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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.
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.
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.
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.
Robert Ellis James-Robertson (always known as Ellis) was born in
Wales but lived at Worcester from the mid-1950s and travelled
extensively around the country building up a large railway
collection. In the 1960s a few of Ellis's photographs were
published in books and magazines and the credit 'R. E.
James-Robertson' may be familiar to some. This book of mainly
unpublished colour and black & white photographs has been
created entirely from Ellis's North Wales archives, it will appeal
to railway enthusiasts, modellers, and those interested in local
history. The time period covered is from the mid-1950s through to
the mid-1960s with steam being the predominant motive power. Much
of North Wales is covered and in addition to BR standard-gauge
lines, the narrow-gauge Penrhyn and Padarn slate systems are also
seen. Ellis and his wife Norah celebrated their diamond wedding
anniversary in 2013, and Ellis passed on in April 2015 aged 92.
Their daughters, Louisa and Fiona, contacted film-maker and author
Michael Clemens whose late father was a friend of Ellis's. Ellis's
collection lives on today at films shows around the country given
by the author and now in this second of a number of books using his
photographic archive.
Developed in partnership with the National Geographic Society,
OCEANOGRAPHY: AN INVITATION TO MARINE SCIENCE, 10th edition gives
you a basic understanding of the complexities and uncertainties
involved in ocean use as well as its role in sustaining life on
Earth. Thoroughly updated with the latest findings from the field,
the text includes new coverage of important issues such as climate
change. Emphasizing the science process throughout, it helps you
see how concepts from other scientific fields relate to topics in
oceanography. Co-author Robert Ellis draws from his experience
managing research projects and educational programs throughout the
world, and a diverse group of National Geographic Explorers share
their unique insights on key concepts. In addition, MindTap equips
you with a wealth of anywhere, anytime digital learning solutions.
Sport is a major preoccupation of the modern world. It consumes the
time and energies of millions of people around the globe. In fact,
for many participants, it operates much like a functional
equivalent of religion, giving them a way to interpret and
understand the world. Sports stadiums are the cathedrals of our
time. Sports stars are the saints or demi-gods through whom we
access the transcendent. Members of the sports media serve as
religious scribes, and sports fans are the worshiping faithful.
What is true of sport is also true, more generally, of play.
Nevertheless, and quite remarkably, Christian theologians and
religious historians have been surprisingly slow to recognize the
spiritual and cultural significance of sport and play, or to engage
in the study of these concepts. This book attempts to redress that
neglect by integrating sport and play with Christian faith and
practice. In Sports and Play in Christian Theology, ten Christian
scholars and practitioners explore sport and play from theological,
biblical, historical, and pastoral perspectives. This rich
collection of wide-ranging reflections and focused case studies
will help readers locate sport and play within Christian faith and
practice.
During the years of Weimar and the Third Reich, Toller was one of
the more active of the "other Germany's" left-wing intellectuals. A
leader of the Bavarian Soviet of 1919, he had in addition won the
Kleist prize and was recognized as one of Germany's best
playwrights. Indeed, during the years of the Weimar Republic, the
popularity of his works was unquestioned. His first play, Die
Wandlung, was soon sold out and required a second edition; his
dramatic works and poems were translated into twenty-seven
languages. During the 1920's it was said that he "dominated the
German and Russian theatre" and that he was the "most spectacular
personality in modern German literature." It was common for
contemporaries to classify him as one of the foremost German
writers of the Weimar era. During the 1930s, as an exile, he
popularized to foreign audiences the idea of "the other Germany"
and became a leading spokesman against Hitler. However, it is
Toller the social critic rather than Toller the dramatist with
which thisbook is concerned, his ideas, his visions for Germany and
Europe as transmitted in his works of fiction and prose. The book
reflects on the responsibility an intellectual-critic has when
writing about a democratic society (the Weimar Republic) that is
unsuccessfully balancing between survival and annihilation. Toller
was furthermore a Jewish intellectual. How did his religious
traditions shape his views? He was also German and this raises a
whole host of specifically Germanic patterns of looking at the
world. He was also a left-wing intellectual and Toller is set in
the broader context of left-wing intellectuals in Weimar and the
Nazi era. A related reflection is to ask: so what? What difference
did it make? How much of an influence do intellectuals have in the
development of society? What is the relationship between
intellectuals and their readers in a troubled society?
During the years of Weimar and the Third Reich, Toller was one of
the more active of the "other Germany's" left-wing intellectuals. A
leader of the Bavarian Soviet of 1919, he had in addition won the
Kleist prize and was recognized as one of Germany's best
playwrights. Indeed, during the years of the Weimar Republic, the
popularity of his works was unquestioned. His first play, Die
Wandlung, was soon sold out and required a second edition; his
dramatic works and poems were translated into twenty-seven
languages. During the 1920's it was said that he "dominated the
German and Russian theatre" and that he was the "most spectacular
personality in modern German literature." It was common for
contemporaries to classify him as one of the foremost German
writers of the Weimar era. During the 1930s, as an exile, he
popularized to foreign audiences the idea of "the other Germany"
and became a leading spokesman against Hitler. However, it is
Toller the social critic rather than Toller the dramatist with
which thisbook is concerned, his ideas, his visions for Germany and
Europe as transmitted in his works of fiction and prose. The book
reflects on the responsibility an intellectual-critic has when
writing about a democratic society (the Weimar Republic) that is
unsuccessfully balancing between survival and annihilation. Toller
was furthermore a Jewish intellectual. How did his religious
traditions shape his views? He was also German and this raises a
whole host of specifically Germanic patterns of looking at the
world. He was also a left-wing intellectual and Toller is set in
the broader context of left-wing intellectuals in Weimar and the
Nazi era. A related reflection is to ask: so what? What difference
did it make? How much of an influence do intellectuals have in the
development of society? What is the relationship between
intellectuals and their readers in a troubled society?
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