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55,000 biographies of people who shaped the history of the British Isles and beyond, from the earliest times to the year 2002.
This book examines different affinities between major classical authors and great filmmakers alongside representations of ancient myth and history in popular cinema.
Merlin, the wizard of Arthurian legend, has been a source of enduring fascination for centuries. In this authoritative, entertaining, and generously illustrated book, Stephen Knight traces the myth of Merlin back to its earliest roots in the early Welsh figure of Myrddin. He then follows Merlin as he is imagined and reimagined through centuries of literature and art, beginning with Geoffrey of Monmouth, whose immensely popular History of the Kings of Britain (1138) transmitted the story of Merlin to Europe at large. He covers French and German as well as Anglophone elements of the myth and brings the story up to the present with discussions of a globalized Merlin who finds his way into popular literature, film, television, and New Age philosophy. Knight argues that Merlin in all his guises represents a conflict basic to Western societies-the clash between knowledge and power. While the Merlin story varies over time, the underlying structural tension remains the same whether it takes the form of bard versus lord, magician versus monarch, scientist versus capitalist, or academic versus politician. As Knight sees it, Merlin embodies the contentious duality inherent to organized societies. In tracing the applied meanings of knowledge in a range of social contexts, Knight reveals the four main stages of the Merlin myth: Wisdom (early Celtic British), Advice (medieval European), Cleverness (early modern English), and Education (worldwide since the nineteenth century). If a wizard can be captured within the pages of a book, Knight has accomplished the feat.
55,000 biographies of people who shaped the history of the British Isles and beyond, from the earliest times to the year 2002.
The Convention for the Prevention and Punishment of the Crime of Genocide, adopted by the United Nations General Assembly on 9 December 1948, is one of the most important instruments of contemporary international law. It was drafted in the aftermath of the Nuremberg trial to give flesh and blood to the well-known dictum of the International Military Tribunal, according to which 'Crimes against international law are committed by men, not by abstract entities, and only by punishing individuals who commit such crimes can the provisions of international law be enforced'. At Nuremberg, senior state officials who had committed heinous crimes on behalf or with the protection of their state were brought to trial for the first time in history and were held personally accountable regardless of whether they acted in their official capacity. The drafters of the Convention on Genocide crystallized the results of the Nuremberg trial and thus ensured its legacy. The Convention established a mechanism to hold those who committed or participated in the commission of genocide, the crime of crimes, criminally responsible. Almost fifty years before the adoption of the Rome Statute, the Convention laid the foundations for the establishment of the International Criminal Court. It also obliged its Contracting Parties to criminalize and punish genocide. This book is a much-needed Commentary on the Genocide Convention. It analyzes and interprets the Convention thematically, thoroughly covering every article, drawing on the Convention's travaux preparatoires and subsequent developments in international law. The most complex and important provisions of the Convention, including the definitions of genocide and genocidal acts, have more than one contribution dedicated to them, allowing the Commentary to explore all aspects of these concepts. The Commentary also goes beyond the explicit provisions of the Convention to discuss topics such as the retroactive application of the Convention, its status in customary international law and its future. "
An updated survey of the history, sociology and legal-political aspects of Britain's police force. Discussing the effects of the Police and Criminal Evidence Act (1986) and recent developments in police accountability, it looks at the current state of policing, reform initiatives and future trends.
Contains the Society's proceedings, reports, list of members, etc.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.