This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

A facsimile reprint of the long out-of-print 1748 classic (printed in old-fashioned type script), with a lengthy new introductory essay, Eisenmenger: Father of the European Enlightenment, by Michael A. Hoffman II. Also includes a comprehensive, annotated bibliography. In 1700, after nineteen years of study and research including with leading rabbis in Frankfurt and Amsterdam, Johann Andreas Eisenmenger, Professor of Hebrew and Aramaic at the University of Heidelberg, publishedEntdecktes Judenthum(Judaism Revealed). The entire stock of the book was almost immediately seized by order of the Holy Roman Emperor. Beginning in 1732, portions of this banned book were translated into English and published in London as The Traditions of the Jews. For the first time in more than 250 years, Independent History and Research has brought the English version of Eisenmenger's suppressed masterwork, one of the rarest books in the world, back into print, in a limited edition of 2,000 copies, in a high-quality, durable paperback.

This book discusses the history and impact of the Astrolabe group of cuneiform texts and tablets on Mesopotamian and world civilization.

‘This book is a tribute to [Stein’s] appreciation of the land of his adoption and, to those who knew him, it is a monument to his penetrative powers of spiritual perception.’ – A.P. Shepherd At a time when British identity is being reassessed and questioned, W.J. Stein’s classic and timeless study, with its penetrative analysis of the character, psychology and destiny of the British people, takes on new relevance. Stein, a political refugee from Austria, spent the last 24 years of his life in Britain. As an outsider, he was able to view British custom and culture with objectivity. As a student of Rudolf Steiner, he brought years of spiritual study and wisdom to the writing of this book, enabling profound insights. In this concise and aphoristic study, Stein writes on everything from geography, history, politics and economics to the arts (in particular painting and music) and religion. He also reflects on the British concept of freedom, as well as Great Britain’s somewhat mysterious propensity to extend itself – and its language and culture – across the world. ‘Amidst the international turmoils of today the Delphic word can be heard to resound from all sides, in its metamorphosed form: “Know yourselves as folk-souls!” Stein’s little book is an invaluable contribution to such a super-individual self-knowledge.’ – T.H. Meyer

"Granny Yaga follows the switchback adventures of a boy called Danny, growing up in North London where the local she-dragons are notorious fighters, and any alert passer-by can spot Granny herself flying low over the British Museum. Danny becomes Granny's aide-de-camp in a life-or-death duel with the demon Koschei, fought out in the London underground, in disused stations, boarded-up houses and the enchanted skies over Crouch End, with back-up from the relatively orthodox magic of Yesterdayland (huts on chicken legs, talking cats, self-catering tablecloths) and the realpolitik of its neighbouring Soviet satellite, a land of cruel edicts and capricious tsars where the workers and permanently drunk, and the loo seats belonging to each family in a communal flat hang side by side on the wall 'like luckless horseshoes'. A gripping read for all ages, from Danny's to Granny's." Hilary Spurling"Delightfully inventive. Wickedly funny." Marina Lewycka, author of A Short History of Tractors in Ukranian

At 41, single professor Sara Leader decides to create a family by adopting a child. After the adoption agency asks for details about her background, Sara reluctantly begins to probe her father's secret history — in particular, his flight as a 17–year–old Holocaust refugee aboard a ship denied entry into America. The more she learns about her father's past, the more Sara feels the need to question him about what happened — and the more she realizes how her father's secrets have shaped her own life. Alternating between a teenage boy's energetic letters to Eleanor Roosevelt and a daughter's sifting through the fragments of her father's traumatic wartime choices, Victoria Redel brilliantly imbues her characters with not only bravery and strength but with the humor to survive the pain of the past and the uncertainty of what lies ahead.

Professor Prawer's new book documents Heinrich Heine's lifelong involvement with England and the English. It shows him to have been a witty and intelligent observer of English men and women, institutions and politics, and books and journals of his own day; and to have extended his observation backwards into English history and literature of the past in a way that constantly welds the past to the present. The picture which emerges is one shaped by traditional preconceptions, political considerations, social philosophies and aesthetic experiences. The author (who is an authority on Heine) has amassed a vast amount of quotations; many of these passages have never been available in English before. The book will be an important reference work for scholars of nineteenth-century German literature and history; and, since all quotations are rendered in English, it will appeal to general readers interested in verbal caricature and in the changing image of England and the English in Europe.

Inspirational and practical guide to writing short stories by an experienced writer in the form. The text is presented in conversational style, generally in sense-lines. Includes author's 'personal history of recommended reading'. The book is also available as a downloadable PDF document at the publisher's website, www.CommonGround.com.au. Author's short stories have been published in 'The New Yorker', 'Punch', 'The Times', 'The Transatlantic Review', 'Meanjin' and 'Quadrant', and have been collected in ten volumes.

The upsetting of natural order is our largest tragedy, none more than the death of a child. Thus the bones of this shattering novel. Where Himmelman, his own history of break and mend as perhaps his only aid to understanding, must move from impotence to rage and whatever beyond. But a writer too. With a writer's exclusive powers. To record, to relive, to honour with fullest art and ability the beloved existence of his daughter's however stopped nevertheless complete life.

Q4TQuadragrip 4 Trapset(1977 to the Present)Dedicated to Tommy Thomas and Elvin JonesMy life with Q4T is a search for creativity, improvisation and invention, while maintaining the history of tradition.Tommy Thomas told me about playing with multiple sticks, mallets and brushes on gigs in Chicago Theatres, during the 1930s and 1940s.Looking through vintage Ludwig catalogs from the late 1920s, 1930s and 1940s, I saw drummers/percussionist with chimes, xylophone, tympani and more. They had to move fast and be creative to play "Trapset" music.Tommy Thomas introduced me to Louie Bellson at his Village Lounge gig in 1980. I gave Louie my Quadragrip book. He told me he was composing a 3 stick, brush orchestra piece.When I was soliciting my book to drummers for their endorsement, I mailed one to Johnny Carson. He replied, I like it, but I prefer duo-grip.I hope you enjoy my discoveries to play this musical instrument called, The Drumset.Best regards, MWMusical Repetition dictates specific ways to play the kit. The sounds of the drumset are focused on various parts and combinations of the instrument.Ride cymbal, high hat, snare drum or toms usually dominate the groove or rhythm.These interior monologues document my personal thoughts about learning to play and expand the sound of the drumset, an update to my 1980 Quadragrip publication.It took 20 years before I was confident enough to play Q4T publicly on the bandstand. I didn't start using Q4T (full time) till 1997.Audiences noticed the visual concept. I didn't want Q4T to be perceived as a entertainment gimmick. I want my expanded sound to support and augment the music.I'm comfortable it's taken 40 years of practice and performance, to author this updated 2017 documentation.I've experienced many joyful performances and gigs that brought pleasure to the viewer and listener. They mention hearing my sound as a modified, different approach.I've seen YouTube videos of college percussionist playing contemporary repertoire using various combinations of 3 and 4 mallets or sticks.This generation of player has been exposed to multiple mallets, sticks or brushes to play varieties of instruments and sounds in performance.I'm thankful for the gift and concept of my Q4T technique.Q4t doesn't have to be a complicated, notational challenge.To illustrate my technique, I show the process without notated music. My simple examples demonstrate combinations of 2 and 4 sticks, brushes or mallets on various drums and cymbals.I also illustrate the concept of setup, how I utilize specific placement of drums and cymbals.I started playing Quadragrip, with my 1974 Fibes drumset; it's my number one kit. There have been others. My 1983 Gretsch Carpathian Elm kit [1986-1999] was beautiful. My North drumset [1999-2000] Derek Bailey-Jon Rose) was completely different. It was very unique to have 4 smaller sized toms, rack mounted at eye level. The North kit was augmented with various percussion, bells, blocks, tambourine, gongs, cymbals and more.Since my 1980 Quadragrip book photos were taken, the percussion instruments were sold. I have great memories, and a few recordings of them from the past.My 1974 Fibes drumset: remains semi-intact, minus the front hoop, bottom rims and heads. I still have the cymbal stands.Waxing Poetic"Thinking and playing outside the box can be a blessing and a curse""When Roland Kirk came on the scene playing multiple instruments, it was hip and innovative. Most saxophonists continue to play one instrument at a time""Many times, an audience of one is all you need"

Consisting of essays of the 1960s and 1970s, and assembled by Laura (Riding) Jackson herself, this previously unpublished collection is both a substantial addition to the work of her later period, after she had renounced poetry, and also a spirited contribution to later twentieth-century debates about language, literature, and life. There is immense variety and appeal here. Readers will find themselves challenged by the author's combative engagement with her contemporaries, and rewarded by the lucid complexity and immediacy of her thinking. Topics include: love, friendship, imagination; thinking, belief, and conviction; the importance of knowledge of language; the active unselfishness of women; the intrinsic reality of mind; death; good and evil; 'soul' and 'spirit'; structuralism and theory; the novel, history, myth - besides her judgements on writers such as Coleridge, and contemporaries such as Stein. As the excitement aroused by 'theory' subsides, now may be the time for Laura (Riding) Jackson's considered judgement of the spiritual function of language and human life to be given the attention it deserves.

Embark on a remarkable journey through the heart of Asia with Julius M. Price's "From the Arctic Ocean to the Yellow Sea." This captivating narrative recounts the author's extensive travels in 1890 and 1891 across the vast and varied landscapes of Siberia, Mongolia, and North China. Experience the challenges and wonders of traversing the Gobi Desert and venturing near the Arctic Ocean. Price's detailed account offers a window into a world of unique cultures and breathtaking scenery. This book provides a vivid historical perspective on a region of the world often shrouded in mystery. Explore the stark beauty of Siberia, the nomadic traditions of Mongolia, and the intricate tapestry of Chinese life. This meticulously prepared print republication allows readers to follow in the footsteps of a seasoned traveler and discover the timeless allure of adventure and exploration. A must-read for anyone interested in the history and geography of Asia. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing...

Product Description With The Jewish Revolution classical Zionism has found its true interpretation. In the highest tradition of the soldier-statesman, Dr. Israel Eldad advocates a form of Zionism that is unpopular in conventional society. He condemns establishmentarian, social-club Zionism as a belittling of Jewish history and a threat to Jewish lives. In its place, he calls for a revolutionary creed one that dares assert its right to the Jewish homeland; not as defined by diplomats, politicians and Security Council Resolutions, but in biblical, historical terms. He boldly declares that Jewish diplomacy failed to save millions of European Jews, and he accuses world leaders of inviting new Holocausts by denying history s lessons and ignoring its imperatives. He warns the Jewish people that it can rely only on its own forces, and he offers a solution to the Arab problem in the Middle East. The Jewish Revolution combines the passion of the patriot, the logic of the scholar and the sweep of the historian. About the Author Scholar, writer and active Zionist revolutionary Israel Eldad was born in Galicia in 1910. After graduating from the Rabbinical Seminary in Vienna and obtaining his doctorate in philosophy, he returned to Poland to teach Jewish Studies at the Vilna Teachers Seminary. Invited by Menachem Begin, he joined the Warsaw leadership of Brit Trumpeldor Betar the youth section of Jabotinsky s Revisionist Zionist Party. In 1938 he first met Avraham Stern, founder of the underground Zionist movement Lohamei Heirut Israel, The Fighters for the Freedom of Israel Lehi (the Stern Group). Arriving in Palestine in 1941, he joined the underground as a member of Lehi Headquarters Staff. During the crucial years of World War II, when the British Mandatory Government was attempting to appease the Arabs by conducting a policy of repression against Palestine s Jewish community, Eldad made secret broadcasts, wrote articles for underground publications and edited the Wall Newspaper illegal bulletins pasted on the walls at night since compiled in book form as Let the Walls Speak. While attempting to escape arrest by the British police, Eldad suffered a serious back injury. For two years he remained in British prisons, his entire body encased in a cast. Dramatically freed from his military guards by Lehi comrades in 1946, he resumed his work in the underground movement until the establishment of the State of Israel. For many years he was editor of Sulam, a political and literary monthly recognized as the leading journal of its kind. He wrote Ma aser Rishon (The First Tithe), which deals with the Hebrew underground movement and his part in it. He is the author of Hegyonot Mikrah, a highly original, challenging commentary on the Bible. For four years he edited the unique historical paper Chronicles News of the Past. He translated from German into Hebrew the complete writings of Friedrich Nietzsche, published four volumes of selected papers and with his son Arieh wrote Jerusalem: The C

This multi-volume work is a reprint of Israel Davidson's classic opus, with a new introduction by piyyut scholar Michael Rand. Originally published in four volumes by the Jewish Theological Seminary of America throughout the 1920s and 30s, and reprinted in 1970 by Ktav with an introduction by Jefim (Hayyim) Schirmann, Thesaurus of Mediaeval Hebrew Poetrycatalogues Medieval Hebrew poetry in over 35,000 entries spanning over 2,000 pages. Written at a time when Genizah research was just beginning to flourish, the Thesaurus serves primarily as a catalogue of the Medieval Hebrew poetic corpus as it had been known from printed works predating the publication of Genizah poetry. In addition to constituting an important reference work, the Thesaurus represents a stage in the history of piyyut study, before the publication of thousands of Genizah poems forever altered the course of Medieval Hebrew poetry scholarship.

Immerse yourself in the vibrant world of 19th-century music with Elizabeth Sheppard's "Charles Auchester, Volume 1 of 2," a captivating work of historical fiction. Delve into a story where the passion for music intertwines with the complexities of human relationships, against a backdrop of rich historical detail. This volume explores themes of romance and artistic dedication within the lives of musicians, offering a glimpse into their world of creativity and personal struggles. Sheppard's meticulous prose captures the essence of the era, making this a timeless read for anyone fascinated by musical history and the enduring power of human connection. Discover a world where music and emotion intertwine in this beautifully rendered historical romance. Prepared for print republication, this edition offers a renewed opportunity to experience a classic of musical fiction. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Accent is one of the most vexing problems in Slavic linguistics, and it has given rise to diverse schools of thought particularly in the area of historical reconstruction. Based on almost three decades of research, this monumental work is the first systematic description of the accentual patterns of all the Slavic languages with mobile stress: Slovene, Serbo-Croatian, Bulgarian, Russian, Ukrainian, Byelorossian, and Slovincian. In addition, it pursues two supplementary, but by no means less significant, goals - to interpret the historical development of the accentual patterns and to make a typological comparison of their similarities and differences. This book differs from previous studies of the accentuation of the individual Slavic languages in both method and scope. Its consistent morphophonemic approach distinguishes automatic and nonautomatic alternations and emphasizes the role of the latter in the expression of Slavic grammatical categories and the various parts of speech. Although the author's general approach is synchronic, it does not diminish the importance of the historical-comparative method, but gives it additional strength by placing the historic interpretation of Slavic accentual patterns on a solid descriptive base. Although Slavic accentology has been largely treated as an exemplar of historical reconstruction, the results have been clouded by controversy and doubt. This state of affairs is partly due to the scarcity of historical records, but even more to the lack of systematic and exhaustive descriptions of the contemporary accentual patterns. This book intends to fill that gap and to show to what extent these patterns continue to resemble one another in the midst of diversity and despite a long history of accentual change. The historical sections and comments accompanying the synchronic descriptions are designed to trace the development of the accentual patterns from Common Slavic up to the modern period. The author touches on the basic properties of the Common Slavic accentual system, arguing that its overall design can be determined within the framework of Common Slavic rather than with reference to a Balto-Slavic accentuation which is modeled on that of Lithuanian.

This book has been considered important throughout the human history, and so that this work is never forgotten we have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies and hence the text is clear and readable.