This book adds a whole new dimension to the editors' previous work on the social, economic, and environmental effects of global trade. For the first time it brings all three pillars of sustainability together into one coherent multiregional input-output (MRIO) framework. It shows the power of MRIO analysis to illuminate the local and global interdependencies of economic, environmental, and social systems and the benefits to be gained through analysing all three together. Change one thing and everything else changes. With chapters from around 60 researchers across 34 countries, this book illustrates the effect of natural resources and government policy settings 1990-2015 on the balancing act that was-and is-global trade. It provides a holistic systems' view of how supply chains work, revealing how easily they can become fragmented and out of kilter. And within all the chaos of COVID-19 it shows how MRIO is the one tool that can help rebuild a post-pandemic global economy into a fairer, safer world.

Describes some of the things that veterinarians do to help animals stay healthy. Explore how pets are taken care of in a vet clinic.

Describes some of the things that doctors do to help people stay healthy.

Describes some of the things that letter carriers do to make sure people in the community get their mail.

Describes some of the things that police officers do to help keep people safe.

Seventeen studies by noted experts that demonstrate recent approaches toward the creative interpretation of primary sources regarding Renaissance and Baroque music, Mozart, Beethoven, Mendelssohn, Verdi, Debussy, and beyond. How do we know what notes a composer intended in a given piece? -- how those notes should be played and sung? -- the nature of musical life in Bach's Leipzig, Schubert's Vienna? -- how music related to literature and other arts and social currents in different times and places? -- what attitudes musicians and music lovers had toward the music that they heard and made? We know all this from musical manuscripts and prints, opera libretti, composers'letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources are the bedrock of music history and musicology. Others havebegun to be examined only in recent years. Furthermore, musicologists -- including biographers of famous composers -- now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting and novel. These seventeen essays, all newly written, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries. The resulting, pluralistic profile of current musicology will prove welcome to anyone fascinated by the problems of reconstructing -- reimagining, sometimes -- the evanescent musical art of the past and pondering its implications for musical life today and in the future. Roberta Montemorra Marvin is a Research Fellow at the Obermann Center for Advanced Studies at the University of Iowa where she is also Director of the Institute for Italian Opera Studies; Stephen A. Crist is associate professor and chair of the Music Department at Emory University.

Composers at Work is the first comprehensive and systematic study of compositional process in Renaissance music. Owens draws on documentary, manuscript, and theoretical evidence to construct a striking new explanation of how composers actually worked. Through a study of autograph sketches, drafts, and fair copies of composers such as Henricus Isaac, Cipriano de Rore, Francesco Corteccia, and Giovanni Pierluigi da Palestrina, Owens reveals a process of working in separate parts, line by line, and not in full score, as in our modern editions. This discovery has major implications for the analysis, editorial interpretation, and performance of early music.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

From the legendary poet Oisin to modernist masters like James Joyce, William Butler Yeats, and Samuel Beckett, Ireland's literary tradition has made its mark on the Western canon. Despite its proud tradition, the student who searches the shelves for works on Irish women's fiction is liabel to feel much as Virginia Woolf did when she searched the British Museum for work on women by women. Critic Nuala O'Faolain, when confronted with this disparity, suggested that "modern Irish literature is dominated by men so brilliant in their misanthropy... that] the self-respect of Irish women is radically and paradoxically checkmated by respect for an Irish national achievement."

While Ann Owen Weekes does not argue with the first part of O'Faolain's assertion, she does with the second. In Irish Women Writers: An Uncharted Tradition, she suggests that it is the critics rather than the writers who have allowed themselves to be checkmated. Beginning with Maria Edgeworth's Castle Rackrent (1800) and ending with Jennifer Johnston's The Railway Station (1980), she surveys the best of the Ireland's female literature to show its artistic and historic significance and to demonstrate that it has its own themes and traditions related to, yet separate from, that of male Irish writers.

Weekes examines the work of writers like E.OE. Sumerville and Martin Ross (pen names for cousins Edith Somerville and Violet Martin), Elizabeth Bowen, Kate O'Brien, Mary Lavin, and Molly Keane, among others. She teases out the themes that recur in these writers' works, including the link between domestic and political violence and re-visioning of traditional stories, such as Julia O'Faolain's use of the Cuchulain and Diarmuid and Grainne myths to reveal the negation of women's autonomy. In doing so, she demonstrates that the literature of Anglo- and Gaelic-Irish women presents a unified tradition of subjects and techniques, a unity that might become an optimistic model not only for Irish literature but also for Irish people.

Reading We Live Forever is like watching the trees grow green in springtime. It lifts the spirit, and it lifts our awareness of the world beyond the senses. These case histories, many of which have made headlines, are discussed with care and compassion by two well-known and gifted clairvoyants/healers. Despite the seriousness of their work, covering a vast range of clients from princesses to police inspectors, gangland figures and four-footed friends, their story is refreshingly and compellingly told in a memoir full of unforced self-awareness and gentle humour. It's also a very practical and, in Anne's words, 'down to earth' book. Perhaps we have Peter's love of classic cars and their internal mysteries to thank for that, together with his excellent routine for curing back problems. In any event - paranormal or otherwise - their achievements are little short of miraculous. Long may they continue, and allow us to continue learning from them. Originally completing his studies as a design engineer, Peter Valentine has a deep love of flying, owning his own aircraft with Anne. He developed a keen interest in reincarnation and the study of former lives at a relatively early age, and now works closely with Anne in these and associated fields.