Sir Henry Raeburn,

Mode of access: Internet.

The Strank Munro letters: being a series of twelve letters written by J. Stark Munro, M. B., to his friend and former fellow-student, Herbert Swanborough ... during the years 1881-1884;

Mode of access: Internet.

Le morte Darthur: Sir Thomas Malory's book of King Arthur and of his noble knights of the Round table.

"A text modernised as to its spelling, but in other respects in accurate accordance with Caston's text, as represented by Dr. Sommer's reprint."

The Bolivian Andes; a record of climbing & exploration in the Cordillera Real in the years 1898 and 1900,

Bibliography: p. 398-[400]

The vision of Sir Launfal, A fable for critics, and The commemoration ode,

Mode of access: Internet.

The vision of Sir Launfal and other poems;

Mode of access: Internet.

Herbert Beerbohm Tree,

"A list of Mr. Beerbohm Tree's principal productions": p. 107-110.

1900 University of Michigan Baseball Team

Sir Arthur Sullivan: life-story, letters, and reminiscences. With critique

"Appendix, comprising a complete list of Sir Arthur Sullivan's work, compiled by Wilfrid Bendall": p.[327]-339.

Catalogue of scientific papers, 1800-1900 : subject index.

Each volume contains a list of the serial publications indexed, with the abbreviations used, and the libraries where the serials can be consulted, followed by the schedule of classification.

The life of Sir John Fowler, engineer, bart., K.C.M.G., etc.;

Mode of access: Internet.

The magical transformation contest in the ancient storytelling tradition

El concurso de transformación mágica, esquema narrativo difundido en la tradición popular, se presenta en dos variantes principales: los hechiceros que compiten pueden metamorfosearse en varios seres o crear esos seres por medios mágicos. En cualquier caso el concursante ganador da a luz criaturas más fuertes que superan las de su oponente. La segunda variante fue preferida en el antiguo Cercano Oriente (Sumeria, Egipto, Israel). La primera se puede encontrar en algunos mitos griegos sobre cambiadores de forma (por ejemplo, Zeus y Némesis). El mismo esquema narrativo puede haber influido en un episodio de la Novela de Alejandro (1.36-38), en el que Darío envía regalos simbólicos a Alejandro y los dos monarcas enemigos ofrecen contrastantes explicaciones de ellos. Esta historia griega racionaliza el concurso de cuento de hadas, transfiriendo las fantásticas hazañas de creaciones milagrosas a un plano secundario pero realista de metáfora lingüística.

Proyección y política cultural estadounidense en argentina (1928-1941)

El objetivo del artículo es analizar algunos aspectos de los orígenes de la “política cultural” estadounidense en Argentina. La atención se concentrará en el pasaje desde las declaraciones del presidente Hoover, que contribuyeron a favorecer un clima útil y propicio a la intensificación de los intercambios, a los primeros pasos concretos realizados en el periodo de la presidencia de Roosevelt. Se tratará, en particular, de individualizar las características de la cooperación establecida entre organismos estadounidenses y argentinos para favorecer la proyección cultural estadounidense en el país y el intercambio cultural entre Estados Unidos y Argentina, donde se iba intensificando la difusión de un sentimiento anti-imperialista, y que era entonces objetivo de formas de propaganda particularmente agresivas por parte de los regímenes totalitarios.

'Producing the Scene': the Evolution of the Director in British Theatre 1900-50

The role of the director as the individual who harnesses and controls resources to shape the theatrical product to a personal artistic vision, begins to emerge in British theatre in the early years of the twentieth century. What distinguishes the role from that of the actor-manager who had led the profession since the seventeenth century, is that it separates off from the leading actor in performance. The power and authority of the director (or producer as he or she tended to be known initially) is exercised in the pre-performance stage. In the first half of the century there were still old-style actor-managers—Donald Wolfit is a prime example—and many of the new directors had begun their careers as actors and some continued to act their in their own productions. But the perception of the function of the director began to change radically. In part this was linked to the early attempts to create a new model of producing company or ‘repertory’ theatre which required a different set of administrative as well as artistic skills to tackle the challenge of a short-run system of multiple play production. This became especially important in the developing network of regional repertory theatres which were established as autonomous, locally-specific institutions predicated on policies opposed to the dominant commercial ethos. The best-known of the early directors, most notably H.Granville Barker, confined their radical experiments to short-lived metropolitan experiments, or, as in the case of Terence Gray and J.B.Fagan, operated within the influential Oxbridge nexus. Others such as H.K.Ayliff, Herbert Prentice, William Armstrong and William Bridges-Adams remain comparatively obscure because of their long-term ‘provincial’ connections or, as in the case of Nugent Monck and Edy Craig because their creativity was largely channelled through amateur actors. This chapter will explore the evolving role of the director as both a necessary functionary and an artistic innovator within the changing structures of British theatre.