This first volume explores Cunningham's strategy and operations from June 1940 to March 1942. Included here are the clash with the Italian Fleet off Calabria in July 1940 and the victory at Matapan in March 1941, together with the Fleet Air Arm attack on Taranto in November 1940.

First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.

Geopolitical shifts and economic shocks, from the Early Modern period to the 21st century, are frequently represented in terms of classical antecedents. In this book, an international team of contributors - working across the disciplines of Classics, History, Politics, and English - addresses a range of revolutionary transformations, in England, America, France, Haiti, Greece, Italy, Russia, Germany, and a recently globalised world, all of which were accorded the classical treatment. The chapters investigate discrete cases of classicising crisis, while the Introduction highlights patterns among them. The book asks: are classical equations a prized ideal, when evidence warrants, or linkages forced by an implacable will to power, or good faith attempts to make sense of events otherwise bafflingly unfamiliar and dangerous? Finally, do the events thus classicised retain, even increase, their power to disturb and energise, or are they ultimately contained? Classicising Crisis: The Modern Age of Revolutions and the Greco-Roman Repertoire is essential reading for students and scholars of classics, classical reception, and political thought in Europe and the Americas.

Cunningham was the best-known and most celebrated British admiral of the Second World War. He held one of the two major fleet commands between 1939 and 1942, and in 1942-43, he was Allied naval commander for the great amphibious operations in the Mediterranean. From 1943 to 1946, he was the First Sea Lord and a participant in the wartime conferences with Churchill, Stalin, Roosevelt and the US Chiefs of Staff, deliberating the global strategy for Allied victory.
He also led a very active public life for almost twenty years after his retirement in 1946. Cunningham's papers are abundant for the period 1939-63 and are supplemented here by Cabinet and Admiralty records, papers of his service contemporaries and of Churchill, and by memories of his family and friends, as well as extensive US archives and private papers.

Palluq and his cousin Qiliqti love helping their anaanatsiaq! They are excited to visit her on their way to school. What chores can they do to help their anaanatsiaq?

Read Write Inc. Phonics Book Bag Books are engaging texts to support children with additional reading practice outside the classroom. They have been specifically designed for children to take home after school, in order to share their reading journey and celebrate their achievements with parents and carers. The books are closely matched to the existing Read Write Inc. Phonics Storybooks to reinforce children's classroom learning of phonics at the appropriate level, helping them to make even faster progress in reading.

Thomas loves to tell stories. Big stories. Stories about how skilled he is on the land. But when one of his friends grows tired of his tall tales, Thomas has to prove how skilled he really is. Taking the challenge to spend a night alone in the forest, Thomas heads into the wilderness. The trees, who have heard his stories, watch him tear off their bark and litter as he goes. And so, while Thomas sleeps, they dance a dance that will leave Thomas with a very different kind of story to tell-if he can find his way home...

Displaced to Italy by their politics and morals, Byron and Shelley wrote, between 1816 and 1823, a series of closet dramas that the author reveals as being deeply embedded in contemporary radical culture. Why did they write dramas in Italy that were to be published in England but not to be produced theatrically? Why do these dramas invoke and apparently oppose textual and theatrical versions of themselves? In answering these questions, this book addresses other questions about the historical invention of English literature, the relation between literature and drama, and the relation between literature and political culture.
The plays are shown to acquiesce in, and yet also resist, subvert, and ironize by means of a parodic self-censorship, the political, theatrical, and ecclesiastical censorship of the post-Waterloo period. The author argues that they not only explore questions of political action in their plots but also reconstruct, by reconvening, a radical audience that had been virtually eliminated in England during the period of the counterrevolutionary and Napoleonic wars.
Like the radical culture of the 1790's, Byron and Shelley's plays are informed by a "new" politics of language. Focusing on the discursive conditions of radical culture and the plays, and bringing the procedures of cultural materialism into contact with those of deconstruction, the author highlights the political and literary operation of the plays' language. In the process, he shows how the plays contributed to the recrudescence of a polite radicalism that sought to align itself with and establish control over its plebeian counterpart.
Detailed discussion of individual plays--"Manfred, Sardanapalus, Prometheus Unbound, Marino Faliero, Hellas, Cain, Heaven and Earth, The Two Foscari, " and "The Cenci--"is supported by investigations into Romantic criticism of the drama, the dynamics of the reviewing journals, and the philosophical construct of the "closet" of reasoning and reading.

Revisit the tale of Cinderella in graphic novel form. The bright lights and fancy parties are calling - but Cinderella's stepmother won't let her go. A sprinkle of magic from a fairy godmother, and Cinderella is on her way in a party dress! Will she connect with the prince, or be stuck with her family forever?

Crossroads in the Black Aegean is a compendious, timely, and fascinating study of African rewritings of Greek tragedy. It consists of detailed readings of six dramas and one epic poem, from different locations across the African diaspora. Barbara Goff and Michael Simpson ask why the plays of Sophocles' Theban Cycle figure so prominently among the tragedies adapted by dramatists of African descent, and how plays that dilate on the power of the past, in the inexorable curse of Oedipus and the regressive obsession of Antigone, can articulate the postcolonial moment. Capitalizing on classical reception studies, postcolonial studies, and comparative literature, Crossroads in the Black Aegean co-ordinates theory and theatre. It crucially investigates how the plays engage with the 'Western canon', and shows how they use their self-consciously literary status to assert, ironize, and challenge their own place, and that of the Greek originals, in relation to that tradition. Beyond these oedipal reflexes, the adaptations offer alternative African models of cultural transmission.

In this adorable book to be shared with babies and toddlers, mothers explore their love for their babies as experienced through the five senses. From the sound of a baby's giggles to the smell of a kunik, this book celebrates the unique bonds shared between mothers and babies.