical criticism. Biblical higher criticism is conjectural and uncertain, doubtful in the extreme. Today, these Bible scholars who make up most of our seminaries explain the Bible accounts of miracles as myths, legends, or folk tales. They do not even entertain the idea that there is the possibility that they actually occurred. This viewpoint is subjective and gives no reliable reason to reject the Bible as inspired, fully inerrant, authentic, and trustworthy. Biblical criticism is highly defective, and its centuries-long assault on the Bible has not proven that the Bible is not the Word of God. Many conservative Christians have been doing their best to defend God’s Word. Herein, THE FUNDAMENTALS OF THE CHRISTIAN FAITH puts Biblical Criticism on trial, judging their claims as subjective (based on or influenced by personal feelings or opinions), not objective (factual, actual, real, empirical, verifiable) in biblical studies.
For generations, nature lovers like Joy Adamson or gallant sailors like Zhang He, have risked their lives in unforgiving conditions through uncharted territory. Others have bypassed the limits of human endurance to share their adventurers’ experiences. For as long as people have travelled in the countryside, interacted with locals, partaken of their cuisine, gotten accommodations, and learned something new, there have been Agritourists. With increasing global awareness on natural ecosystems for sustainable livelihoods, combining adventure with biodiversity conservation has never been this fascinating. Understanding some basic dynamics of the culture, political landscape, and biodiversity of some destinations can assist with a visitor’s or investor’s timely decision-making. This is a candid sojourner’s tale laced with satire, where wild animal characteristics are closely matched with human behaviour across issues. Safe travels!
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