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LUCCHESI Da Collocazione:A.1 a Collocazione
Biblioteca di storia moderna e contemporanea REGISTRO TOPOGRAFICO Sezione:LUCCHESI Da collocazione:a.1 A collocazione: Biblioteca di storia moderna e contemporanea 29/08/2017 2 REGISTRO TOPOGRAFICO relativo alla sezione: LUCCHESI Collocazione: a.1 Specificazione: Inventari: 1 Consistenza di collocazione: 1v *Uniforms of the Napoleonic wars in colour, 1796-1814 / devised and illustrated by Jack Cassin-Scott. - Poole : Blandford Press, 1977 N.Inventario: 1409978 Collocazione: a.2 Specificazione: Inventari: 1 Consistenza di collocazione: 1v *Austerlitz 1805 / Christopher Duffy. - London : Cassell,1999. - XI,194 p, [12 ] p. di tav. : ill. ; 20 cm. N.Inventario: 1409961 Collocazione: a.3 Specificazione: Inventari: 1 Consistenza di collocazione: 1v *Die hard! : famous Napoleonic battles / Philip J. Haythornthwaite. - London : Cassell, 2001. - 256 p., [16] p. di tav. : ill. ; 20 cm. N.Inventario: 1409958 Collocazione: a.4 Specificazione: Inventari: 1 Consistenza di collocazione: 1v *Wellington and Napoleon : clash of arms : 1807-1815 / Robin Neillands. - Barnsley : Pen & Sword Books, 2003. - VIII, 264 p., [12] p. di tav. : ill ; 20cm N.Inventario: 1409975 Collocazione: a.5 Specificazione: Inventari: 1 Consistenza di collocazione: 1v *Memoirs of an aide-de-camp of Napoleon 1800-1812 / Philippe de Ségur ; translated by H.A. Patchett-Martin. - Stroud : Nonsuch, 2005. - 380 p. ; 20 cm N.Inventario: 1408761 Collocazione: a.6 Specificazione: Inventari: 1 Consistenza di collocazione: 1v *Corunna / Christopher Hibbert. - New York : Phoenix, 2003. - 210 p., [4] c. di tav. : ill. ; 20 cm N.Inventario: 1425818 Collocazione: a.7 Specificazione: Inventari: 1 Consistenza di collocazione: 1v *Beggars in red : the British army, 1789-1889 / John Strawson. - Barnsley : Pen & Sword Books, 2003. - XIV, 254 p., [4] c. -
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King . -
Public Competition Enforcement Review
Enforcement Review Enforcement the Public Competition Competition Public Public Competition Enforcement Review Eleventh Edition Editor Aidan Synnott Eleventh Edition lawreviews © 2019 Law Business Research Ltd Public Competition Enforcement Review Eleventh Edition Reproduced with permission from Law Business Research Ltd This article was first published in May 2019 For further information please contact [email protected] Editor Aidan Synnott lawreviews © 2019 Law Business Research Ltd PUBLISHER Tom Barnes SENIOR BUSINESS DEVELOPMENT MANAGER Nick Barette BUSINESS DEVELOPMENT MANAGER Joel Woods SENIOR ACCOUNT MANAGERS Pere Aspinall, Jack Bagnall ACCOUNT MANAGERS Olivia Budd, Katie Hodgetts, Reece Whelan PRODUCT MARKETING EXECUTIVE Rebecca Mogridge RESEARCH LEAD Kieran Hansen EDITORIAL COORDINATOR Tommy Lawson HEAD OF PRODUCTION Adam Myers PRODUCTION EDITOR Caroline Herbert SUBEDITOR Tessa Brummitt CHIEF EXECUTIVE OFFICER Paul Howarth Published in the United Kingdom by Law Business Research Ltd, London 87 Lancaster Road, London, W11 1QQ, UK © 2019 Law Business Research Ltd www.TheLawReviews.co.uk No photocopying: copyright licences do not apply. The information provided in this publication is general and may not apply in a specific situation, nor does it necessarily represent the views of authors’ firms or their clients. Legal advice should always be sought before taking any legal action based on the information provided. The publishers accept no responsibility for any acts or omissions contained herein. Although the information -
Hamlet West End Announcement
FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer. -
Bushnell Family Genealogy, 1945
BUSHNELL FAMILY GENEALOGY Ancestry and Posterity of FRANCIS BUSHNELL (1580 - 1646) of Horsham, England And Guilford, Connecticut Including Genealogical Notes of other Bushnell Families, whose connections with this branch of the family tree have not been determined. Compiled and written by George Eleazer Bushnell Nashville, Tennessee 1945 Bushnell Genealogy 1 The sudden and untimely death of the family historian, George Eleazer Bushnell, of Nashville, Tennessee, who devoted so many years to the completion of this work, necessitated a complete change in its publication plans and we were required to start anew without familiarity with his painstaking work and vast acquaintance amongst the members of the family. His manuscript, while well arranged, was not yet ready for printing. It has therefore been copied, recopied and edited, However, despite every effort, prepublication funds have not been secured to produce the kind of a book we desire and which Mr. Bushnell's painstaking work deserves. His material is too valuable to be lost in some library's manuscript collection. It is a faithful record of the Bushnell family, more complete than anyone could have anticipated. Time is running out and we have reluctantly decided to make the best use of available funds by producing the "book" by a process of photographic reproduction of the typewritten pages of the revised and edited manuscript. The only deviation from the original consists in slight rearrangement, minor corrections, additional indexing and numbering. We are proud to thus assist in the compiler's labor of love. We are most grateful to those prepublication subscribers listed below, whose faith and patience helped make George Eleazer Bushnell's book thus available to the Bushnell Family. -
Almeida Theatre's Hamlet Emer Mchgh
Early Modern Culture Volume 13 Shakespeare in the Anthropocene Article 27 5-28-2018 Almeida Theatre's Hamlet Emer McHgh Follow this and additional works at: https://tigerprints.clemson.edu/emc Recommended Citation Emer McHgh (2018) "Almeida Theatre's Hamlet," Early Modern Culture: Vol. 13 , Article 27. Available at: https://tigerprints.clemson.edu/emc/vol13/iss1/27 This Theater Review is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in Early Modern Culture by an authorized editor of TigerPrints. For more information, please contact [email protected]. Almeida Theatre’s Hamlet Directed by Robert Icke Harold Pinter Theatre, London Performance date: July 28, 2017 Reviewed by EMER MCHUGH obert Icke’s production of Hamlet, starring the Irish actor Andrew Scott in the leading role, debuted at the Almeida Theatre in north RLondon in February 2017. The production then transferred to the Harold Pinter Theatre for an extended West End run throughout that subsequent summer; this review talks about the production during that latter run. This was Scott’s first major Shakespearean role: after all, Hamlet is usually a role for actors who have firmly established themselves, and who have a firmly established fanbase. Two years prior, Scott’s Sherlock co-star Benedict Cumberbatch played the role in Lyndsay Turner’s Barbican Centre production. While Scott treaded the London boards, Oscar Isaac treaded the Broadway boards in the same role in Sam Gold’s production that summer. Just as Scott finished in the role in September 2017, Tom Hiddleston debuted as Hamlet in Kenneth Branagh’s fundraiser for RADA. -
Summary for Decision Makers
“Although considered by many to be a success story, the benefi ts of productivity increases in world agriculture are unevenly spread. Often the poorest of the poor have gained little or noth- ing; and 850 million people are still hungry or malnourished with an additional 4 million more joining their ranks annually. We are putting food that appears cheap on our tables; but it is food that is not always healthy and that costs us dearly in terms of water, soil and the biological AgricultureAgriculture diversity on which all our futures depend.” —Professor Bob Watson, director, IAASTD atat aa The International Assessment of Agricultural Knowledge, Science and Technology for Devel- opment (IAASTD) , on which Agriculture at the Crossroads is based, was a three-year collab- orative effort begun in 2005 that assessed our capacity to meet development and sustainabil- CrossroadsCrossroads ity goals of: InternationalInternational AssessmentAssessment ofof AgriculturalAgricultural Knowledge,Knowledge, • Reducing hunger and poverty ScienceScience andand TechnologyTechnology forfor DevelopmentDevelopment • Improving nutrition, health and rural livelihoods • Facilitating social and environmental sustainability Governed by a multi-stakeholder bureau comprised of 30 representatives from government and 30 from civil society, the process brought together 110 governments and 400 experts, rep- resenting non-governmental organizations (NGOs), the private sector, producers, consumers, the scientifi c community, multilateral environment agreements (MEAs), and multiple interna- tional agencies involved in the agricultural and rural development sectors. In addition to assessing existing conditions and knowledge, the IAASTD uses a simple set of model projections to look at the future, based on knowledge from past events and existing trends such as population growth, rural/urban food and poverty dynamics, loss of agricultural land, water availability, and climate change effects. -
The Royal National Theatre Annual Report and Financial Statements 2007 – 2008 Board
The Royal National Theatre Annual Report and Financial Statements 2007 – 2008 board The Royal National Theatre Chairman Sir Hayden Phillips GCB DL Upper Ground, South Bank, London SE1 9PX Susan Chinn + 44 (0)20 7452 3333 Lloyd Dorfman CBE www.nationaltheatre.org.uk Ros Haigh Kwame Kwei-Armah Company registration number 749504 Rachel Lomax Registered charity number 224223 Neil MacGregor Registered in England John Makinson Caragh Merrick Caro Newling André Ptaszynski Philip Pullman Farah Ramzan Goland The Royal National Theatre is a company limited by guarantee and a registered charity. It was established Rt Hon Lord Smith of Finsbury in 1963 for the advancement of education and, in particular, to procure and increase the appreciation and Edward Walker-Arnott understanding of the dramatic art in all its forms as a memorial to William Shakespeare. These objects are Nicholas Wright set out in the governing document, which is its Memorandum and Articles of Association, and have been Company Secretary Kay Hunter Johnston developed into a set of aims and objectives as described on page 4. Executive Artistic Director Nicholas Hytner Executive Director Nick Starr Finance Director Lisa Burger Associate Directors Sebastian Born Howard Davies Marianne Elliott Tom Morris Bankers Coutts & Co 440 Strand, London WC2R 0QS Auditors PricewaterhouseCoopers LLP 1 Embankment Place, London WC2N 6RH This Annual Report and Financial Statements is available to download at www.nationaltheatre.org.uk If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Company Secretary at the National Theatre. -
An Investigation of the Political Economy of Land Grabs in Malawi LDPI Working Paper
An investigation of the political economy of land grabs in Malawi The case of Kasinthula Cane Growers Limited (KCGL) Michael Chasukwa LDPI Working Paper 30 Land Deal Politics Initiative An investigation of the political economy of land grabs in Malawi: The case of Kasinthula Cane Growers Limited by Michael Chasukwa Published by: The Land Deal Politics Initiative [email protected] In collaboration with: Institute for Development Studies University of Sussex Library Road Brighton, BN1 9RE United Kingdom Tel: +44 1273 606261 Fax: +44 1273 621202 E-mail: [email protected] Website: www.ids.ac.uk International Institute of Social Studies P.O. Box 29776 2502 LT The Hague The Netherlands Tel: +31 70 426 0460 Fax: +31 70 426 0799 E-mail: [email protected] Website: www.iss.nl The Institute for Poverty, Land and Agrarian Studies (PLAAS) School of Government, Faculty of Economic and Management Sciences University of the Western Cape, Private Bag X17 Bellville 7535, Cape Town South Africa Tel: +27 21 959 3733 Fax: +27 21 959 3732 E-mail: [email protected] Website: www.plaas.org.za The Polson Institute for Global Development Department of Development Sociology Cornell University 133 Warren Hall Ithaca NY 14853 United States of America Tel: +1 607 255-3163 Fax: +1 607 254-2896 E-mail: [email protected] Website: polson.cals.cornell.edu ©January 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without prior permission from the publisher and the author. Copy editor and layout: Andrew Ennis Series editor: Rebecca Pointer Published with support from the UK Department for International Development (DfID) and Atlantic Philanthropies Land Deal Politics Initiative Abstract This study aims to understand the nature of land grabs in Malawi and their implications on food security. -
The Group of Seven
The Group of Seven We are now in the era of the G8, although the G7 still exists as a grouping for finance ministers and central bank governors. Why do G7 finance ministries and central banks co-operate? What are the implications of this for the power of the United States and the abilities of the other six states to exercise leadership? What influence do the G7 have on global financial governance? How much authority do they possess and how is that authority exercised? This is the first major work to address these fundamental questions. It argues that to understand the G7’s contribution to global financial governance it is necessary to locate the group’s activities in a context of ‘decentralized globalization’. It also provides original case study material on the G7’s contribution to macro- economic governance and to debates on the global financial architecture over the last decade. The book assesses the G7’s role in producing a system of global financial governance based on market supremacy and technocratic trans-governmental consensus and articulates normative criticisms of the G7’s exclusivity. For researchers in the fields of IR/IPE, postgraduate students in the field of international organization and global governance, policy-makers and financial journalists, this is the most comprehensive analysis of the G7 and financial governance to date. Andrew Baker is Lecturer at the School of Politics and International Studies at the Queen’s University of Belfast. He is the co-editor of Governing Financial Globalisation (Routledge, 2005) and has published in journals such as Review of International Political Economy and Global Governance. -
THE BRITISH AIR CAMPAIGN DURING the BATTLE of the SOMME APRIL-NOVEMBER, 1916: a PYRRHIC VICTORY by Thomas G. Bradbeer M.A., Univ
THE BRITISH AIR CAMPAIGN DURING THE BATTLE OF THE SOMME APRIL-NOVEMBER, 1916: A PYRRHIC VICTORY By Thomas G. Bradbeer M.A., University of Saint Mary, 1999 Submitted to the graduate degree program in History and the Faculty of the Graduate School of the University of Kansas In partial fulfillment of the requirements for the degree of Doctor of Philosophy ___________________ Chairperson Theodore A. Wilson, PhD Committee members ____________________ Jonathan H. Earle, PhD ____________________ Adrian R. Lewis, PhD ____________________ Brent J. Steele, PhD ____________________ Jacob Kipp, PhD Date defended: March 28, 2011 The Dissertation Committee for Thomas G. Bradbeer certifies that this is the approved version of the following dissertation: THE BRITISH AIR CAMPAIGN DURING THE BATTLE OF THE SOMME APRIL-NOVEMBER, 1916: A PYRRHIC VICTORY ___________________ Chairperson Theodore A. Wilson, PhD Date approved March 28, 2011 ii THE BRITISH AIR CAMPAIGN DURING THE BATTLE OF THE SOMME, APRIL-NOVEMBER, 1916: A PYRRHIC VICTORY ABSTRACT The Battle of the Somme was Britain’s first major offensive of the First World War. Just about every facet of the campaign has been analyzed and reexamined. However, one area of the battle that has been little explored is the second battle which took place simultaneously to the one on the ground. This second battle occurred in the skies above the Somme, where for the first time in the history of warfare a deliberate air campaign was planned and executed to support ground operations. The British Royal Flying Corps (RFC) was tasked with achieving air superiority over the Somme sector before the British Fourth Army attacked to start the ground offensive. -
Download a Program
Headlong Theatre, Birmingham Repertory Theatre, Liverpool Everyman and Playhouse, Lyric Hammersmith and West Yorkshire Playhouse present by Simon Schama Adapted for the stage by Caryl Phillips First performed on 14 September 2007 at Birmingham Repertory Theatre. Headlong Theatre, Birmingham Repertory Theatre, Liverpool Everyman and Playhouse, Lyric Hammersmith and West Yorkshire Playhouse present ROUGH CROSSINGS by Simon Schama Adapted for the stage by Caryl Phillips Isaac Peter Bankole Eliza Sharp Miranda Colchester David George Peter De Jersey Johnson / Sergeant Davy / American Officer Ian Drysdale Henry De Mane Dave Fishley Thomas Clarkson Andy Frame William Sharp / Redcoat / Lieutenant Rob Hastie Phyllis George Dawn Hope John Clarkson Ed Hughes Captain / Cornwallis / Falconbridge Mark Jax Ship’s Boy / Anna Maria Falconbridge Jessica Lloyd Granville Sharp Michael Matus Sally Peters Wunmi Mosaku James Somerset Ben Okafor Thomas Peters Patrick Robinson Buck Slave / Sierra Leone Settler Daniel Williams All other parts played by members of the company. Director Rupert Goold Designer Laura Hopkins Lighting Designer Paul Pyant Composer & Sound Designer Adam Cork Video & Projection Design Lorna Heavey Movement Director Liz Ranken Casting Consultant Kirsty Kinnear Assistant Director Vik Sivalingam Assistant Designer Simon Kenny Production Manager Spencer New Company Stage Manager Julia Reid Deputy Stage Manager Lucy McMahon Assistant Stage Manager Sarah Jane Davies Costume Supervisor Hilary Lewis Re-Lighter & Production Electrician Tom Snell