Throughout history people have sought ways in which to map the heavens. From the sources of mathematics and mythology sprang the classic star chart, the finest examples of which are both scientific documents and works of art. In this beautifully illustrated book, Peter Whitfield reveals some of the ways in which the structure of the universe has been conceived, explained and depicted. With examples ranging from the Stone Age to the Space Age - ancient observatories, the angelic visions of Dante, images from the Copernican revolution, the rationalized heavens of Isaac Newton, and modern deep space technology - Whitfield offers a challenging exploration of the tension between rigorous scientific knowledge and the continuing search for cause, certainty and harmony in the universe. This new edition is updated to include a wider range of stunning maps of the skies in full colour, including imagery from the latest voyages of space exploration.

In this Zen tale, Gilbert Beaver thinks that winning the race and receiving his prize is good. He believes that falling out of a tree and into the river is bad. The ever-present Shelly suggests that you can never be certain about these things. We are often disappointed by ‘good’ things, and we can also enjoy ‘bad' things. Living in the present means full enjoyment of all of life.

In this Zen tale, the lazy cat ‘Furball' believes she knows everything. When the dam bursts and she is drenched, Furball realises that being a ‘know it all', can sometimes end in disaster. Based on the famous story of the university professor and the Zen master, children will discover that being a ‘know it all', simply means you are ‘all washed up'.

The locations of Shakespeare's plays range from Greece, Turkey and Syria to England, and they range in time from 1000 BC to the early Tudor age. He never set a play explicitly in Elizabethan London, which he and his audience inhabited, but always in places remote in space or time. How much did he - and his contemporaries - know about the foreign cities where the plays took place? What expectations did an audience have if the curtain rose on a drama which claimed to take place in Verona, Elsinore, Alexandria or ancient Troy? This fully illustrated book explores these questions, surveying Shakespeare's world through contemporary maps, geographical texts, paintings and drawings. The results are intriguing and sometimes surprising. Why should Love's Labour's Lost be set in the Pyrenean kingdom of Navarre? Was the Forest of Arden really in Warwickshire? Why do two utterly different plays like The Comedy of Errors and Pericles focus strongly on ancient Ephesus? Where was Illyria? Did the Merry Wives have to live in Windsor? Why did Shakespeare sometimes shift the settings of the plays from those he found in his literary sources? It has always been easy to say that wherever the plays are set, Shakespeare was really writing about human psychology and human nature, and that the settings are irrelevant. This book takes a different view, showing that many of his locations may have had resonances which an Elizabethan audience would pick up and understand, and it shows how significant the geographical and historical background of the plays could be.

For more than three centuries Oxford has been the subject of fine illustrated books and engraved prints. These exquisitely made illustrations have become part of the historical record, showing how Oxford's identity is rooted in the past and tracing a history of the city's development through the architecture of its most beautiful colleges and university buildings. Prints made by David Loggan in the seventeenth century show us a university where the medieval origins are already largely overlaid by Tudor and Stuart rebuilding. The engravings in the eighteenth-century Oxford Almanacks illustrate a city dominated by neo-classical ideas, while those of the nineteenth century show an increasingly romantic feel for the architecture against its natural background of sky, trees and river. Hand-coloured etchings published by Ackermann in the nineteenth century and Ingram's Memorials of Oxford of 1837 offer a nostalgic portrait of Oxford before development changed it into the modern city it is today. The best of these historic prints are reproduced here to create a panorama of classical Oxford, with an accompanying text describing the origin of each building, institution or public event, together with the salient features of their history. Together they offer an instructive and captivating view of Oxford through the ages.

Condensing centuries of history into one volume, "Cities of the World "traces the historic form and special character of the world's greatest cities through a breathtaking collection of maps and panoramic views. Peter Whitfield focuses on more than sixty cities--from Athens to Brasilia, Washington to Moscow, San Francisco to Saigon, and Venice to Lhasa. He presents an extremely wide range of maps, historic prints, and photographs from many periods that show how the architectural form and the social life of our cities have been shaped--not only by their geographical setting, but also by religion, royal power, commerce, social ideals, and occasionally artistic vision. These images illustrate the historic heart of the cities: the ancient harbors, the hilltop fortresses, the encircling walls, and the houses, churches, and palaces that have been added over the centuries. For the armchair traveler or anyone passionate about the history of human civilization, this beautiful, unique book captures the richness of the urban fabric and reflects the collective memory of each metropolis.
"Cities of the World "demonstrates how the city was linked to the birth and progress of civilization itself, how it has acted as a focus for ideas and technologies, arts and sciences, and even religious devotion. It shows the ways that some cities grew slowly into haphazard, unplanned beauties, while others were shaped by the will of masterful individuals. Whitfield chose the cities featured here not only because they are richly and beautifully illustrated, but also because they demonstrate a notion of spirit--an outward and inward uniqueness.
Many of these historic maps have a pictorial quality that vanished long ago from the functional town-plan. Depicting the classical city-state, the medieval fortress, the baroque capital, and the industrial metropolis, the sumptuous illustrations in this book chronicle how simple outlines found on Babylonian clay tablets evolved into the stylized pictures of medieval times and spectacular bird's-eye panoramic views, finally culminating in the highly functional mass-produced maps of the nineteenth and twentieth centuries. Wonderfully evocative of the places they depict and the artistic tastes of their time, these maps shed new light on civilization itself, with all of its contradictions, shortcomings, energy, and aspirations.
"Copub: British Library "

Ava sat at her desk, gazing at the board. 'Ava,' said Mrs Cook. 'Where are your glasses today?' Ava looked down at her schoolbag. She hated her glasses. Ava hates her glasses, and sometimes chooses not to wear them, even when wearing them would help her to read. Ava's teacher sympathises but rather than tell her to put them on, she opens a book of fairy tales. One by one, Mrs Cook suggests that all the main characters in her favourite stories could have avoided their troubles by wearing their glasses. By the end, Ava is adding to the stories and seeing her own life more clearly.

In this Tale, everyone has an ice cream except Bruno, and he cannot get ice cream off his mind, so much so that he becomes irritable, distracted, and unfocused. Eventually Bruno learns a valid lesson; he was happy when he forgot about the ice cream and focused his attention on what he was doing.  

Grizzel bear is not in a good mood. He stomps on flowers, he grumbles, and he complains. He is full of anger. He bumps into Guru Walter who is sitting peacefully and enjoying a glorious day in the sun and the gentle breeze and Grizzel's anger is not going to spoil his day. This story shows that anger does not have to be accepted. If we learn to reject it what remains is peace and happiness.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT068765With a list of subscribers, and a final corrigenda leaf.Liverpoole: printed, by and for the Author, 1748. 2], xiv, viii,288, 2]p.; 4