Two former GPs provide a refreshing and liberating medical view of the useful purposes of our unpleasant emotions to move life on with healthy adjustments (E-motion = energy in motion). They show through true stories how anxiety, anger, guilty self-questioning and depressive emptiness, when viewed in a totally different light, are not negative, but are the vital evidence we need to name our hidden personal values. Harnessing emotion into values-based action plans renews inner strength, prevents illness and transforms setbacks, disappointments and hurts into paths to come through stronger.

This book explores the formation of working-class identities in the period 1880-1930, as reflected in changes in work and industrial relations, family life, patterns of saving, and changing political allegiances. Trevor Griffiths challenges the notion that the period witnessed the emergence of a more united sense of class among British workers. Instead, the picture emerges of a working class for whom the ties of work and neighbourhood counted for less than those of religion and nationality.

This spellbinding reverse cat and mouse drama garnered rave reviews in London and Dublin. It is 1794 and Danton, the hero of the French Revolution, has been betrayed and jailed amid the terror he helped unleash. To confound any attempt to free the fabled prisoner, a convicted actor is kept in an identical cell at another location. Danton employs all his guile to convince his guard that he is the decoy, win his trust and get him to convey a letter to the outside world to effect his liberation. But is this really Danton? Or the actor? Or a madman?

What did our Scottish grandparents and great grandparents see at the cinema? What thrilled them on the silver screen? This is the first scholarly work to document the cinema habits of early twentieth-century Scots, exploring the growth of early cinema-going and integrating the study of cinema into wider debates in social and economic history. The author draws extensively on archival resources concerning the cinema as a business, on documentation kept by cinema managers, and on the diaries and recollections of cinema-goers. He considers patterns of cinema-going and attendance levels, as well as changes in audience preferences for different genres, stars or national origins of films. The thematic chapters broaden out the discussion of cinema-going to consider the wider social and cultural impact of this early form of mass leisure. Trevor Griffiths' book is a major contribution to the growing body of work on the history and significance of British film. Key features: first major study of early Scottish film; new archives and research; fascinating diary entries; early cinema as business; and, important addition to Scottish film studies.

Drama Classics: The World's Great Plays at a Great Little Price A startling domestic thriller from the seventeenth century, one of the first tragedies ever to be written about ordinary people. Thomas Heywood's play A Woman Killed with Kindness strips bare two women's lives, with forensic realism. It was first performed by Worcester's Men in 1603. This edition, in the Nick Hern Books Drama Classics series, is edited and introduced by Trevor Griffiths.

The nineteenth century was a period of profound change in Scottish history. Industrialisation, improved communications, agricultural transformation, country to town migration, upheavals in the church, increased trade, and imperialism -- all these affected the pace and rhythm of everyday life across the country. At the same time increased literacy helped to generate new patterns of identity, extending beyond the local to encompass the nation, which challenged certainties of how the world was viewed. With new styles of living came new dangers to the physical and moral health of the population, and increased apprehension of crime and disorder. Industrialisation created opportunities for consumption and recreation but with tangible environmental and economic costs. Rural Scotland adjusted to changes in farming practice and the traumas of population loss and began to look to the opportunities presented by recreation and tourism. The large-scale creation and survival of documentary evidence and records make the study of everyday life during this period practicable in depth for the first time. This volume presents a vivid account that includes the experiences of all the people of Scotland. It draws on every kind of available evidence and on work in social and cultural history, sociology and anthropology. The series will be complete in four volumes. x and x are already available. x is forthcoming.

Thomas Paine, though prominent in two Revolutions and almost hanged for attempting to raise a third, is grown in our day, somewhat dim. He incurred the bitter hostility of three men not generally united: Pitt, Robespierre, and Washington. Of these the first two sought his death, while the third carefully abstained from measures designed to save his life. Pitt and Washington hated him because he was a democrat; Robespierre, because he opposed the execution of the King and the Reign of Terror. Trevor Griffiths' thrilling screenplay carries Tom Paine from persecution in England, to the American War of Independence, to Revolutionary France, mixing politics, love and war. as a consequence, Tom Paine's light shines brighter as his bi-centenary approaches.

The popularity of cinema and cinema-going in Scotland was exceptional. By 1929 Glasgow had 127 cinemas, and by 1939 it claimed more cinema seats per capita than any other city in the world. Focusing on the social experience of cinema and cinema-going, this collection of essays provides a detailed context for the history of early cinema in Scotland, from its inception in 1896 until the arrival of sound in the early 1930s. Tracing the movement from travelling fairground shows to the establishment of permanent cinemas in major cities and small towns across the country, the book examines the attempts to establish a sustainable feature film production sector and the significance of an imaginary version of Scotland in international cinema. With case studies of key productions like Rob Roy (1911), early cinema in small towns like Bo'ness, Lerwick and Oban, as well as of the employment patterns in Scottish cinemas, the collection also includes the most complete account of Scottish-themed films produced in Scotland, England, Europe and the USA from 1896 to 1927.

How to make better life-enhancing choices when environments crumble and population shifts disrupt our ways of living? Dr Griffiths takes a deep look at how our brains trick us into seeing the surface of things so that we lose sight of the deep relatedness on which our survival as groups will increasingly depend. Many astonishing insights follow. Body-mind dualism dissolves, as the ecological person moves with others in a renewed group-approach to thriving. Dilemmas in the standard quantum view of matter and spirituality resolve so that groups of people are empowered by the same fusion energy burning in stars to renew their power of creative choice. Human inner heart is restored over mind, to its central place, as personal values reshape the future.

'The setting is a schoolroom near Manchester where an evening class of budding comics congregate for a final briefing from their tutor before facing an agent's man from London. Telling jokes for money offers an escape from the building site or the milk round. But the humour is a deadly serious business that also involves anger, pain and truth.' Financial Times 'Trevor Griffiths has not shown his brilliance as a writer more clearly than in Comedians.' Daily Telegraph

Examines the history of early cinema in Scotland from its inception in 1896 until the 1930sThe popularity of cinema and cinema-going in Scotland was exceptional. By 1929 Glasgow had 127 cinemas, and by 1939 it claimed more cinema seats per capita than any other city in the world. Focusing on the social experience of cinema and cinema-going, this collection of essays provides a detailed context for the history of early cinema in Scotland, from its inception in 1896 until the arrival of sound in the early 1930s. Tracing the movement from travelling fairground shows to the establishment of permanent cinemas in major cities and small towns across the country, the book examines the attempts to establish a sustainable feature film production sector and the significance of an imaginary version of Scotland in international cinema.With case studies of key productions like 'Rob Roy' (1911), early cinema in small towns like Bo'ness, Lerwick and Oban, as well as of the employment patterns in Scottish cinemas, the collection also includes the most complete account of Scottish-themed films produced in Scotland, England, Europe and the USA from 1896 to 1927.Key FeaturesExplores cinema-going in cities and towns across Scotland, large and smallEngages with international debates on the social history of cinemaIncludes a filmography of Scottish-themed films produced in Scotland, England, Europe and the USA from 1896 to 1927

Winner of a Royal Television Society Award, this is the text of the television drama broadcast by the BBC starring Brian Cox and Sinead Cusack. Food for Ravens is a powerful political drama about one of the great politicians of the Twentieth Century, Aneurin (Nye) Bevan.

What did our Scottish grandparents and great grandparents see at the cinema? What thrilled them on the silver screen? This is the first scholarly work to document the cinema habits of early twentieth-century Scots, exploring the growth of early cinema-going and integrating the study of cinema into wider debates in social and economic history. The author draws extensively on archival resources concerning the cinema as a business, on documentation kept by cinema managers, and on the diaries and recollections of cinema-goers. He considers patterns of cinema-going and attendance levels, as well as changes in audience preferences for different genres, stars or national origins of films. The thematic chapters broaden out the discussion of cinema-going to consider the wider social and cultural impact of this early form of mass leisure. Trevor Griffiths' book is a major contribution to the growing body of work on the history and significance of British film Key Features: *First major study of early Scottish film *New archives and research *Fascinating diary entries *Examines early cinema as business