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.

Much of Christianity seems to have lost its way, its peace, and its joy because it has allowed the Lord's vision to become vague. The entirety of this thesis is based on a reminder that we are created for His pleasure and not our own agenda.

This is the story of a man, a treaty, and a nation. The man was John Quincy Adams, regarded by most historians as America's greatest secretary of state. The treaty was the Transcontinental Treaty of 1819, of which Adams was the architect. It acquired Florida for the young United States, secured a western boundary extending to the Pacific, and bolstered the nation's position internationally. As William Weeks persuasively argues, the document also represented the first determined step in the creation of an American global empire.

Weeks follows the course of the often labyrinthine negotiations by which Adams wrested the treaty from a recalcitrant Spain. The task required all of Adams's skill in diplomacy, for he faced a tangled skein of domestic and international controversies when he became secretary of state in 1817. The final document provided the United States commercial access to the Orient--a major objective of the Monroe administration that paved the way for the Monroe Doctrine of 1823.

Adams, the son of a president and later himself president, saw himself as destined to play a crucial role in the growth and development of the United States. In this he succeeded. Yet his legendary statecraft proved bittersweet. Adams came to repudiate the slave society whose interests he had served by acquiring Florida, he was disgusted by the rapacity of the Jacksonians, and he experienced profound guilt over his own moral transgressions while secretary of state. In the end, Adams understood that great virtue cannot coexist with great power.

Weeks's book, drawn in part from articles that won the Stuart Bernath Prize, makes a lasting contribution to our understanding of American foreign policy and adds significantly to our picture of one of the nation's most important statesmen.

Current research on media and the law has generally been atheoretical and contradictory. This volume explains why pretrial publicity is unlikely to affect the outcome of most jury trials, despite many experimental studies claiming to show the influence of publicity. It reviews existing literature on the topic and includes results from the authors' own research in an effort to answer four questions:
*Does pretrial publicity bias the outcome of trials?
*If it has an effect, under what conditions does this effect emerge?
*What remedies should courts apply in situations where pretrial publicity may have an effect?
*How does pretrial publicity relate to broader questions of justice?

Reporting research based on actual trial outcomes rather than on artificial laboratory studies, "Free Press vs. Fair Trials" examines publicity in the context of the whole judicial system and media system. After a thorough review of research into pretrial publicity, the authors argue that the criminal justice system's remedies are likely to be effective in most cases and that there are much larger obstacles confronting defendants than publicity.

This book presents the first extensive study of the influence of pretrial publicity on actual criminal trials, with results that challenge years of experimental research and call for more sophisticated study of the intersection of media and criminal justice. It is required reading for scholars in media law, media effects, legal communication, criminal justice, and related areas.

Current research on media and the law has generally been atheoretical and contradictory. This volume explains why pretrial publicity is unlikely to affect the outcome of most jury trials, despite many experimental studies claiming to show the influence of publicity. It reviews existing literature on the topic and includes results from the authors' own research in an effort to answer four questions: *Does pretrial publicity bias the outcome of trials? *If it has an effect, under what conditions does this effect emerge? *What remedies should courts apply in situations where pretrial publicity may have an effect? *How does pretrial publicity relate to broader questions of justice? Reporting research based on actual trial outcomes rather than on artificial laboratory studies, Free Press vs. Fair Trials examines publicity in the context of the whole judicial system and media system. After a thorough review of research into pretrial publicity, the authors argue that the criminal justice system's remedies are likely to be effective in most cases and that there are much larger obstacles confronting defendants than publicity. This book presents the first extensive study of the influence of pretrial publicity on actual criminal trials, with results that challenge years of experimental research and call for more sophisticated study of the intersection of media and criminal justice. It is required reading for scholars in media law, media effects, legal communication, criminal justice, and related areas.

In Origin and Destiny of Humanity, William Key-nee explores our physical, intellectual, and spiritual connections with the universe. The author discusses our development from the first man and woman to the people of the future; the physical development of Earth; the life mastery achieved by the avatars (Pythagoras, Confucius, Christ, and other); the New Age movement and its future goals; social, human, and scientific cycles; UFOs; and other fascinating and informative topics. Envision humanity's future as we embrace the advances and changes in technology, religion, science, and mind science. By challenging our traditional beliefs and broadening our perspectives, Mr. Key-nee believes we can greatly enhance our quality of life and peacefully move into the twenty-first century.

The arts were created from an appeal to freedom. There can be no general aesthetic that defines how that freedom must express itself. Movies offer a seductive example. Of all the major arts, cinema is the only one that was invented during the lifetime of some who are now living. From this perspective, Earle argues that filmmakers were far more inventive in their early days than now, when commercial film has settled into a realist routine with occasional and timid forays into the personal and imaginative. Earle suggests that unsympathetic readers should look again at the possible sources of film poetry, sources that have almost dried up in the flood of boredom experienced nightly in theaters throughout the world. Surrealism in Film is largely a manifesto against realism; it ends in a clash of sensibilities. The book encourages new exploration of absolute poetry. The intention of these essays is to destroy the absolute authority of the realist sensibility. Within that sensibility is everything thought necessary to "sense": narrative plot, recognizable and nameable passions, continuity and integration within the film, a gist or moral for the whole affair, social commentary, and psychoanalytic depth-meanings. Earle argues for a self-critique that should be performed if movies are not to remain encapsulated within its own delusions.

The arts were created from an appeal to freedom. There can be no general aesthetic that defines how that freedom must express itself. Movies offer a seductive example. Of all the major arts, cinema is the only one that was invented during the lifetime of some who are now living. From this perspective, Earle argues that filmmakers were far more inventive in their early days than now, when commercial film has settled into a realist routine with occasional and timid forays into the personal and imaginative. Earle suggests that unsympathetic readers should look again at the possible sources of film poetry, sources that have almost dried up in the flood of boredom experienced nightly in theaters throughout the world. "Surrealism in Film" is largely a manifesto against realism; it ends in a clash of sensibilities. The book encourages new exploration of absolute poetry. The intention of these essays is to destroy the absolute authority of the realist sensibility. Within that sensibility is everything thought necessary to "sense" narrative plot, recognizable and nameable passions, continuity and integration within the film, a gist or moral for the whole affair, social commentary, and psychoanalytic depth-meanings. Earle argues for a self-critique that should be performed if movies are not to remain encapsulated within its own delusions.

Since their first publication, the four volumes of the Cambridge History of American Foreign Relations have served as the definitive source for the topic, from the colonial period to the Cold War. This entirely new first volume narrates the British North American colonists' pre-existing desire for expansion, security and prosperity and argues that these desires are both the essence of American foreign relations and the root cause for the creation of the United States. They required the colonists to unite politically, as individual colonies could not dominate North America by themselves. Although ingrained localist sentiments persisted, a strong, durable Union was required for mutual success, thus American nationalism was founded on the idea of allegiance to the Union. Continued tension between the desire for expansion and the fragility of the Union eventually resulted in the Union's collapse and the Civil War.

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Longford Castle is a fine Elizabethan country house, home to a world-class collection of art built up in the eighteenth and nineteenth centuries by the Bouverie family and still owned today by their descendants. Until now, it has been relatively little known amongst the pantheon of English country houses. This book, richly illustrated and based on extensive scholarly research into the family archive, tells a comprehensive story of the collectors who amassed these treasures. It explores the acquisition and commission of works of art from Holbein's Erasmus and The Ambassadors, to exquisite landscapes by Claude and Poussin, and family portraits by Thomas Gainsborough and Sir Joshua Reynolds. It explores how Longford, an unusual triangular-shaped castle that inspired Sir Philip Sidney's Arcadia and Disney's The Princess Diaries, was decorated and furnished to house these works of fine art, and how the Bouverie family patronised the best craftsmen and furniture makers of the day. The book brings the story up to the present day, with an introduction and conclusion by the current owner, the 9th Earl of Radnor, himself a keen collector of art, to celebrate this remarkable house and collection in the tercentenary year of its purchase by the Bouverie family.

Since their first publication, the four volumes of the Cambridge History of American Foreign Relations have served as the definitive source for the topic, from the colonial period to the Cold War. This entirely new first volume narrates the British North American colonists' pre-existing desire for expansion, security and prosperity and argues that these desires are both the essence of American foreign relations and the root cause for the creation of the United States. They required the colonists to unite politically, as individual colonies could not dominate North America by themselves. Although ingrained localist sentiments persisted, a strong, durable Union was required for mutual success, thus American nationalism was founded on the idea of allegiance to the Union. Continued tension between the desire for expansion and the fragility of the Union eventually resulted in the Union's collapse and the Civil War.