Well-selected and authoritative, Macmillan Core Statutes provide the key materials needed by students in a format that is clear, compact and very easy to use. They are ideal for use in exams. New to this Edition: - Amendments made by the Counter-Terrorism and Border Security Act 2019 - Police and Criminal Evidence Act 1984 (PACE) Code C 2018, Revised
This popular title combines breadth of coverage with readability and sets out the principal points of criminal law in a systematic and thorough way. This edition includes the most recent legislative and case law developments.
This popular title combines breadth of coverage with readability and sets out the principal points of criminal law in a systematic and thorough way. This edition includes the most recent legislative and case law developments.
Formed out of the Royal Irish Constabulary at the time of Partition, the RUC's history is predictably a turbulent one right through to its replacement in 2001 by the Police Service of Northern Ireland. Few police forces in the world have suffered so grievously as the RUC and this book is a fitting memorial to the sacrifices made in the interests of the civil population it was determined to protect. Throughout its history, it has not only had to perform normal police duties but contain the ever present IRA threat. In 1969, the climate changed and ushered in a new and even more violent era of sectarian strife. The emergence of extreme nationalist organizations posed grave problems and, with the RUC in a prime role, the position of the Chief Constable was hugely important. This book tells the story of a remarkable police force without fear or favor. Ironically its reward for containing a hugely challenging internal security situation and at the same time policing the community traditionally was its disbandment.
The sixth collection of plays from award-winning playwright Richard Bean, including the world-conquering hit One Man, Two Guvnors, as well as Young Marx, his riotous take on Karl Marx's life in London, which launched London's new Bridge Theatre and The Hypocrite, a historical-farcical romp that lit up Hull's year as City of Culture. One Man, Two Guvnors Based on Carlo Goldoni's classic Italian comedy The Servant of Two Masters, sex, food and money are high on the agenda. Winner of the both 2011 Evening Standard Theatre Best New Play & Critic's Circle Best New Play awards. Young Marx Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there's still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx. The Hypocrite April 1642. Sir John Hotham, Governor of Hull, is charged by Parliament to secure the arsenal at Hull and deny entry to King Charles I. If only it were that simple. With a Royalist siege outside the city walls and the rebellion of the mob within, Civil War seems inevitable and losing his head more than probable.
The most comprehensive treatment of the Arabian Nights ever published, with more than 800 detailed encyclopedic entries and a wealth of authoritative essays and resources. The tales of the Arabian Nights have long been the focus of scholarly research and critique, but no English language work has ever attempted an all-embracing treatment of them. The fruit of years of research, The Arabian Nights Encyclopedia is the first comprehensive reference work introducing both the Arabian Nights and the context of their genesis and aftermath in Near Eastern, European, and world culture. Editors Ulrich Marzolph, one of the world's foremost scholars of Near Eastern narrative culture, and Richard van Leeuwen, a prominent scholar of the Arabian Nights, present detailed, authoritative, and up-to-date research on virtually all aspects of the tales, including major protagonists, themes, important translations, textual history, adaptations, reworkings, works inspired by the Arabian Nights, and aspects of literary theory, and provide extensive bibliographies for each tale. In addition to the 800+ encyclopedic entries and numerous essays, the work introduces research that has not previously been published, making it an invaluable resource to scholars, educators, students, and the general public, as well as an essential addition to the core collection of academic and public libraries.
The present is, I believe, the first complete translation of the great Arabic compendium of romantic fiction that has been attempted in any European language comprising about four times as much matter as that of Galland and three times as much as that of any other translator known to myself; and a short statement of the sources from which it is derived may therefore be acceptable to my readers. Three printed editions, more or less complete, exist of the Arabic text of the Thousand and One Nights; namely, those of Breslau, Boulac (Cairo) and Calcutta (1839), besides an incomplete one, comprising the first two hundred nights only, published at Calcutta in 1814. Of these, the first is horribly corrupt and greatly inferior, both in style and completeness, to the others, and the second (that of Boulac) is also, though in a far less degree, incomplete, whole stories (as, for instance, that of the Envier and the Envied in the present volume) being omitted and hiatuses, varying in extent from a few lines to several pages, being of frequent occurrence, whilst in addition to these defects, the editor, a learned Egyptian, has played havoc with the style of his original, in an ill-judged attempt to improve it, producing a medley, more curious than edifying, of classical and semi-modern diction and now and then, in his unlucky zeal, completely disguising the pristine meaning of certain passages. The third edition, that which we owe to Sir William Macnaghten and which appears to have been printed from a superior copy of the manuscript followed by the Egyptian editor, is by far the most carefully printed and edited of the three and offers, on the whole, the least corrupt and most comprehensive text of the work. I have therefore adopted it as my standard or basis of translation and have, to the best of my power, remedied the defects (such as hiatuses, misprints, doubtful or corrupt passages, etc.) which are of no infrequent occurrence even in this, the best of the existing texts, by carefully collating it with the editions of Boulac and Breslau (to say nothing of occasional references to the earlier Calcutta edition of the first two hundred nights), adopting from one and the other such variants, additions and corrections as seemed to me best calculated to improve the general effect and most homogeneous with the general spirit of the work, and this so freely that the present version may be said, in great part, to represent a variorum text of the original, formed by a collation of the different printed texts; and no proper estimate can, therefore, be made of the fidelity of the translation, except by those who are intimately acquainted with the whole of these latter. Even with the help of the new lights gained by the laborious process of collation and comparison above mentioned, the exact sense of many passages must still remain doubtful, so corrupt are the extant texts and so incomplete our knowledge, as incorporated in dictionaries, etc, of the peculiar dialect, half classical and half modern, in which the original work is written. One special feature of the present version is the appearance, for the first time, in English metrical shape, preserving the external form and rhyme movement of the originals, of the whole of the poetry with which the Arabic text is so freely interspersed. This great body of verse, equivalent to at least ten thousand twelve-syllable English lines, is of the most unequal quality, varying from poetry worthy of the name to the merest doggrel, and as I have, in pursuance of my original scheme, elected to translate everything, good and bad (with a very few exceptions in cases of manifest mistake or misapplication), I can only hope that my readers will, in judging of my success, take into consideration the enormous difficulties with which I have had to contend and look with indulgence upon my efforts to render, under unusually irksome conditions, the energy and beauty of the original, where these qualities exist, and in their absence, to keep my version from degenerating into absolute doggrel.
The story begun in Dancing on His Grave continues, as the five Finch girls one by one escape their father's psychopathic abuse, only to find themselves cast into the world drastically ill-equipped to cope with the demands of adulthood. In this sequel, the girls find their paths mined with the untruths and denial learned as children, and the lack of self-esteem or faith in their own abilities. In spite of these pitfalls, the young women's intelligence, determination and love for their children keep them striving toward normalcy. At the same time, their mother chooses to stay with her husband for seven years after her daughters have all gone, and with her classic denial conceals his increasingly psychotic behavior. Finally, after a severe concussion and a near miss again a month later, she flees to her oldest daughter's home and begins the long process of de-programming, after thirty three years of abuse. During her recovery, she fulfills a life-long dream of graduating from college with a degree in English. Meanwhile, her husband pursues the path of an alcoholic, and two years later remarries. Within a few months his new wife disappears. It takes the girls over a year to find her, back in Las Vegas, with a story of a terror-filled night when she was convinced he would murder her. Walking Wounded attempts to bring the Finch family's story to a reasonable conclusion, although the effects of the brutality inflicted on them as children create a life-long struggle for the women.
This text concentrates on the apprehension, investigation and trial of suspected offenders, overlaying its analysis with a critical appraisal of the system and suggesting pointers to improvement.
With their broken lines and hasty brushwork, sketches acquired enormous ideological and aesthetic power during the Romantic period in England. Whether publicly displayed or serving as the basis of a written genre, these rough drawings played a central role in the cultural ferment of the age by persuading audiences that less is more. The Visual and Verbal Sketch in British Romanticism investigates the varied implications of sketching in late-eighteenth- and early-nineteenth-century culture. Calling on a wide range of literary and visual genres, Richard C. Sha examines the shifting economic and aesthetic value of the sketch in sources ranging from auction catalogs and sketching manuals to novels that employed scenes of sketching and courtship. He especially shows how sketching became a double-edged accomplishment for women when used to define "proper" femininity. Sha's work offers fresh readings of Austen, Gilpin, Wordsworth, and Byron, as well as less familiar writers, and provides sophisticated interpretations of visual sketches. As the first full-length work about sketching during the Romantic era, this volume is a rich interdisciplinary study of both representation and gender.
Textbook on Civil Liberties and Human Rights provides a clear, concise account of the law in the UK. Throughout the text, examples from topical cases place theory in context. Readers are encouraged to engage with the debates that rage over civil rights and freedoms.
Innovative and accessibly written, Picturing Scotland examines the genesis and production of the first author-approved illustrations for Sir Walter' Scott's Waverley novels in Scotland. Consulting numerous neglected primary sources, Richard J. Hill demonstrates that Scott, usually seen as disinterested in the mechanics of publishing, actually was at the forefront of one of the most innovative publishing and printing trends, the illustrated novel. Hill examines the historical precedents, influences, and innovations behind the creation of the illustrated editions, tracking Scott's personal interaction with the mechanics of the printing and illustration process, as well as Scott's opinions on visual representations of literary scenes. Of particular interest is Scott's relationships with William Allan and Alexander Nasmyth, two important early nineteenth-century Scottish artists. As the first illustrators of the Waverley novels, their work provided a template for one of the more lucrative publishing phenomena. Informed by meticulous close readings of Scott's novels and augmented by a bibliographic catalogue of illustrations, Picturing Scotland is an important contribution to Scott studies, the development of the illustrated novel, and publishing history.
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