Uses the rare depictions of musical instruments and musical sources found on the Eglantine Table to understand the musical life of the Elizabethan age and its connection to aspects of culture now treated as separate disciplines ofhistorical study. The reign of Elizabeth I (1558-1603) has often been regarded as the Golden Age of English music. Many works of high quality, both vocal and instrumental, were composed and performed by native and immigrant musicians, while balladry and minstrelsy flourished in hall, street and alehouse. No single source of the sixteenth century presents this rich musical culture more vividly than the inlaid surface of the Eglantine Table. This astonishing piece of furniture was made in the late 1560s for the family of Elizabeth or 'Bess' of Hardwick, Countess of Shrewsbury (1527-1608). The upper surface bears a wealth of marquetry that depicts, amidst the briar roses and other plants, numerous Elizabethan musical instruments in exquisite detail together with open books or scrolls of music with legible notation. Given that depictions of musical instruments and musical sources are rare in all artistic media of the Elizabethan period, the Eglantine Table is a very important resource for understanding the musical life of the age and its connection to aspects of culture now treated separately in disciplines such as art history, social and political history or the study of material culture. This volume assembles a group of leading scholars in the history of instruments and associated fields to ground future research upon the most expert assessment of the depicted instruments, the music and the decorative imagery that is currently attainable. A final section of the book takes a broad view, placing the Table and the musical components of its decoration in relation to the full range of Elizabethan musical life.

Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that 'Your Best Provision' for playing such music is a chest of old English viols, and he names five early English viol makers than which 'there are no Better in the World'. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.

Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that 'Your Best Provision' for playing such music is a chest of old English viols, and he names five early English viol makers than which 'there are no Better in the World'. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.

This book will be of major interest to student teachers, teachers, lecturers and researchers. It provides a case for an integrated approach to the teaching of drama in primary and secondary schools that will help practitioners develop a theoretical rationale for their work. It also offers practical examples of lesson plans and schemes of work designed to give pupils a broad and balanced experience of drama. These are presented within a framework that argues for an integration of content and form, means and ends, and internal and external experience. Whereas the author's previous work argued for an inclusive approach that reconciled polarized views about performance drama and improvisation, this book shows how those activities can be related to each other in practice in an integrated curriculum.

This book fills a significant gap in the study of the establishment of communist rule in Poland in the key period of 1944-1950. It shows that nationalism and nationality policy were fundamentally important in the consolidation of communist rule, acting as a crucial nexus through which different groups were both coerced and were able to consent to the new unfolding social and political order. Drawing on extensive archival research, including national and regional archives in Poland, it provides a detailed and nuanced understanding of the early years of communist rule in Poland. It shows how after the war the communist Polish Workers Party (PPR) was able to redirect widespread anger resulting from the actions of the NKVD, Soviet Army and the communists to more 'realistic' targets such as minority communities, and that this displacement of anger helped the party to connect with a broader constituency and present itself as the only party able to protect Polish interests. It considers the role played by the West, including the endorsement by the Grand Alliance of homogenising policies such as population transfer. It also explores the relationship between the communists and other powerful institutions in Polish society, such as the Catholic Church which was treated fairly liberally until late 1947 as it played an important function in identifying who was Polish. Finally, the book considers important episodes - hitherto neglected by scholars - that shed new light upon the emergence of the Cold War and the contours of Cold War geopolitics, such as the 'Westphalian incident' of 1947-48, and the arrival of Greek refugees in Poland in the period 1948-1950.

This book fills a significant gap in the study of the establishment of communist rule in Poland in the key period of 1944?1950. It shows that nationalism and nationality policy were fundamentally important in the consolidation of communist rule, acting as a crucial nexus through which different groups were both coerced and were able to consent to the new unfolding social and political order.

Drawing on extensive archival research, including national and regional archives in Poland, it provides a detailed and nuanced understanding of the early years of communist rule in Poland. It shows how after the war the communist Polish Workers Party (PPR) was able to redirect widespread anger resulting from the actions of the NKVD, Soviet Army and the communists to more ?realistic? targets such as minority communities, and that this displacement of anger helped the party to connect with a broader constituency and present itself as the only party able to protect Polish interests. It considers the role played by the West, including the endorsement by the Grand Alliance of homogenising policies such as population transfer. It also explores the relationship between the communists and other powerful institutions in Polish society, such as the Catholic Church which was treated fairly liberally until late 1947 as it played an important function in identifying who was Polish. Finally, the book considers important episodes ? hitherto neglected by scholars ? that shed new light upon the emergence of the Cold War and the contours of Cold War geopolitics, such as the ?Westphalian incident? of 1947?48, and the arrival of Greek refugees in Poland in the period 1948?1950.

This book will be of major interest to student teachers, teachers, lecturers and researchers. It provides a case for an integrated approach to the teaching of drama in primary and secondary schools that will help practitioners develop a theoretical rationale for their work. It also offers practical examples of lesson plans and schemes of work designed to give pupils a broad and balanced experience of drama. These are presented within a framework that argues for an integration of content and form, means and ends, and internal and external experience.
Whereas the author's previous work argued for an inclusive approach that reconciled polarized views about performance drama and improvisation, this book shows how those activities can be related to each other in practice in an integrated curriculum.

In the midst of the Second World War, the Allies acknowledged Germany's ongoing programme of extermination. In the Shadow of the Holocaust examines the struggle to attain post-war justice and prosecution. Focusing on Poland's engagement with the United Nations War Crimes Commission, it analyses the different ways that the Polish Government in Exile (based in London from 1940) agitated for an Allied response to German atrocities. Michael Fleming shows that jurists associated with the Government in Exile made significant contributions to legal debates on war crimes and, along with others, paid attention to German crimes against Jews. By exploring the relationship between the UNWCC and the Polish War Crimes Office under the authority of the Polish Government in Exile and later, from the summer of 1945, the Polish Government in Warsaw, Fleming provides a new lens through which to examine the early stages of the Cold War.

What was the extent of allied knowledge regarding the mass murder of Jews at Auschwitz during the Second World War? The question is one which continues to prompt heated historical debate, and Michael Fleming's important new book offers a definitive account of just how much the Allies knew. By tracking Polish and other reports about Auschwitz from their source, and surveying how knowledge was gathered, controlled and distributed to different audiences, the book examines the extent to which information about the camp was passed on to the British and American authorities, and how the dissemination of this knowledge was limited by propaganda and information agencies in the West. In a fascinating new study, the author reveals that the Allies had extensive knowledge of the mass killing of Jews at Auschwitz much earlier than previously thought; but the publicising of this information was actively discouraged in Britain and the US.

What was the extent of allied knowledge regarding the mass murder of Jews at Auschwitz during the Second World War? The question is one which continues to prompt heated historical debate, and Michael Fleming's important new book offers a definitive account of just how much the Allies knew. By tracking Polish and other reports about Auschwitz from their source, and surveying how knowledge was gathered, controlled and distributed to different audiences, the book examines the extent to which information about the camp was passed on to the British and American authorities, and how the dissemination of this knowledge was limited by propaganda and information agencies in the West. In a fascinating new study, the author reveals that the Allies had extensive knowledge of the mass killing of Jews at Auschwitz much earlier than previously thought; but the publicising of this information was actively discouraged in Britain and the US.

This book addresses the ways in which language learning is related to learning about other cultures and to acquiring an ability to communicate across cultural frontiers. It argues that language learners need to develop sensitivity to cultural difference and its impact on communication, and to acquire the skills of discovering and interpreting other cultures, other values, beliefs and behaviors that lie beneath the surface of cross-cultural communication. Contributors show how drama can be used to develop cultural awareness and how learners can acquire ethnographic skills to help them investigate and understand other cultures and societies.

The purpose of The Power of Clarity to create an opportunity for my friends to gain a tool that will help them gain an understanding of what exactly is within their control. This is created as a workbook to help participants engage with this concept and content. This content was originally created for my podcast, Find Your Voice, and I felt that a written workbook would be the perfect complement to you, the learner, so you could both read the course content as well as record your own relevant personal discoveries within this workbook. The course is not meant to be a "one and done" experience, instead it is meant to be revisited as you continue to develop yourself, and you are encouraged to revisit the course material to set another desired outcome so you can continue to improve your life! We are not defined by our goals, but we can improve our lives by setting a desired outcome and then tracking that progress.

Marketing for a Dental Practice or Dental Organization can be very challenging because oftentimes a marketer will try to use techniques that have worked well in other industries, yet they don't generate the same positive response for their dental marketing message. After continued weak performance, this marketer can easily start to believe that "marketing just doesn't work for us", when the reality is, it was never the media that failed...it was just great effort spent in the wrong area's. In these pages, told in plain english and real life stories, you will discover: -How Marketing for Dentistry is completely different than any other industry, -How to "Find Your Voice" so you can craft a simple and trustworthy brand and brand story, -How to "Use Your Voice" by identifying target demographics and crafting messages that will resonate with them -How to "Listen to the Crowd" so you can analyze your ROI to see how your Voice is being received, and

I had to learn to live in two worlds at a very early age. It was as if I entered a time machine and when the doors opened everything I knew and loved was gone. I felt like I was on stage. Everyone was watching just to see my act. Would it be a comedy or a tragedy? It was up to me to play the scene. No matter what tragedies appeared we could always somehow turn them into a comedy. It became the only way I could live. I sought the words of love through my childhood and marriage only to learn that words are not always spoken.