Alexander the Great, a tragedy;

Mode of access: Internet.

The plays of William Shakspeare : in fifteen volumes : with the corrections and illustrations of various commentators /

Also issued in 25 fine paper copies, extra-illustrated with engravings published by E. and S. Harding, and an 8 pp. list of directions to the binder.

The dramatic works of William Shakspeare, with explanatory notes. : To which is added, a copious index to the remarkable passages and words /

"Some account of the life, &c. of Mr. William Shakspeare written by Mr. Rowe"--P. [11]-[19] at front of v. 1.

Remarks on the observations made on the discipline of the Quakers, by the Monthly Reviewers in their examination of William Rathbone's Narrative and memoir /

Remarks on the observations "signed": Amicus [pseud]; "postscript" signed: Philo [pseud.]

Travels in Syria and Egypt, during the years 1783, 1784, & 1785.

Translation of: Voyage en Syrie et en Egypte.

Two new dialogues of the dead. The first, between Handel and Braham. The second, between Johnson and Boswell.

The second dialogue appeared originally, without the author's knowledge, as an appendix to William Mudford's A critical enquiry into the moral writings of Dr. Samuel Johnson. 1802.

The complete works of William Shakespeare,

Mode of access: Internet.

The dramatic works of William Shakespeare : from the correct edition of Isaac Reed, with copious annotations ...

v. 1. Some account of the life, &c. of William Shakespeare / Nicholas Rowe. Dr. Johnson's preface. Farmer's essay on Shakespeare. The tempest. Two gentlemen of Verona.--v. 2. Midsummer-night's dream. Merry wives of Windsor. Twelfth night. Much ado about nothing.--v. 3. Measure for measure. Love's labour's lost. Merchant of Venice.--v. 4. As you like it. All's well that ends well. Taming of the shrew.--v. 5. Winter's tale. Macbeth. King John.--v. 6. King Richard II. King Henry IV, Parts I and II.--v. 7. King Henry V. King Henry VI, Parts I and II.--v. 8 King Henry VI, Part III. King Richard III. King Henry VIII.--v. 9. Troilus and Cressida. Coriolanus. Julius Caesar.--v. 10. Antony and Cleopatra. King Lear. Hamlet.--v. 11. Cymbeline. Timon of Athens. Othello.--v. 12. Romeo and Juliet. Comedy of errors. Titus Andronicus. Pericles.

The dramatic works of William Shakspeare,

Mode of access: Internet.

The plays and poems of William Shakespeare,

Mode of access: Internet.

The life work of William McKinley /

Mode of access: Internet.

Letters of Anna Seward : written between the years 1784 and 1807 : in six volumes.

Folded facsimile letter from the author to Archibald Constable tipped in following p. [xii]

Data compilation on the biological response to ocean acidification: environmental and experimental context of data sets and related literature

The exponential growth of studies on the biological response to ocean acidification over the last few decades has generated a large amount of data. To facilitate data comparison, a data compilation hosted at the data publisher PANGAEA was initiated in 2008 and is updated on a regular basis (doi:10.1594/PANGAEA.149999). By January 2015, a total of 581 data sets (over 4 000 000 data points) from 539 papers had been archived. Here we present the developments of this data compilation five years since its first description by Nisumaa et al. (2010). Most of study sites from which data archived are still in the Northern Hemisphere and the number of archived data from studies from the Southern Hemisphere and polar oceans are still relatively low. Data from 60 studies that investigated the response of a mix of organisms or natural communities were all added after 2010, indicating a welcomed shift from the study of individual organisms to communities and ecosystems. The initial imbalance of considerably more data archived on calcification and primary production than on other processes has improved. There is also a clear tendency towards more data archived from multifactorial studies after 2010. For easier and more effective access to ocean acidification data, the ocean acidification community is strongly encouraged to contribute to the data archiving effort, and help develop standard vocabularies describing the variables and define best practices for archiving ocean acidification data.

William Layton en España

This year 2015 marks the 55th anniversary of the establishment in Spain of the first theatre academy whose methodological principles for actors were based on the Stanislavski system —although transformed by the perspective of the Method, developed in America by the Group Theatre during the 1930s and then implanted in some famous schools such as the Actor’s Studio—. It was in October 1960 when the American actor, teacher and director William Layton (1913-1995) opened the Teatro Estudio de Madrid (TEM). By then, he had already been living in Spain for two years. In that adventure Layton was accompanied by the Spanish Miguel Narros (a stage director) and the American Elizabeth H. Buckley. This private academy began its activity by offering the Method, a discipline that Layton had learned in his country with Sandford Meisner; one member of the Group Theatre along with Lee Strasberg, Stella Adler, Harold Clurmann or Elia Kazan. Thanks to the TEM, concepts till then completely unknown in Spanish academic venues for actors such as organicity, truth, mood, sensory memory, etc., started being implemented in the theatrical interpretation. Firstly, in exercises of improvisation; secondly, in scenes and characters; and finally, after a time of performing, those concepts were tested in the scenarios, by display to the public, which is the biggest challenge for any actor, author or director. That way, a singular model of interpretation, a naturalistic type, which have prevailed in the West over other ways of interpreting, came to Spain. A system (which could be defined as organic interpretation) that had been systematized by the Russian Konstantin Stanislavski in the early twentieth century and rapidly was exported abroad by some of his first students: Richard Boleslavsky, Maria Ouspenskaya, Michael Chekhov, Pietro Scharoff, P. Pauloff... Its popularity in the USA increased mainly due to the Actor’s Studio and also thanks to professor Lee Strasberg, through the famous Method working. While in 1960 Layton founded in Madrid the TEM, together with Narros and Buckley, the Brechtian technique was arriving to Barcelona. In that city, Ricard Salvat —who had trained in Germany— and Maria Aurélia Capmany opened the School of Dramatic Art Adrià Gual (EADAG). From Catalonia and over the years, this center will project the first formulas about “distancing”. That way, after decades of delay, that same year 1960 landed in Spain two key trends that shaped and influenced the development of Western theatrical art in the first half of the twentieth century. SYNTHESIS: The knowledge and deep analysis of William Layton’s work as acting teacher in Spain will allow us to get closer to a major figure in the history of theater education in our country. Our main goal is to demonstrate that he was responsible for breaking the isolation that, from secular times, suffered the training of actors in Spain. Layton not only did achieve that, but did it consistently, without interruption. Also, by analyzing his work as stage manager, we will discover how this methodology was implemented in two aspects regarding the theatrical play: in the actor himself and in the dramatic text...