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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.
A beautifully illustrated account of the Impressionist experiment
in the United States-showing how the French style was put to
distinctly American use From the late 19th century to the Second
World War, American painters adapted Impressionism to their own
ends, shaping one of the most enduring, complex, and contradictory
styles of art ever produced in the United States. This
comprehensive book presents an original and nuanced history of the
American engagement with the French style, one that was both richer
and more ambivalent than mere imitation. Showcasing key works from
public and private collections across the United States, this
expansive catalogue contextualizes celebrated figures, such as
Claude Monet (1840-1926) and William Merritt Chase (1849-1916),
among their unduly overlooked-and often female-counterparts, such
as Lilla Cabot Perry (1848-1933), Emma Richardson Cherry
(1859-1954), and Evelyn McCormick (1862-1948). Essays from leading
scholars of the movement expand upon the geography and chronology
of Impressionism in America, investigating regional variants and
new avenues opened by the experiment. Beautifully illustrated, this
volume is a landmark event in the understanding of an important era
in American art.
Two brand new plays for children incorporating some of the most
beautiful verse Shakespeare ever wrote. The Forty Minute Tempest
recreates the world of Shakespeare's great play as told by Prospero
and Ariel as they journey towards Prospero's retirement and Ariel's
freedom. Using storytelling techniques, puppetry, the modern idiom,
and Shakespeare's verse for it's more heightened moments, it
magically brings to life the world of Prospero's island. The
perfect introduction to the words of the Bard. King Ram is the
story of an old king with a foolish plan to split his lands between
his two daughters, Regan and Cordelia, and of a ten year old boy's
desperate search for a baby's father. Based on Shakespeare's King
Lear, it draws on many of the same themes: nature, madness,
treatment of the elderly, and family relationships. The Forty
Minute Tempest opens at the National Theatre in May 2002.
As globally recognized arbitration experts, the authors of THE
LABOR RELATIONS PROCESS bring nearly a century of combined
experience with the labor movement, labor relations, and collective
bargaining to this popular text. Packed with real-world examples
and quotes from practitioners in the field, this 11th edition
explores labor's history from inception to current and emerging
trends, touching on government, white-collar, and international
contexts to give you an unmatched perspective of the topics.
Chapters include in-depth analyses of the relationship between
management and labor, including key participants in the processes,
and the rights and responsibilities of each. Labor agreements,
collective bargaining, contract administration, arbitration, and
many other critical issues and processes highlight the complex,
exciting nature of organized labor, and introduce you to the wide
variety of professional opportunities available to you today.
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