With a series of 'music in care' books aimed at supporting adults through a range of life's situations using music, John Osborne has collaborated with a new young author to bring fresh perspective on how the power of music can affect a young person's life. Coping with moving to a new school can be a difficult and challenging time for any young person but it can be even more problematic if you are on the autistic spectrum. This book tells the story of Luke Fiddes a remarkable young man and talented musician. It explains how Luke became aware of his different and special status and how he learnt to manage this. It also contains a self help manual for all young people which is designed to help deal with the struggles of adolescence using personalised music. This heartwarming, funny and frank account of Luke's journey gives a remarkable insight into some of the challenges but also the surprising benefits of living with Asperger syndrome. "I love my autism because I love music." Luke Fiddes

Music is central to our experience of the world around us. it is a primary source of the way we experience, understand and interpret the world in which we live. It is one of the core experiences that define us, unite us and enrich us. This book arose out of John's professional care experience and personal experience as a carer for his father who had dementia. As a musician he understood the power of music to enrich the quality of life. This practical, fun and interactive book is designed to help people to draw together those pieces of music that are most significant to them. These become a compilation that can travel with them on their dementia journey and can be used in therapeutic ways to reconnect to their memories and impact on current mood.

Having been diagnosed with a rare form of cancer John realised that specially chosen pieces of music have a major role in supporting people who are going through complex medical procedures. This book is practical, fun and interactive. It helps people to choose music that will support them in particular aspects of their treatment and to apply this therapeutically, to help cope through diagnosis, treatment and to aid healing and recovery.

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.

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.

This is the fifth novel portraying the life of a Lord family member, and it brings us up to date, well to 2010. Peter Lord is turning twenty-one, and as the heir to Fotheringham Manor he needs to decide both the future direction for the estate and a future for his own life. While pursuing his own future in green energy sources Peter tries an experiment on the estate to diversify the present list of activities. This change, this attempt to help a group of dis-advantaged teenagers by giving them a second chance, proves particularly challenging. Family and friends all rally round to minimise the damage and in so doing Peter unearths a previous unsolved mystery at Fotheringham. In the end Peter decides he intends to launch "Renewable Energy Expertise" as a producing and consulting company to help you help the planet. Quite some change from the rural woodland that was Fotheringham Manor in the last century.

Dear Reader, enclosed you will find a set of short stories. It includes actual events from the author's life, and imagined events from the author's mind. Fact and fiction so to speak. As with most books, except those heavy serious textbook tomes, the tales tell of personal and interpersonal emotions and actions. As the saying goes, we are not alone. Each and every one of us affects both each other and the world around us. Moreover, each and every one of us have talents, and unlike the servant who buried his given talents under a stone, the author believes that the sharing of talents can, in fact may, help someone or something somewhere. Maybe consciously or unconsciously, actively or unseen, small or enormously, each and every one of us has an opportunity to act. We could all do our bits to the best of our ability, the possible if you like, while still striving for the dream. We all have our own roads to Cuastecomate.

Henri Lord lives his life trying to manage mountaineering, money and his own sexuality, while death keeps stalking his decisions. Only when trying to emulate his mountaineering parents can Henri find stability within himself. Climbing brings him joy and peace of mind. His professional career as a financial investor excites him with a passion, especially with other people's money. However, there is always additional financial pressure as Henri can not understand or accept the Lord family culture of primogeniture, and he desperately wants his share of the family fortune. As he struggles to find himself Henri has to overcome his uncertainty about his own sexuality. Eventually, out of the chaos of his indecisions, Henri tries to act in accordance with the traditions of the Lord family, helped by his sister Giselle. Events involving Henri, the Lord family, murder and mayhem climax in London at the end of the millennium.

Gloria Manson returns home from London to find her mother has become a penitent recluse. While working in the village pub and flirting with old school mates Gloria tries to bring her mother back into reality. Some friends from London come down to the village and help Gloria with her mother and cause her to restart her London career in a new location. Most of the action takes place in Fotheringham Manor Estate where school friends Gary and Freddie work. This Estate is the home of the Lord family where son Daniel is the resident manager. Hikers trespass through the Estate causing damage and upsets to both Daniel and his forester girl friend Katya. These hikers and the new Education Centre on the Estate mean there are more people in the forest and this constrains some of Gloria's plans. Daniel's sister, Samantha is a partner in Heritage Adventures, a company who helps tourists find their pasts, and she in turn upsets some of Gloria's activities. Over time the various parties clash through misunderstandings, jealousy, confessions, and fights and ultimately murder.

A narrative of decline punctuated by periods of renewal has long structured perceptions of Rome's late antique and medieval history. In their probing contributions to this volume, a multi-disciplinary group of scholars provides alternative approaches to understanding the period. Addressing developments in governance, ceremony, literature, art, music, clerical education and the construction of the city's identity, the essays examine how a variety of actors, from poets to popes, productively addressed the intermittent crises and shifting dynamics of these centuries in ways that bolstered the city's resilience. Without denying that the past (both pre-Christian and Christian) consistently remained a powerful touchstone, the studies in this volume offer rich new insights into the myriad ways that Romans, between the fifth and the eleventh centuries, creatively assimilated the past as they shaped their future.

Jimmy Porter, frustrated and bitter in his drab flat, lives with middle-class wife Alison. Also sharing the flat is Cliff who keeps things tenuously together. Alison's friend Helen arrives and persuades her to leave Jimmy only to fall for him herself. When Alison becomes pregnant Helen leaves them together. This play originally opened at the Royal Court Theatre in 1956 and has since proved to be a milestone in the history of theatre.

Drama

Adapted by John Osborne from the novel by Oscar Wilde.

Characters: 11 male, 4 female, extras.

Interior Set

The author of Look Back in Anger, Inadmissible Evidence and The Entertainer has created a brilliant dramatization of this classic about a man who retains his youth while the decay of advancing years and moral corruption appears on a portrait painted by one of his lovers. "Osborne has done much more than a scissors and paste job on Wilde's famous story. He has ... created a sense of evil through implication." Guardian. "John Osborne ... has found in Oscar Wilde's macabre morality a velveted barouche for his own favorite themes [and he] conveys the fabulous story['s] ... fascination." Daily Telegraph.

Archie Rice is a failure as a comedian. News of his son's death while on military service arrives as the family is anticipating his return with a party. Archie tries to stage a comeback for his befuddled, has-been father who, mercifully, dies in the attempt. A prosperous brother offers to send the family to Canada but Archie cannot leave the decaying world of the music hall, where he is at home.3 women, 5 men

What was German Naturalism? What were its achievements? How does it compare with its counterparts in other European countries?
These are some of the difficult questions addressed by John Osborne in Gerhart Hauptmann and the Naturalist Drama, a revised and updated version of his The Naturalist Drama in Germany, now widely acknowledged as the standard introduction to the subject. The debates to which he contributed, and in some cases initiated, on Naturalism in the German theatre, Naturalist theory in Germany, and the development of the Naturalist movement to the contemporary Social Democrat movement, have remained central issues. This revised edition preserves the structure and approach of the original, including its emphasis on the early dramas of Hauptmann, while taking full account of subsequent scholarship which provides the context in which this Naturalist playwright's work can be placed.

In 1956 John Osborne's Look Back in Anger changed the course of English theatre. 'Look Back in Anger presents post-war youth as it really is. To have done this at all would be a significant achievement; to have done it in a first play is a minor miracle. All the qualities are there, qualities one had despaired of ever seeing on stage - the drift towards anarchy, the instinctive leftishness, the automatic rejection of "official" attitudes, the surrealist sense of humour... the casual promiscuity, the sense of lacking a crusade worth fighting for and, underlying all these, the determination that no one who dies shall go unmourned.' Kenneth Tynan, Observer, 13 May 1956 'Look Back in Anger... has its inarguable importance as the beginning of a revolution in the British theatre, and as the central and most immediately influential expression of the mood of its time, the mood of the "angry young man".' John Russell Taylor

This volume completes Part II of Series A of the Paper Museum. Together with the first volume, it reflects an unusual aspect of Cassiano's interests, but a particularly relevant one for modern scholars: the material remains of post-classical culture in Rome and the psychical inheritance from the earliest centuries of Christianity. Catalogued here is a diverse and fascinating range of antiquities: reliefs, inscriptions, sarcophagi, sculpture, manuscript illuminations, gold-glass, gems, ivories, lamps, metalwork and 'instruments of martyrdom'. The drawings were mainly collected by Carlo Antonio dal Pozzo, Cassiano's brother, in the later seventeeth century and include some of the finest examples of archaeological draughtsmanship of the period. Catalogued here is a diverse and fascinating range of antiquities, mainly collected in the later seventeeth century: reliefs, inscriptions, sarcophagi, sculpture, manuscript illuminations, gold-glass, gems, ivories, lamps, metalwork and 'instruments of martyrdom'.

Medieval Rome was uniquely important, both as a physical city and as an idea with immense cultural capital, encapsulating the legacy of the ancient Empire, the glorious world of the martyrs and the triumph of Christian faith. Rome Across Time and Space explores these twin dimensions of 'place' and 'idea' and analyses Rome's role in the transmission of culture throughout the Middle Ages. Ranging widely over liturgy, architecture, sculpture and textual history, the authors focus on the mutual enrichment derived from the exchange of ideas and illuminate how cultural exchanges between Rome and its 'neighbours' (Byzantium, Italy, England and France), and within Rome (between Ancient and early Christian Rome and the medieval city) worked as catalysts for change, both to shape the medieval city and to help construct the medieval idea of Rome itself. The result is a rich and original perspective on a beguiling city with enduring appeal.

Set against the backdrop of post-war Britain, John Osborne's The Entertainer conjures the seedy glamour of the old music halls for an explosive examination of public masks and private torment. First staged at the Royal Court Theatre, London, only eleven months after the opening of Look Back in Anger, the play has become a classic of twentieth-century drama.

This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation. The drawings and watercolours catalogued and illustrated here are all in the Royal Collection, Windsor Castle, and are mostly by the artist Antonio Eclissi. The reproductions are generally in full colour, and frequently accompanied by illustrations showing the actual decoration in situ. The introductory essays outline the important phases of Cassiano dal Pozzo's career, discuss the history and significance of the 'Paper Museum', and explore the Christian tradition in seventeeth-century Rome. The Catalogue Raisonnee analyses each drawing in the greatest detail. This volume, the first to appear in the series, will be of special interest to archaeologists and medievalists engaged in the study of Rome's Early Christian churches, since many of the buildings, mosaics and paintings are now no longer extant. This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the Paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation.

Acclaimed 1970s British thriller starring Michael Caine as a hardened gangster returning to his hometown in search of the truth behind his brother's death. Though originally from Newcastle, Jack Carter (Caine) has made his name in London as a tough enforcer for the crime boss, Gerald Fletcher (Terence Rigby). On hearing of his brother's death, Carter returns to Newcastle for his funeral and to investigate his suspicion that his sibling may have been murdered. After visiting local gangster Cyril Kinnear (John Osborne), Carter is threatened and advised to head back to London. Jack refuses and descends further and further into the city's underworld as his investigations begin to pay off. His search is merciless, unrelenting and fraught with danger and it becomes clear that he will stop at nothing to exact his own brand of justice.