The Making of Modern Law: Foreign, Comparative and International Law, 1600-1926, brings together foreign, comparative, and international titles in a single resource. Its International Law component features works of some of the great legal theorists, including Gentili, Grotius, Selden, Zouche, Pufendorf, Bijnkershoek, Wolff, Vattel, Martens, Mackintosh, Wheaton, among others. The materials in this archive are drawn from three world-class American law libraries: the Yale Law Library, the George Washington University Law Library, and the Columbia Law Library.Now for the first time, these high-quality digital scans of original works are available via print-on-demand, making them readily accessible to libraries, students, independent scholars, and readers of all ages.+++++++++++++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: +++++++++++++++Yale Law LibraryLP3Y035780019250101The Making of Modern Law: Foreign, Comparative, and International Law, 1600-1926Presented by Mr. Jones of New Mexico. Referred to the Committee on Printing, Jan. 5 (calendar day, Jan. 12), 1925.Washington: Government Printing Office, 1925viii, 277 p. incl. tables. 23 cmUnited States

On the morning of November 20, 1820, in the Pacific Ocean, an enraged sperm whale rammed the Nantucket whaler Essex. As the boat began to sink, her crew of thirty had time only to collect some bread and water before pulling away in three frail open boats. Without charts, alone on the open seas, and thousands of miles from any known land, the sailors began their terrifying journey of survival. Ninety days later, after much suffering and death by starvation, intense heat, and dehydration, only eight men survived to reach land. One of them was Owen Chase, first mate of the ill-fated ship, whose account of the long and perilous journey has become a classic of endurance and human courage. The elements of his tale inspired Herman Melville (who was born the year the Essex sank) to write the classic Moby Dick. A gallant saga of the sea, this riveting narration of life and death, of man against the deep, will enthrall readers.

Famous Book Titles and How They Got That Way

"An entertaining little book. . . . It is a good thing that writers have to keep struggling for the right title, to judge from Bernard's amusing evidence."--Christopher Lehmann-Haupt, New York Times

André Bernard has researched the stories behind more than one hundred of the most famous titles in the English language to produce a fascinating volume rich in literary anecdote and publishing lore. The Great Gatsby was almost titled Trimalchio in West Egg, while some unknown editor told William L. Shirer, "Please God, don't ask us to publish a book called The Rise and Fall of the Third Reich." It's a wonderful romp among the literary monuments.

"This small book is truly delightful and will appeal to every prospective writer and anyone interested in the creation of ideas."--Karen Glendinning, Chattanooga Free Press

Raymond Chandler to Alfred A. Knopf: "I'm trying to think of a good title for you to want me to change."

André Bernard is an executive editor at the Book-of-the-Month Club and the author of Rotten Rejections: A Literary Companion. He lives in Hastings-on-Hudson, New York.

This posthumous collection of writings illuminates Cocteau's own work for the cinema with detailed discussions of his aims, responses to criticism and his reflections on the relationship between poetry, theatre and film. He also comments on the movie stars he admires--Marlene Dietrich, James Dean, Brigitte Bardot--together with such great directors as Charlie Chaplin and Orson Welles.

Mabel Elsworth Todd pioneered ideokinesis in the 1920s. Her book, "The Thinking Body," described new ways to use all the senses as well as inner feeling and imagination to retrain the body to move with ease and balance. The system became an invaluable tool for generations of dancers, actors, and performance artists, thanks largely to one of its most important teachers, Andre Bernard (1924-2003). This book presents an introduction to the practice as well as a lengthy interview with Bernard and two meticulously detailed workshop protocols illustrated with 52 photographs and line drawings.