A magisterial history of resistance to the rising of the British empire As the call for a new understanding of our national history grows louder, Britain’s Empire turns the received imperial story on its head. Richard Gott recounts the long-overlooked narrative of resisters, revolutionaries and revolters who stood up to the might of the Empire. In a story of almost continuous colonialist violence, Britain’s crimes unspool from the beginning of the eighteenth century to the Indian Mutiny, spanning the globe from Ireland to Australia. Capturing events from the perspective of the colonised, Gott unearths the all-but-forgotten stories excluded from mainstream histories.
Centuries ago, when the ancient philosopher Zeno proposedhis famous paradox involving Achilles and the Tortoise, he struck at the heart of one of science's most enduring and intractable problems: How do we define the infinite? From then on, our greatest natural philosophers, logicians, mathematicians, and scientists, from Aristotle to Stephen Hawking, have been stymied-and driven-by infinity. Acclaimed Science writer Richard Morris guides us on a fascinating, literate and entertaining tour of the efforts made throughout history to make sense of the mind-bending concept of the infinite. In tracing this quest, Morris shows us how each new encounter with infinity drove the advancement of physics and mathematics. Along the way, we encounter such luminaries as Galileo and Newton, Tycho Brahe and Giordano Bruno, and the giants of modern physics: Planck, Einstein, Bohr, Feynmann, Hawking, and numerous others. Beginning with simple logical puzzles and progressing to the latest cosmological theories, Morris shows how these same infinity problems helped spawn such groundbreaking scientific developments as relativity and quantum mechanics. Though in many ways, the infinite is just as baffling today as it was in antiquity, contemporary scientists are probing ever deeper into the nature of our universe and catching fleeting glimpses of the infinite in ways the ancients could never have imagined. Ultimately, we see that hidden within the theoretical possibility of an infinite number of universes may lie the answers to some of humankind's most fundamental questions: Why is there something rather than nothing? Why are we here?
This third edition is a basic textbook on the development of pipe organ composition in geographically diverse schools. Its nineteen chapters include charts of organ composers and a historical background of contemporary events and figures for each organ composition school. Chapter bibliographies cover readings published in the seventies, eighties, and early nineties. A listing of Bach organ compositions with pagination of various editions is also included.
Geistliche Lieder und Psalmen, 1567, was compiled and published by Johann Leisentrit, a Roman Catholic priest who from 1559 to the time of his death in 1586, was Dean at the Cathedral of St. Peter's in Bautzen, a town in southeastern Germany. His hymnbook appeared in three complete editions (1567, 1573, 1584), and in abridged editions in 1575, 1576, and 1589. By adapting the vernacular hymn, a genre created by Protestant reformers, Leisentrit hoped to bring back to the "true church" (wahrglaubiger Christlicher Kirchen) those who had defected to Lutheranism. This was a formidable ambition because his diocese was located adjacent to the Moravian-Bohemian regions where the Protestant movement was born and remained vital. Containing approximately 260 texts set to 175 notated melodies, many borrowed from Protestant sources and adapted to serve Roman Catholic objectives, Leisentrit's book was the second Catholic hymnbook to be published in the sixteenth century. It surpassed its Protestant and Catholic precursors in scope and provided a model for the profusion of hymnbooks of numerous confessions that appeared in Germany in the seventeenth and eighteenth centuries . Wetzel and Heitmeyer present their study in two parts: The first comprises six contextual chapters that survey earlier German achievements in hymnody, provide analyses of the texts and music in Leisentrit's book, and assess his achievement within the volatile environment of the Counter Reformation. The second gives the melodies in modern notation along with the first stanzas of the texts; provides detailed concordances and references to sources that identify textual and musical provenances; and concludes with six appendixes to facilitate scholarly cross-references. Fourteen of the seventy wood engravings from Leisentrit's book, many of which are visual representations of the prevailing confessional conflicts, are given in enlarged reproductions. The authors provide the only comprehensive study in English of a unique religious figure and his efforts to achieve confessional reconciliation in the decades following the Council of Trent. They add to a more accurate interpretation of the relationship between Lutherans and Catholics in the sixteenth century and support the hypothesis that some Lutherans remained more liturgically formal than their Catholic contemporaries.
This volume contains parallel texts and translations of all Bach's church and secular cantatas that have come down to us complete. They have been translated into an accurate and readable English style that does not attempt to render the rhythm and rhyme scheme of the original German texts but allows the reader to appreciate the beauty and atmosphere of the poetry set by Bach. The volume also includes a short glossary of geographical and mythological names, a list of dedicatees of the secular cantatas, a list of the poets with their dates, and an introduction to the cantatas by Martin Neary, former organist of Winchester Cathedral and Westminster Abbey. This corrected and revised printing incorporates a number of corrections to the text and a new alphabetical index of the cantatas by title.
This first of a two-volume study deals with the earlier part of Bach's career, and examines the output of his youth and its many external influences, before moving on to study the first great masterpieces in which Bach's own personal voice begins to emerge.
The Folly of the Cross is the fourth book in Richard Viladesau's series examining the aesthetics and theology of the cross through Christian history. Previous volumes have brought the story up through the Baroque era. This new book examines the reception of the message of the cross from the European Enlightenment to the turn of the twentieth century. The opening chapters set the stage in the transition from the Baroque to the Classical eras, describing the changing intellectual and cultural paradigms of the time. Viladesau examines the theology of the cross in the eighteenth and nineteenth centuries, and the aesthetic mediation of the cross in music and the visual arts. He shows how in the post-Enlightenment era the aesthetic treatment of the cross widely replaced the dogmatic treatment, and how this thought was translated into popular spirituality, piety, and devotion. The Folly of the Cross shows how classical theology responded to the critiques of modern science, history, Biblical scholarship, and philosophy, and how both classical and modern theology served as the occasions for new forms of representation of Christ's passion in the arts and music.
This book gives an account of the individual works of one of the greatest composers. The first volume of a two-volume study of the music of J. S. Bach covers the earlier part of his composing career, 1695-1717. By studying the music chronologically a coherent picture of the composer's creative development emerges, drawing together all the strands of the individual repertoires (e.g. the cantatas, the organ music, the keyboard music). The volume is divided into two parts, covering the early works and the mature Weimar compositions respectively. Each part deals with four categories of composition in turn: large-scale keyboard works; preludes, fantasias, and fugues; organ chorales; and cantatas. Within each category, the discussion is prefaced by a list of the works to be considered, together with details of their original titles, catalogue numbers, and earliest sources. The study is thus usable as a handbook on Bach's works as well as a connected study of his creative development. As indicated by the subtitle Music to Delight the Spirit,, borrowed from Bach's own title-pages, Richard Jones draws attention to another important aspect of the book: not only is it a study of style and technique but a work of criticism, an analytical evaluation of Bach's music and an appreciation of its extraordinary qualities. It also takes account of the remarkable advances in Bach scholarship that have been made over the last 50 years, including the many studies that have appeared relating to various aspects of Bach's early music, such as the varied influences to which he was subjected and the problematic issues of dating and authenticity that arise. In doing so, it attempts to build up a coherent picture of his development as a creative artist, helping us to understand what distinguishes Bach's mature music from his early works and from the music of his predecessors and contemporaries. Hence we learn why it is that his later works are instantly recognizable as 'Bachian'.
Whether winning world championships or falling into last place, fielding teams with Hall of Fame players or trotting out bumbling boys of summer, the Pittsburgh Pirates have thrilled, frustrated, and fascinated generations of fans since 1876.To date, the Pirates have won five World Series and have a total of thirty-six players and managers in the Hall of Fame-including Honus Wagner, Pie Traynor, Lloyd and Paul Waner, Ralph Kiner, Willie Stargell, Roberto Clemente, and Bill Mazeroski. The Pirates Reader is a tribute to the fans, players, and teams who have forged the franchise's rich history. Richard Peterson has collected the writing of baseball's greatest storytellers and brings to life the players, games, and magical moments for this classic and well-loved team.
Parsifal, Wagner's final opera, is considered by many to be one of the greatest religious musical works ever composed; but it is also one of the most difficult to understand and many have questioned whether it can be considered a "Christian" work at all. Added to this is the furious debate that has surrounded the composer as an anti-Semite, racist, and inspiration for Hitler. Richard Bell addresses such issues and argues that despite any personal failings Wagner makes a fundamental theological contribution through his many writings and ultimately in Parsifal which, he argues, preaches Christ crucified in a way that can never be captured by words alone. He argues that Wagner offers a vision of the divine and a "theology of Good Friday" that can both function as profound therapy and address current theological controversies.
With this reader-friendly book, it doesn't take an Einstein to understand the theory of relativity and its remarkable consequences. In clear, understandable terms, physicist Richard Wolfson explores the ideas at the heart of relativity and shows how they lead to such seeming absurdities as time travel, curved space, black holes, and new meaning for the idea of past and future. Drawing from years of teaching modern physics to nonscientists, Wolfson explains in a lively, conversational style the simple principles underlying Einstein's theory. Relativity, Wolfson shows, gave us a new view of space and time, opening the door to questions about their flexible nature: Is the universe finite or infinite? Will it expand forever or eventually collapse in a "big crunch"? Is time travel possible? What goes on inside a black hole? How does gravity really work? These questions at the forefront of twenty-first-century physics are all rooted in the profound and sweeping vision of Albert Einstein's early twentieth-century theory. Wolfson leads his readers on an intellectual journey that culminates in a universe made almost unimaginably rich by the principles that Einstein first discovered.
Much of Civil War history emphasizes generalship (or the lack of it) as the key factor in analyzing why battles were won or lost. Taking an innovative approach, this book focuses on six elements of victory in nine important Western Theater engagements during 1862--a year when the North had not yet fully mobilized for war. With increasing complexity on the battlefield and the enormous growth of American armies, winning or losing depended upon achieving as many of these six critical goals as possible: a clear objective; mobilization of effective lieutenants; a competent staff; seizing and holding initiative; deploying all available resources; and realizing a successful strategic outcome. The more goals achieved, the greater the victory.
The basic understanding which underlies scientific evidence - ideas such as the structure of experiments, causality, repeatability, validity and reliability- is not straightforward. But these ideas are needed to judge evidence in school science, in physics or chemistry or biology or psychology, in undergraduate science, and in understanding everyday issues to do with science. It is essential to be able to be critical of scientific evidence. The authors clearly set out the principles of investigation so that the reader will be confident in questioning the experts, making an informed choice or arriving at in informed opinion. The book is intended for a wide range of readers including those who want to: } collect their own evidence } be able to question and judge a wide range of science-based issues that we come across in the press or other media in everyday life } teach others how to understand evidence. This book has been developed from the authors′ work with first year undergraduates in a combined science course and in primary teacher training for science specialists. It is suitable for students training as primary science specialists, and also for ′A′ level and first-year undergraduates in science and science-related subjects.
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