Endorsed by Cambridge Assessment International Education to support the full syllabus for examination from 2024. Written by renowned expert authors, our Cambridge O Level English Student's Book enables learners to effectively and successfully master the content of the revised syllabus for examination from 2024. - Navigate the syllabus confidently with units dedicated to the different reading and writing skills. - Engage learners with thematically-focused chapters containing a range of text types and activities. - Consolidate knowledge with activities, study tips and definitions of key terms. - Prepare for assessment with exam-style questions, model answers and a chapter devoted to assessment guidance.

A lyrical excavation of trauma and healing in the midst of early motherhood - the debut work of an endlessly inventive poet whose work 'fizzes with energy, physicality, and the levitating openness of song' (Rebecca Tamás) 'An essential read, poignant, powerful and provocative. I love the feeling in Amy Acre's poems' Salena Godden Amy Acre’s debut collection is an unforgettable, unflinching excavation of motherhood, what it means to be a female artist, and what it means to be a poet with a deeply integrated community. This is a timeless work the like of which we haven’t seen enough of in the past, primed to last long into the future. 'Amy Acre is one of the best poets of her generation. Pure cinema, raw heart, and unparalleled technique. Read this' Joelle Taylor, winner of the 2021 T S Eliot Prize for Poetry 'Mothers, daughters, lovers, all the thrilling complexity of love and grief that the body must bear; these are poems which set the page aglow and make my heart spin' Liz Berry, winner of the 2018 Forward Prize for Poetry

Renaissance Invention and the Haunted Infancy examines how and why a vast range of fifteenth- and early sixteenth-century European images of Christ's infancy allude either to his death or to the devil, and sometimes to both. Written as an essay on interpretation, the book addresses the bottomless ingenuity with which artists worked to embody two central yet ultimately elusive ideas: the sacrifice for which the Incarnation was necessary and evil poised to thwart the scheme of salvation. Because both are nominally nonexistent or suppressed in the moment pictured - a death not yet present for the Infant and a menace resisted by his coming - they convey absence or imminence in ways rarely attempted in earlier art. Although both kinds of allusion became pervasive in painting, prints, and sculpture and are widely familiar to modern observers, neither has ever been systematically addressed in art historical scholarship. With this gap as a core question, the study seeks answers among unmapped distances between Renaissance and modern approaches to meaning in religious images. Framed by an opening chapter that examines changing conceptions of subject matter and a concluding one that seeks to account for Renaissance fascination with these themes, the heart of the study is given to close scrutiny of an unusual variety of images (by such central figures as Bosch, Botticelli, Bruegel, Campin, Donatello, Gossaert, Michelangelo, and van der Weyden, among many others) and the means by which they engineer representation to guide singular kinds of thought. New perspectives emerge not only on certain core dynamics of meaning, but also on elementally related aims of a host of major works from the period.

Jan van Eyck was one of the most inventive and influential artists in the entire European tradition. The phenomenal realism of his paintings, now six centuries old, still astounds observers in a world accustomed to high-resolution images. But other dimensions of his work are just as original and absorbing. Unlike any earlier artist, Van Eyck infused his paintings with himself. In addition to portraying, reflecting and implying his own presence in a variety of works, he also introduced his voice, hand and mind in an array of inscriptions, signatures and even a personal motto. Incorporating a wealth of new research and recent discoveries within a fresh exploration of the paintings themselves, this book reveals how profoundly Jan van Eyck transformed the very idea of what an artist could be.

The 128 letters of William Cecil, Lord Burghley, to his son Sir Robert Cecil in Cambridge University Library, Manuscript Ee.3.56, are the largest collection of papers showing the close direction and counsel he gave his son in seeking and obtaining the office of Principal Secretary, 1593-1598. The materials concentrate on the task of receiving and crafting a wide and large array of papers on behalf of Queen Elizabeth I and her Privy Council; finance, administration, foreign policy, and religion figure prominently, as does the shift from continental war to Ireland. These letters also reveal the intimate relationship between the father and son; Burghley's care for his family, his thoughts of death, and a unique record of illness and old age are framed by his political and spiritual anxieties for the future of the Queen and her realms.

Collection of British comedies from the 1930s. Lupino Lane directs 'Letting in the Sunshine' (1933) in which Albert Burdon stars as Nobby Green, a window cleaner. When he bumps into his old flame Jane (Renee Gadd) they conspire to outwit a band of jewel thieves. In 'Lucky to Me' (1939), directed by Thomas Bentley, Potty (Stanley Lupino), a clerk at a legal firm, marries secretary Minnie (Barbara Blair) in secret. To keep their marriage hidden from their colleagues the pair plan a one-night honeymoon. However, even this comes under threat when Potty's boss orders him to go on a business trip!