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.

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.

Amit Gupta directs this adaptation of Owen Sheers' debut novel starring Andrea Riseborough and Michael Sheen. It's 1944 and D-Day has failed. The United Kingdom is now under Nazi occupation. In the remote Welsh village of Olchon, farmer's wife Sarah Lewis (Riseborough) wakes up one morning to find her husband has mysteriously disappeared along with all the other men in the village. Then, as they wait for news, a German patrol arrives in their valley on an undisclosed mission. During the harsh winter that follows, the two groups are forced to pull together to survive the last days of the war. Cut off from the conflict around them, both the villagers and the Nazis find the lines between collaboration, duty, occupation and survival becoming less defined as time goes on...

During the French Revolution most performances on the London stage were strictly censored, but political attitudes found indirect expression. This book looks at how British drama and popular entertainment were affected by the ideas and events of the French Revolution and Napoleonic Wars. By a cultural analysis of the popular entertainment and theater performances of the eighteenth and nineteenth centuries George Taylor reveals issues of ideological conflict and psychological stress.

Over the past ten years the Irish polity has experienced profound change. The pessimism that had engulfed Irish society during the 1980s has given way to a new found confidence, one that befits its status as an emerging, confident and cosmopolitan European state. This book provides a theoretical examination of this startling turnaround in the fortunes of the Irish polity and details the developments that have taken place in key areas of public policy over the last decade: civil service reform, the welfare state, environmental policy abd rural development. -- .

During the French Revolution most performances on the London stage were strictly censored, but political attitudes found indirect expression. New and popular genres like pantomime, gothic drama, history plays, musical and spectacular entertainment, and, above all, melodrama provided metaphors for the hopes and fears inspired by the conflict in France and subsequent European wars. This 2001 book looks at how British drama and popular entertainment were affected by the ideas and events of the French Revolution and Napoleonic Wars. He argues that melodrama had its origins in this period, with certain gothic villains displaying qualities attributed to Robespierre and Napoleon, and that recurrent images of incarceration and dispossession reflected fears of arbitrary persecution, from the tyranny of the Bastille to the Jacobin's Reign of Terror. By a cultural analysis of the popular entertainment and theatre performances of the eighteenth and nineteenth centuries Taylor reveals issues of ideological conflict and psychological stress.

For this volume George Taylor has edited five plays by two largely forgotten eighteenth-century playwrights, Samuel Foote and Arthur Murphy. The plays are The Minor and The Nabob by Foote and The Citizen, Three Weeks after Marriage and Know Your Own Mind by Murphy. All, apart from the last, are two- or three-act farces, the main popular fare of the eighteenth-century theatre. They are still eminently playable today, each exploring a different aspect of London society. Both playwrights have an acute ear for amusing and socially revealing dialogue, with a deft sense of situation comedy. Foote was an important theatre manager who established the success of the Haymarket Theatre by his particular brand of satire and mimicry. Had Murphy been more assiduous in his theatrical career and maintained good relations with David Garrick, his reputation as a dramatist might now have ranked him alongside Goldsmith and Sheridan.