During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres with the same sentimental moments and comic interludes of domestic melodrama mixed with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain's promulgation of imperial ideology - and its role in constructing and maintaining class, gender, and racial identities - have given discussions of melodrama force and momentum. The plays in included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from the original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays' nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices - acting, audiences, staging, lighting, special effects - are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further. The appendices include maps of Britain, Europe, and the East and West Indies.

During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres with the same sentimental moments and comic interludes of domestic melodrama mixed with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain's promulgation of imperial ideology - and its role in constructing and maintaining class, gender, and racial identities - have given discussions of melodrama force and momentum. The plays in included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from the original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays' nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices - acting, audiences, staging, lighting, special effects - are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further. The appendices include maps of Britain, Europe, and the East and West Indies.

During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres. These plays mixed sentimental moments and comic interludes of domestic melodrama with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain's promulgation of imperial ideology - and its role in constructing and maintaining class, gender, and racial identities - have given discussions of melodrama force and momentum. The plays included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays' nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices - acting, audiences, staging, lighting, special effects - are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further.

During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres with the same sentimental moments and comic interludes of domestic melodrama mixed with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain's promulgation of imperial ideology - and its role in constructing and maintaining class, gender, and racial identities - have given discussions of melodrama force and momentum. The plays in included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from the original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays' nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices - acting, audiences, staging, lighting, special effects - are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further. The appendices include maps of Britain, Europe, and the East and West Indies.

A. Die Zielsetzung des Buches. Die mathematische Logik, die hinsichtlich ihrer Methode als Mathe- matik, hinsichtlich ihres Gegenstandes als Logik anzusprechen ist, stellt sich als eines jener Wissensgebiete dar, auf denen sich gegenwartig die ur- sprunglichen Interessen der Mathematiker und der nicht originar mathe- matisch orientierten Geisteswissenschaftler uberschneiden. Die Gesetz- maBigkeit des Denkens hat sich in weitem MaBe als eine so1che von der Art mathematischer GesetzmaBigkeiten enthlillt, und keine Logik kann an diesem Tatbestand mehr vorbeigehen, so wie heute etwa keine Physik mehr den analogen Tatbestand ignoriert. Das vorliegende Buch will sich demgemaB - wie die ihm zugrunde liegenden mehrfach gehaltenen Vorlesungen es wollten - zunachst an Mathematiker, zugleich aber auch an mathematisch interessierte Nicht- mathematiker - hiervor allem eben: an geisteswissenschaftlich orien- tierte Logiker - wenden. Diesem Ausgangsimpuls entspringt eine doppelte Zielsetzung. Einerseits will das Buch - im Gegensatz zu bloBen Anfangerbuchem - in jedem angeschnittenen Problemkreis bis zu seinen zentralen Fragestellungen vordringen und sie in exakter mathematischer Behandlungsweise beantworten. Andererseits solI es jedoch gleichzeitig mathematisch ausgebildeten Lesem das Instrumen- den nebenfachlich tarium, das zum vollen Erfassen des mathematischen Gehaltes des Stoffes natig ist, in die Hand geben.

Which Way is the Right Way is designed for eleventh grade students, but may be used in grades nine, ten, or twelve. It provides an overview of the Christian faith, the major non-Christian world religions, and of various movements within Christianity. This is a 45 session course.

One Body in Christ, designed for high-school aged students, provides an overview of the church, especially as presented in the Ephesians and 1 and 2 Timothy. Students will learn about blessings God give them through the Church and ways they can respond to God's love to build up one another within the Church, and to reach in witness, love and service to others.

Which Way is the Right Way is designed for eleventh grade students, but may be used in grades nine, ten, or twelve. It provides an overview of the Christian faith, the major non-Christian world religions, and of various movements within Christianity. This is a 45 session course.

This quarter course in the High School Bible Curriculum series helps youth develop godly attitudes about their sexuality, dating relationships, marriage and family life. Teaching plans for 45 sessions. Accompanying component - Student book - #22-2322. More about the Christian High School Bible Curriculum series: These fresh, compelling Bible studies offer a complete curriculum for high school religion class or high school youth Bible study. The curriculum covers four years and includes Bible history and life-related applications of basic Bible doctirnes. The curriculum includes one semester course and two quarter courses for each grade. The courses do not need to be complete in straight 45 or 90 sessions. The materials can be broken into smaller 5- or 10-session courses for church youth group or Bible study settings.