Since time immemorial, the response of the living to death has been to commemorate the life of the departed through ceremonies and rituals. For nearly two millennia, the Christian quest for eternal peace has been expressed in a poetic-musical structure known as the requiem. Traditional requiem texts, among them the anonymous medieval Latin poem Dies Irae ("Day of Wrath"), have inspired an untold number of composers in different ages and serving different religions, Western and Eastern. This book, the first comprehensive survey of requiem music for nearly half a century, provides a great deal of diverse and detailed information that will be of use to the professional musician, the musical scholar, the choral conductor, the theologian and liturgist, and the general reader. The main body of the guide is a description of some 250 requiems. Each entry includes a concise biography of the composer and a description of the composition. Details of voicing, orchestration, editions, and discography are given. An extensive bibliography includes dictionaries, encyclopedias, prayer books, monographs, and articles. An appendix lists more than 1700 requiems not discussed within the main text.

The fertility of Adam Smith's work stems from a paradoxical structure where the pursuit of economic self-interest and wealth accumulation serve wider social objectives. The incentive for this wealth accumulation comes from a desire for social recognition or "sympathy" - the need to recognise ourselves in our peers - which is the primary incentive for moderating and transforming our violent and egotistical passions. Adam Smith thus examines in detail the subliminal emotional structure underlying market behaviour. This new book by Professor Jan Horst Keppler presents an Adam Smith for the 21st century, more sceptical, searching and daring than he has ever been portrayed before. Without disputing the benefits of Adam Smith's liberal economic system, Professor Keppler's original contribution explores the anarchic passions constantly threatening to destroy all social bounds, and how the overarching "desire for love" and social recognition provides the Smithian individual with the incentive to transform his unsocial passions into a desire for social advancement and economic wealth with the view to gaining the vital approbation of his peers. One of the most striking results of this new reading of Adam Smith is the latter's insistence on the primacy of exchange value over use value. In other words, the quest for wealth is exclusively driven by the value it represents in the eyes of others rather than by any value in individual use. At a moment of crisis, where the link between "true" economic values and "virtual" financial values is more fragile than ever, Adam Smith's work is a profoundly contemporary reminder that in the absence of personal, ethical groundings our economic actions are only grounded in the game of mirrors we play with our peers. This book will be of interest to postgraduate students and researchers in the History of Economics, or indeed any reader with an interest in the psychological foundations of a market economy and its theoretical representations as developed by Adam Smith.

The fertility of Adam Smith 's work stems from a paradoxical structure where the pursuit of economic self-interest and wealth accumulation serve wider social objectives. The incentive for this wealth accumulation comes from a desire for social recognition or "sympathy" the need to recognise ourselves in our peers which is the primary incentive for moderating and transforming our violent and egotistical passions. Adam Smith thus examines in detail the subliminal emotional structure underlying market behaviour.

This new book by Professor Jan Horst Keppler presents an Adam Smith for the 21st century, more sceptical, searching and daring than he has ever been portrayed before. Without disputing the benefits of Adam Smith 's liberal economic system, Professor Keppler 's original contribution explores the anarchic passions constantly threatening to destroy all social bounds, and how the overarching "desire for love" and social recognition provides the Smithian individual with the incentive to transform his unsocial passions into a desire for social advancement and economic wealth with the view to gaining the vital approbation of his peers. One of the most striking results of this new reading of Adam Smith is the latter 's insistence on the primacy of exchange value over use value. In other words, the quest for wealth is exclusively driven by the value it represents in the eyes of others rather than by any value in individual use.

At a moment of crisis, where the link between "true" economic values and "virtual" financial values is more fragile than ever, Adam Smith 's work is a profoundly contemporary reminder that in the absence of personal, ethical groundings our economic actions are only grounded in the game of mirrors we play with our peers. This book will be of interest to postgraduate students and researchers in the History of Economics, or indeed any reader with an interest in the psychological foundations of a market economy and its theoretical representations as developed by Adam Smith.

Step aboard the Kairos, a recreational cruiser which traverses the Time Vortex itself. Vienna Salvatori is on a mission, and must make her way up the serpentine vehicle, from the crime-ridden rear segments, through the enclosed compartments of the mega-rich, all the way to the front of the ship to face the man who controls it all... the Master! 2.1 Nemesis Express by Robert Whitelock. Vienna Salvatori boards the Kairos in search of a stolen gem, and young thief Passion is hiding out and feels like the ship itself is watching her. Both women are about to be thrown together - and it's no accident. For the ship's Vortex drive has brought the Master back from oblivion, and he has plans for them both. 2.2 Capture the Chronovore! By Lizbeth Myles. Vienna and Passion pursue the Master, but to find out what he's up to they must find a way through the ship's classier compartments. With their weapons confiscated and champagne on ice, they're invited to join an exclusive shooting party, hunting the Vortex's great game - Chronovores! - and the Master is most definitely dressed for the occasion. 2.3 Passion by Robert Valentine. Finally reaching the head of the ship, Vienna and Passion find themselves exactly where the Master wants them. The Time Lord has more than revenge on his mind, however, and if they can't stop him, nothing in the universe will. CAST: Eric Roberts (The Master), Chase Masterson (Vienna Salvatori), Michelle Asante (Princess Natalia Zicaria/Kairos Computer), Teri Ann Bobb-Baxter (Passion), Nicholas Boulton (Mr Chule), Esmonde Cole (Griz Scarden/Menial/Kryle), Rodney Gooden (Brother Urmah/Engineer 2), Justin Salinger (Dr Miroy/Hunt-Master), Anna Savva (Commodore Blixen). Other parts played by members of the cast.

Abandoned in the Vortex, the Master's lost incarnation is about to be thrown a lifeline. Earth rebuilds in the aftermath of invasion, and power rests with those who innovate. Genius Lila Kreeg makes a deal with the devil to see her dreams. As the Master returns, there are those - like Vienna Salvatori - who wish to hurt him, and those upon whom he wishes vengeance himself... 1. Faustian by Robert Valentine. Drake Enterprises is the most powerful company on Earth. Dr Lila Kreeg is its most valued asset. But her experiments open a doorway which allow an evil back into the universe. The Master can offer Lila the world, so long as she obeys him...2. Prey by Robert Whitelock. Impossibly glamorous assassin Vienna Salvatori has a new target. Crossing time and space, Vienna takes one final job to free her from this life. But when the Master is hunted through the slums and ganglands of London, the line is blurred between predator and prey... 3. Vengeance by Matt Fitton. The Daleks are returning. Their plan, long in the making, is complete. Earth will be theirs once more. But someone stands against them. Someone with his own reasons for revenge - and Vienna and Lila are caught in the crossfire. Because Earth's greatest hope against the Daleks lies with the Master. Cast: Eric Roberts (The Master), Chase Masterson (Vienna Salvatore), Laura Aikman (Lila Kreeg), Nicholas Briggs (The Daleks), Alistair Petrie (Magnus Drake), Rachel Atkins (Cathrin Travers/Inga), Susan Hingley (Sassparilla/Li Zhao), Glen McCready (Eddi Bhole), Andrew James Spooner (Artie/King Muggy). Other parts played by members of the cast

From the Holy Land of 2,000 years ago the young master Yeshua (Jesus) journeys to ancient Britannia with its unsuspected powers and uncharted areas of magic, mystery and splendor. Accompanied by his uncle, Joseph of Arimathea, who is ever in search of sacred treasures stolen from or secreted away by the Israelites themselves, they encounter a cast of intriguing characters who are aligned with or pit themselves against the dark forces conspiring against the Light. It is here that young Yeshua (Jesus) meets the greatest challenges of his earthly life through a series of initiations that pose dire threats to the very heart, mind and spirit of his existence and to the soul of humanity, caught for so long in the web of earthly enchantments.

Ed, you've captured the essence of the many footprints we leave along this journey of life, some that seem to take us down paths that find us standing alone with burdens and loved ones we lost and grief, loneliness, pain we've encountered along the way, and yet when moments of recollection come especially occasions such as this as you themed your poem with, the lost love recultivated and to cherish for life... that embraces us for all that has made us who we are, it makes each footstep seem as if it was taking us into a place of destiny that makes every moment worth it all. Beautifully scripted, Ed so realistic when it was worded by a pro like you... and your closing verses lend wings of inspiration that lift the heart and soul into higher realms. Wonderful poetry takes on another realm when the closing is beautiful and touches the heart in a soft linger, exactly what this does...