Bücher veröffentlicht von Edward Everett Root

This lively work offers a wide-ranging account of the social history of the motorised age, and of the machine which has reshaped the character and development of the modern world. It places the development of the car (and of its more sinister cousins the tank and the war plane) in their context and impact on society in peace and war from the Edwardian period onwards. This is a social history of modern Britain at its most focused, on issues that really matter.

Who really wrote the Shakespeare plays? This important literary and cultural controversy is livelier and more widely discussed than ever before. Here, nine leading experts offer their version of who wrote the plays.Why does this issue matter? Because a full understanding of the author can make a huge difference to our wider appreciation of the life and times, the literature, and the culture of the period.William Shakespeare is universally regarded as the greatest writer who ever lived. Every year sees vast amounts of critical, philosophical and contextual interpretations of his works. There is endless biographical analyses of his life in relation to this work. And yet, despite this vast output, Shakespeare remains an enigmatic figure.He remains a man who seems to have understood humanity so well but whose life as a writer is absent in records of the time. This truth has led to many questions about the real author behind the title-pages, the real nature of Shakespeare the man, and how this nature relates to Shakespeare the writer.In new essays especially written for this book nine leading ‘Shakespearean’ authors present their version of the man.Ros Barber, Barry Clarke, John Casson with William Rubinstein & David Ewald, William Leahy, Alan H. Nelson, Diana Price, Alexander Waugh and Robin Williams each offer their ideas. Each essay is founded in scholarly research and provides a positive case for why the Shakespeare Authorship Controversy needs to be taken seriously.These versions of Shakespeare are realistic and compelling.  Each in its turn will provoke the reader to see various aspects of Shakespeare in a different light. And they will help us understand the enigmatic fascination that Shakespeare (and the authorship question) continues to generate.ΓÇï

Holyoake was a classic example of Gramsci’s working-class ‘organic intellectual’.  An Owenite ‘social missionary’, he became a Radical Liberal, Secularist and Co-operator, responsible for the legend of ‘the Rochdale Pioneers’.  A journalist, thinker, multiple ‘joiner’ and promoter of freedom in many settings, Holyoake was also a highly-readable stylist.  An influential 19th century public figure, his life and work have recently been neglected among co-operators as by well historians. The case for reviving work on his ideas is powerful.  

ΓÇïThis major new book provides a sparkling and detailed account of classical, modern, and popular music throughout Queen Victoria’s long reign.It completes the acclaimed series of classic studies by Professor Briggs, published as Victorian Cities, Victorian People, and Victorian Things.  Lord Briggs has written the work with the music specialist Janet Lovegrove.The approach is deliberately chronological. It observes the music scene - both metropolitan and provincial - at twenty-year intervals. It particularly shows how contemporaries themselves perceived music in 1837, 1857, 1877 and 1897.  These twenty-year intervals bring out the scale of change and the balance between continuities and contrasts at each point in the story. The intervening decades are more briefly explored.  An Epilogue (1901) completes the picture.The authors trace the repertory of opera, of orchestral, choral, chamber and popular music. They show the performers, theatres, halls and rooms. They provide many illuminating stories of the lives and work of the composers, writers and critics, publishers, teachers and lecturers, who were keen to bring music to the many rather the few.London was linked to the provinces by cathedral, church or festival, and education. Key factors were the dissemination of printed music, the musical evangelism of the sight-singing movement, the national distribution achieved by the railways, and the implementation of a national educational system from 1870 onwards.  An important element in this was the contribution made to ‘progress’ by provincial cities, most often through the proliferation of Festivals.No less important were the efforts of English musicians, composers, performers and teachers alike, to achieve status in a country where there was a strong amateur presence.There was also pressure from below, and a difference - often an indifference - in the role and interests of government, local and national.  However, the dynamic steps taken to found modern music institutions are traced.  Comparisons are made (as did the Victorians) between English and foreign performers and composers, the ‘giants’ of the past and present.  The last chapters show the breaking away, never complete, from ‘foreign domination’ and the identification of an English musical ‘renaissance.’The book is well illustrated. These pictures complete the overwhelming impression of an era teeming with energy and ambition, in music as in all else. The era laid the foundations of the musical heritage and standards we enjoy today.

This is the first-ever book length study of one of the most important and constantly innovative 19th century book and periodical publishers. The mysterious and often elusive but enormously influential Henry Colburn (c.1784 – 16 August 1855) was the pre-eminent publisher of ‘silver-fork’ novels, and of many influential new writers.Colburn’s main claim to rehabilitation are his troop of 'name' authors: Lady Morgan, Disraeli, Bulwer-Lytton, Captain Marryat, G.P.R James, Mrs. Margaret Oliphant, Mrs. Catherine Gore, Mrs. Caroline Norton, Frances Trollope, Anthony Trollope, Richard Cobbold, R. S. Surtees. Many would not have had a start in the careers they later enjoyed were it not for Colburn.This is a lively, and important new work on early 19th-century publishing and the patterns for the century which Colburn set. It sketches intantalizing outlines the Regency, early nineteenth-century and Victorian book trades – and the consequences of Colburn’s impact on those worlds. In addition, the work centres on Colburn’s most celebrated authors. The book – which is well illustrated - contains the first catalogue of Colburn’s publications.Thus far, literary and publishing history have drawn a formidable charge sheet against Henry Colburn. In personal pedigree he is slandered as a ‘guttersnipe’, or a ‘royal bastard’. In Disraeli’s pungent description he was a publishing ‘bawd’, engaged in wholesale literary prostitution. A very bad thing. And yet this publishing Barabbas can be argued to have been innovative and a force for constructive change in the rapidly evolving book trade and---paradoxically---a man of taste.Various rumours circulated that he was either a bastard of the Duke of York or of Lord Landsdowne. Date uncertain. He liked to weave illustrious (typically mendacious) pedigrees for himself as much as for his dubiously aristocratic purveyors of silver forkery.What, precisely, did Colburn do that should raise his reputation and make us see him as a good thing? In the largest sense he demonstrated, by example and practice, the need for consolidation between hitherto dismembered arms of the London book world. Beginning his career at apprentice level in the London West End circulating-library business he went on, having learned at the counter what the customer wanted, to become the undisputed market leader in the publication of three-volume novels and (sub-Murray) travel books.The three-decker went on to become the foundation-stone of the ‘Leviathan’ library system (Mudie’s and Smith’s) and created a seventy-year stability in the publishing, distribution and reception of English fiction. In 1814 Colburn founded the New Monthly Magazine. In 1817, he set up England’s first serious weekly review, the Literary Gazette. In 1828 he helped found the Athenaeum (distant parent of today's New Statesman). His behaviour, as a magazine proprietor and editor at large was typically outrageous. But the link he forged between higher journalism and literature was momentous.

How to survive, and live with, cancer. iE Short, sharp practical guide. iE Shows patients how to can take control of their care. iE How to get the system to work for you. iE Gives 100 advisory websites, with expert notes. iE Absolutely up-to-date.