Joseph Arthur Simon’s The Greatest of All Leathernecks is the first comprehensive biography of John Archer Lejeune (1867–1942), a Louisiana native and the most innovative and influential leader of the United States Marine Corps in the twentieth century. As commandant of the Marine Corps from 1920 to 1929, Lejeune reorganized, revitalized, and modernized the force by developing its new and permanent mission of amphibious assault. Before that transformation, the corps was a constabulary infantry force used mainly to protect American business interests in the Caribbean, a mission that did not place it as a significant contributor to the United States defense establishment. The son of a plantation owner from Pointe Coupee Parish, Lejeune enrolled at Louisiana State University in 1881, aged fourteen. Three years later, he entered the U.S. Naval Academy, afterward serving for two years at sea as a midshipman. In 1890, he transferred to the Marines, where he ascended quickly in rank. During the Spanish-American War, Lejeune commanded and landed Marines at San Juan, Puerto Rico, to rescue American sympathizers who had been attacked by Spanish troops. A few years later, he arrived with a battalion of Marines at the Isthmus of Panama—part of Colombia at the time—securing it for Panama and making possible the construction of the Panama Canal by the United States. He went on to lead Marine expeditions to Cuba and Veracruz, Mexico. During World War I, Lejeune was promoted to major general and given command of an entire U.S. Army division. After the war, Lejeune became commandant of the Marine Corps, a role he used to develop its new mission of amphibious assault, transforming the corps from an ancillary component of the U.S. military into a vibrant and essential branch. He also created the Marine Corps Reserve, oversaw the corps’s initial use of aviation, and founded the Marine Corps Schools, the intellectual planning center of the corps that currently exists as the Marine Corps University. As Simon masterfully illustrates, the mission and value of the corps today spring largely from the efforts and vision of Lejeune.
Sir William Davenant (1606–1668) – Poet Laureate and Civil War hero – is one of the most influential and neglected figures in the history of British theatre. He introduced ‘opera’, actresses, scenes and the proscenium arch to the English stage. Narrowly escaping execution for his Royalist activities during the Civil War, he revived theatrical performances in London, right under Oliver Cromwell’s nose. Nobody, perhaps, did more to secure Shakespeare’s reputation or to preserve the memory of the Bard.Davenant was known to boast over a glass of wine that he wrote ‘with the very spirit’ of Shakespeare and was happy to be thought of as Shakespeare’s son. By recounting the story of his eventful life backwards, through his many trials and triumphs, this biography culminates with a fresh examination of the vexed issue of Davenant’s paternity. Was Sir William’s mother the voluptuous and maddening ‘Dark Lady’ of Shakespeare’s Sonnets, and was he Shakespeare’s ‘lovely boy’?
Habeas corpus is the principal means under the common law for the protection of personal liberty. By this ancient writ, the court assumes control over the body of a prisoner so it can discharge him or her to freedom if no proper legal cause can be shown for detention. Habeas corpus secures release from any form of custody, whether decreed by the highest powers of the state or the lowest gangland slave-trader. Its reach is as diverse as the forms of confinement. For just two examples beyond the prison wall, a patient wrongly detained for compulsory medical treatment can invoke its protection and it can even be deployed to determine the proper parental custody of a child. This volume looks first at the historical development of the writ, tracing its growth in significance until its emergence as an item of central constitutional importance. Having established the traditional place of habeas corpus, the volume goes on to examine the limits of the remedy today. It describes the modern workings of the application for habeas corpus and assesses the scope, function, and role of the procedure. It explores the relationship between habeas corpus and fundamental rights. The volume critically surveys the nature of judicial review on habeas corpus and investigates past, present, and potential future uses of the writ. It aims to provide a comprehensive statement of current English law, with added discussion of the position in other Commonwealth countries. The volume concludes with a guide to procedure and sample forms.
This thoughtful and provocative book explores the relationship between music and the visual arts in the late nineteenth and twentieth centuries, focusing on the modernist period. Reassessing the work of composers and artists such as Richard Wagner, Pablo Picasso, Paul Klee, Josef Matthias Hauer, and John Cage, Simon Shaw-Miller argues that despite modernism's advocacy of media purity and separation, the boundaries between art and music were permeable at this time, as they have been throughout history. Shaw-Miller begins by discussing the place of Wagner's music and ideas at the time of the birth of modernism, presenting Wagner's aesthetic of the Gesamtkunstwerk as an alternative paradigm for modernist art. He goes on to analyze Picasso's use of musical subjects in his cubist works and Klee's adoption of music and the issue of temporality in his paintings and drawings. He concludes with the radical aesthetic of Cage, the silencing of sound, and the promotion of intermediality in the work of Fluxus artists. Through these fascinating examples, Shaw-Miller raises questions about both art and music history that will be of interest to students of both disciplines.
Francis Lovell is without a doubt the most famous - if not the only famous - Lovell of Titchmarsh. In 1483 he was he was made a viscount by Edward IV, the first Lovell to be raised into the titled nobility. He is most famous for being the chamberlain and close friend of Richard III, the 'dog' of William Collingbourne's famous doggerel. Though Francis Lovell is the best known member of his family, the Lovells were an old aristocratic family, tracing their roots back to eleventh-century Normandy. Aside from the Battle of Hastings, a Lovell can be found at virtually all important events in English history, whether it was the crusade of Richard I, the Battle of Lewes, the siege of Calais, the Lambert Simnel rebellion against Henry VII, or the downfall of Anne Boleyn. Over the centuries the Lovells rose in wealth and power through service to the crown, rich marriages, and, to a considerable degree, luck. The history of the Lovells of Titchmarsh, from their relatively obscure beginnings in the border region between France and Normandy to a powerful position at the royal court, not only illustrates the fate of this one family but also throws an interesting light on the changes and developments in medieval and Tudor England. Several themes emerge as constant in the lives of an aristocratic family over the five centuries covered in this book: the profit and perils of service to the crown, the influences of family tradition and personal choice, loyalty and opportunism, skill and luck, and the roles of women in the family.
Introduces undergraduates to the key debates regarding space and culture and the key theoretical arguments which guide cultural geographical work. This book addresses the impact, significance, and characteristics of the 'cultural turn' in contemporary geography. It focuses on the development of the cultural geography subdiscipline and on what has made it a peculiar and unique realm of study. It demonstrates the importance of culture in the development of debates in other subdisciplines within geography and beyond. In line with these previous themes, the significance of space in the production of cultural values and expressions is also developed. Along with its timely examination of the health of the cultural geographical subdiscipline, this book is to be valued for its analysis of the impact of cultural theory on studies elsewhere in geography and of ideas of space and spatiality elsewhere in the social sciences.
Actors' Yearbook is an established and respected directory that enables actors to find work in stage, screen and radio. It is the only directory to provide detailed information for each listing and specific advice on how to approach companies and individuals, saving hours of further research. From agents and casting directors to producing theatres, showreel companies and photographers, Actors' Yearbook editorially selects only the most relevant and reputable contacts for the actor. Articles and commentaries provide valuable insight into the profession: auditions, interviews and securing work alongside a casting calendar and advice on contracts and finance. This is an incredibly useful professional tool in an industry where contacts and networking are key to career survival. The listings detailed in this edition have been thoroughly updated alongside fresh advice from industry experts.
A rollicking review of popular culture in 18th century Britain, this text turns away from sentimental and polite literature to focus instead on the jestbooks, farces, comic periodicals, variety shows and minor comic novels that portray a society in which no subject was taboo and political correctness unimagined.
No library of Court documents could pretend to be representative which ignored the famous "Memoirs" of the Duc de Saint-Simon. They stand, by universal consent, at the head of French historical papers, and are the one great source from which all historians derive their insight into the closing years of the reign of the "Grand Monarch," Louis XIV: whom the author shows to be anything but grand - and of the Regency.
Actors' Yearbook is an established and respected directory that enables actors to find work in stage, screen and radio. It is the only directory to provide detailed information for each listing and specific advice on how to approach companies and individuals, saving hours of further research. From agents and casting directors to producing theatres, showreel companies and photographers, Actors' Yearbook editorially selects only the most relevant and reputable contacts for the actor. Articles and commentaries provide valuable insight into the profession: auditions, interviews and securing work alongside a casting calendar and advice on contracts and finance. This is an incredibly useful professional tool in an industry where contacts and networking are key to career survival. The listings detailed in this edition have been thoroughly updated alongside fresh advice from industry experts.
Written with style, imagination and insight, and packed with interesting illustrations, this authoritative book traces the development through the ages of plays and playwriting, forms of staging, the acting profession and the role of the actor - in fact all aspects of live entertainment. From satire and burlesque to melodrama and pantomime, this is a major history of British theatre from the earliest times to the present day. Shifting its focus constantly between those who played and those who watched, between officially approved performance and the popular theatre of the people, The Cambridge Illustrated History of British Theatre will be invaluable to anyone interested in theatre, whether student, teacher, performer or spectator.
England's views are remarkable for their beauty and variety. With his usual insight and authority, bestselling author Simon Jenkins picks 100 of the very best from the white cliffs of Dover to Hadrian's Wall - and explains the fascinating stories behind each. Jenkins' entertaining and erudite entries provide the rich historical, geographical, botanical and architectural background to breathtaking sights - all beautifully illustrated - both iconic and undiscovered. From Gold Hill, the Dorset village street so famously picturesque it was used in a Hovis advert, to the view of the City of London famously depicted by Canaletto and the wilds of the Yorkshire moors. This book will inspire you to discover the treasures of England's sea, city and landscapes for yourself. Filled with roman roads, cliff-tops, follies, mountains, ancient castles, rolling forests and heart-stopping moments, you'll soon wonder how you chose walks, mini-breaks or spontaneous diversions without it. The perfect guide to Britain's landscape - now available in paperback.
This book argues that post-Keynesian theories of endogenous money can be combined with Marxian analysis in order to give insight into the changing power relations between the state, finance sector and real economy since WW2. A key theme is that financial power, derived from the control of money-issue and its purchasing power, is determined by the state and market in varying proportions (depending on context) but that state sovereignty has been lost in recent decades. In addition, the growth of financial markets in recent decades, so-called financialization, has led many to assume that private finance is an important proximate driver of economic affairs in general. In contrast, the book argues that this provides insufficient explanation of events. To discuss financial factors as causes of financial crisis risks describing the phenomena without illustrating the root causes. Instead, the book argues that systemic drivers of capitalism (rooted in production), probably best understood by Marx, actually do provide a more plausible explanation of the causes of the financialization and erosion of state sovereignty. In addition, the Post-Keynesian descriptions of monetary processes are considered to best reflect the actual reality of the monetary system. This represents an interesting synthesis of the classical Marx with modern money theory. The interpretation of Marx used to explain this financial transformation has been named the Temporal Single System Interpretation, which illustrates Marx’s value theory across periods and identifies a tendency towards falling profit rates. It is claimed that falling profits, in turn, are an underlying driver of the systemic propensity towards financialisation, crisis and stagnation. The empirical findings presented, taken from case studies of the UK and Germany, appear to support this view. The central argument is that the response of agents (including the state) to the profit tendency has been a significant driver of the observed financial transformation. The book then concludes that this synthesis provides a more appropriate explanation of the historical transformation of the financial system since the Great Depression, than much of the financialization literature, and illustrates the source (and operation) of financial power in the modern capitalist state and market.
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