An account of the late revolution in New England.

"The declaration of the gentlemen, merchants and inhabitants of Boston, and the country adjacent, April 18, 1689": p. [11]-[27].

The works of William Shakespeare /

v. 1. Life, etc. The tempest. The two gentlemen of Verona. The merry wives of Windsor. Measure for measure.--v. 2. The comedy of errors. Much ado about nothing. Love's labour's lost. A midsummer night's dream. The merchant of Venice.--v. 3. As you like it. The taming of the shrew. All's well that ends well. Twelfth-night. The winter's tale.--v. 4. King John. King Richard II. King Henry IV. Pts. I-II. King Henry V.--v. 5. King Henry VI. Pts. I-III. King Richard III. King Henry VIII.--v. 6. Triolus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet. Timon of Athens. Julius Caesar.--v. 7. Macbeth. Hamlet. King Lear. Othello. Antony and Cleopatra. Cymbeline.--v. 8. Pericles. The two noble kinsmen. Venus and Adonis. Lucrece. Sonnets. A lover's complaint. The passionate pilgrim. The phoenix and turtle.--v. 9. Glossary.

M.U. Horace H. Rackham Educational Memorial, Detroit

Harley & Ellington, architect. W.E. Wood Co., contractor. Built from July 1940 to January 1942. Built jointly for the Engineering Society of Detroit and the University as an Extension Service facility in Detroit. Funded by the Horace H. and Mary A. Rackham Fund. Sculptures on exterior by Marshall Fredericks. Five gentlemen standing on building steps.

The works of Shakespeare /

"The text ... from MacBeth [v. 31] onwards has been edited by Mr. Walter Raleigh" note in v. 38.

The dramatic works of William Shakspeare : accurately printed from the text of the corrected copy left by the late George Steevens ..., with glossarial notes and a sketch of the life of Shakspeare ; in two volumes.

Added title-pages, engraved (with vignette) : The plays of William Shakspeare, illustrated with engravings by George B. Ellis, from the designs of R. Smirk, R. A.

Ferrex and Porrex,

Facsimile interleaved.

The complete works of Shakespeare with life, compendium, and concordance ...

At head of title: The Dr. Johnson edition.

The Gentleman's diary; or, The mathematical repository; an almanack.

"Many useful and entertaining particulars, peculiarly adapted to the ingenious gentlemen engaged in the delightful study and practice of the mathematics."

Excelsior; or, Essays on politeness, education, and the means of attaining success in life ...

pt. I. For young gentlemen, by T. E. Howard.--pt. II. For young ladies, by a lady, (R. V. R.)

The works of Francis Beaumont and John Fletcher.

Editors: v. 1, Arnold Glover; v. 2, Arnold Glover and A. R. Waller; v. 3-10, A. R. Waller.

Thomas Mitchell and the Wellington caves: The relationship among science, religion, and aesthetics in early-nineteenth-century Australia

THOMAS MITCHELL (1792–1855), explorer and Surveyor-General in New South Wales between 1828 and 1855, was a talented and competent draughtsman who was responsible for the original sketches and even some of the lithographs he used to illustrate his two journals of exploration, published in 1838 and 1848. In this paper, I will be concerned with the 1838 journal, entitled Three Expeditions into the Interior of Eastern Australia; with descriptions of the recently explored region of Australia Felix, and of the Present Colony of New South Wales. On the whole, it is a detailed and lavishly illustrated account of the land Mitchell encountered, along with its inhabitants and natural history. My particular interest is in offering an explanation for differences between a sepia sketch depicting a cave at Wellington, NSW, that Mitchell prepared as one of the illustrations for geological material included in this journal, and the final lithograph.

Screening the RSC stage: the 2014 Live from Stratford-upon-Avon cinema broadcasts

During the Royal Shakespeare Company's 2014 summer season, both parts of Henry IV and The Two Gentlemen of Verona were presented as Live from Stratford-upon-Avon broadcasts in cinemas around the world. This article presents a case study of these broadcasts, drawing on the author's observations and insights as their producer as well as interview contributions from those involved in both the stage and screen presentations. Recognising that the hybrid form of “live cinema” performance has developed rapidly over the past five years but is as-yet little-documented, the study develops an analytical approach to its creative processes and to its aesthetics. This discussion is combined with a consideration of the history of earlier screen adaptations of RSC productions at Stratford-upon-Avon. The article details the stages of the production process for the Live from Stratford-upon-Avon broadcasts in 2014 and considers the ways in which the broadcast teams collaborate with the casts and creative teams of the theatre productions. In addition, the article explores processes of adaptation in the journey from stage to screen, the poetics of multi-camera presentation and questions of “live-ness”, the social experience of viewing performance in the cinema, and possible developments for live theatre on screen.

No Woman's Land

Willkommen Damen and Gentlemen! Roll up, stroll in and join us on a spectacular stagger through the post-apocalyptical wasteland of 1945. Before your very eyes the bearded ladies run on treadmills as they conjure up past and present digital landscapes. Masquerading as men for your entertainment, and their own protection, the bearded duo use gallows humour to launch you on an unimaginable, unconceivable plight of flight and migration. 1945. Lucia Rippel, expelled from her place of birth, walked 220 miles across the fractured landscape of Europe, with her two children and all her belongings dragged in a cart. In 2015, Ildikó Rippel and Rosie Garton retraced her footsteps, crossing borders, climbing fences, bleeding, crying, and blistering, and carrying their flat-pack children. No Woman’s Land is a politically charged, darkly humorous nod to 1920’s Kabarett, entwining the duo’s experience of the walk with Lucia’s story.

'All intelligent subjects' – Presenting scientific collecting and identity at the Hawke's Bay Philosophical Institute Museum, 1865-1899

This paper traces a shift in New Zealand’s Scientific Heritage, and the performance and presentation of scientific knowledge and identity through collecting and museum practice – based on a case study of the Hawke’s Bay Philosophical Institute Museum, during the period 1865 -1899. Two very well-known figures of New Zealand science, Museums and collecting were central in Hawke’s Bay: William Colenso FLS FRS; and Augustus Hamilton, who later became Director of the Colonial Museum in Wellington. Through them, can be traced how scientific collections and identities evolved, from the work of gentlemen of science to that of a newly professionalised vocation, realised within the spaces of Museums.