"During the century 1850-1950 Vancouver Island attracted Imperial officers and other Imperials from India, the British Isles, and elsewhere in the Empire. Victoria was the main British port on the north-west Pacific Coast for forty years before the city of Vancouver was founded in 1886 to be the coastal terminus of the Canadian Pacific Railway. These two coastal cities were historically and geographically different. The Island joined Canada in 1871 and thirty-five years later the Royal Navy withdrew from Esquimalt, but Island communities did not lose their Imperial character until the 1950s."--P. [4] of cover.
Volume I of The Official History of Criminal Justice in England and Wales frames what was known about crime and criminal justice in the 1960s, before describing the liberalising legislation of the decade. Commissioned by the Cabinet Office and using interviews, British Government records, and papers housed in private, and institutional collections, this is the first of a collaboratively written series of official histories that analyse the evolution of criminal justice between 1959 and 1997. It opens with an account of the inception of the series, before describing what was known about crime and criminal justice at the time. It then outlines the genesis of three key criminal justice Acts that not only redefined the relations between the State and citizen, but also shaped what some believed to be the spirit of the age: the abolition of capital punishment, and the reform of the laws on abortion, and homosexuality. The Acts were taken to be so contentious morally and politically that Governments of different stripes were hesitant about promoting them formally. The onus was instead passed to backbenchers, who were supported by interlocking groups of reformers, with a pooled knowledge about how to effectively organise a rhetoric that drew on the language of utilitarianism, and the clarity and authority of a Church of England. This came to play an increasingly consequential and largely unacknowledged part in resolving what were often confusing moral questions. This book will be of much interest to students of criminology and British history, politics and law.
A Juilliard-trained musician and professor of history explores the fascinating entanglement of classical music with American foreign relations. Dangerous Melodies vividly evokes a time when classical music stood at the center of twentieth-century American life, occupying a prominent place in the nation’s culture and politics. The work of renowned conductors, instrumentalists, and singers—and the activities of orchestras and opera companies—were intertwined with momentous international events, especially the two world wars and the long Cold War. Jonathan Rosenberg exposes the politics behind classical music, showing how German musicians were dismissed or imprisoned during World War I, while numerous German compositions were swept from American auditoriums. He writes of the accompanying impassioned protests, some of which verged on riots, by soldiers and ordinary citizens. Yet, during World War II, those same compositions were no longer part of the political discussion, while Russian music, especially Shostakovich’s, was used as a tool to strengthen the US-Soviet alliance. During the Cold War, accusations of communism were leveled against members of the American music community, while the State Department sent symphony orchestras to play around the world, even performing behind the Iron Curtain. Rich with a stunning array of composers and musicians, including Karl Muck, Arturo Toscanini, Wilhelm Furtwängler, Kirsten Flagstad, Aaron Copland, Van Cliburn, and Leonard Bernstein, Dangerous Melodies delves into the volatile intersection of classical music and world politics to reveal a tumultuous history of twentieth-century America.
This volume offers new interpretations of Katherine Mansfield's work by bringing together recent biographical and critical-theoretical approaches to her life and art in the context of Continental Europe. It features chapters on Mansfield's reception in several European countries together with her own translations of other European writers.
A dictionary containing 3500 biographical entries, each representing a composer whose work has been used within the worship of the church in Britain and Ireland.
