Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

A Dracula Handbook provides succinct and accurate information about Dracula. Written for a general readership, the book should appeal to aficionados, students and the just-plain-curious. Using question/answer format, the book covers a range of topics: the origins of the vampire myth; the life of Bram Stoker, author of Dracula (1897); the novel, its genesis and sources; the historical figure (Vlad the Impaler) whose nickname Stoker borrowed for his Count; an examination of the connection between Vlad and Count Dracula; the phenomenal impact the novel has had since its publication; and an overview of interpretations of the book. Also included is a comprehensive reading list.Here are some of the many questions that are directly answered in the book: What are the roots of vampire lore?How did vampires move from folklore to literature?What do we know about the actual writing of Dracula?Where did Bram Stoker find his information about vampires?Are there any autobiographical elements in Dracula?Did Dracula originate in a nightmare?What do we know of the relationship between Stoker and his wife?Did Stoker die of syphilis?How did Count Dracula become a vampire?Does Count Dracula have any redeeming qualities?How was the novel Dracula received when published in 1897?What did Stoker himself say about the novel?Why did Stoker name his vampire "Dracula"?Why did he select Transylvania as the vampire's homeland?How much did Stoker really know about Vlad the Impaler?Was Vlad ever associated with vampire legends?What are our main sources of information about Vlad?Why do many Romanians consider Vlad to be a national hero?Which of the Dracula movies is the best adaptation of Stoker's novel?What impact has Dracula had on subsequent vampire fiction?Why does Count Dracula have such enduring appeal?How do Romanians feel about Dracula tourism in their country?Is there a real Castle Dracula?What are some of the interpretations of Dracula?Is Dracula a classic?And many, many more Depending on the complexity of the questions, the answers range from 5-6 lines to several pages. At the end of each chapter there is a shortlist for further reading. At the end of the book there is a comprehensive Bibliography.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

The Arts of Living explores the range, depth and beauty of the V&A's European collections from 1600-1815, the period that laid the foundations for the world we know today. At the heart of the book is in investigation into the objects of everyday life, and the ways that art and design both reflected and changed how people lived. The works of art and manufactured goods with which men and women surrounded themselves defined their identity and role in society - from monarchs to merchants, craftsmen to housewives. Singular masterpieces by painters and sculptors including Boucher and Bernini, along with the work of such leading manufacturers as the Gobelins, Boulle and Meissen, illustrate a great diversity of subjects, from Louis XIV and Catherine the Great to male adornment and fashionable silks, from Jewish traditions and the Dutch interior to the East India trade and Africans in European art.

Nearly twenty years ago Beth Miller moved with her husband and four young kids from suburban New Jersey to a 200-year-old Federal period house and barn in rural Maine. She didn't garden, she didn't keep chickens or bees, she didn't know how to preserve food, and she didn't know how to make soap or hook rugs. She embarked on a journey to learn these heritage skills that have been largely forgotten, and today she owns and operates Parris House Wool Works, a traditional rug-hooking company serving both crafters and end buyers. It is also a working village homestead and workshop where she practices and teaches heritage skills, including all aspects of gardening, beekeeping, rug hooking, preserving, and soap making. Seasons at the Parris House is separated into seasonal sections and includes historical context and homestead related activities for each season, plus instructions for a set of related projects and recipes.

Going Public responds to the urgent need to expand current thinking on what it means to co-create and to actively involve the public in research activities. Drawing on conversations with over thirty practitioners across multiple cultures and disciplines, this book examines the ways in which oral historians, media producers, and theatre artists use art, stories, and participatory practices to engage creatively with their publics. It offers insights into concerns related to voice, appropriation, privilege, and the ethics of participation, and it reveals that the shift towards participatory research and creative practices requires a commitment to asking tough questions about oneself and the ways that people’s stories are used.