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"William Boyd Dawkins was a controversial Victorian geologist, palaeontologist and archaeologist who has divided opinion as either a hero or villain. For some, he was a pioneer of Darwinian science as a member of the Lubbock-Evans network, while for others he was little more than a reckless vandal who destroyed irreplaceable evidence and left precious little for future generations to assess. In this volume, Professor Mark White provides an unbiased archaeological and geological account of Boyd Dawkins' career and legacy by drawing on almost twenty years of research as well as his archive of published and unpublished work which places him at the centre of Victorian Darwinian science and society. White examines his work in both the field and study to provide a critical yet balanced account of his achievements and standing in relation to the field today as well as among his peers. At the heart of this book is a detailed study of the circumstances surrounding the Victorian excavations at Creswell Crags, where two celebrated finds became a cause celebre"--Publisher's website.
Archaeologists --- Dawkins, William Boyd, --- Creswell Crags (England) --- England. --- England --- Discovery and exploration. --- Dawkins, W. Boyd --- Angleterre --- Anglii͡ --- Anglija --- Engeland --- Inghilterra --- Inglaterra --- Creswell Gorge (England)
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Sewage disposal --- Water-supply engineering --- Sewage disposal. --- Water-supply engineering.
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"Stravinsky's influence on Debussy in 1910-13, rarely discussed, is demonstrated here in the many modernistic features of such works as the Preludes Book II, Khamma, and Jeux. This book reassesses the relationship between Debussy and Stravinsky, two of the most important composers of the early twentieth century. When the Russian composer traveled to France in 1910 to attend the premiere of his first ballet, The Firebird, he was invited to dine at the French composer's house, and a photo of the two commemorates the beginning of their friendship. Stravinsky was already acquainted with many of Debussy's earlier works, and Debussy was introduced to the Russian composer's first three ballets between 1910 and 1913. Stravinsky's early works contain Debussy-like passages, as in the opening measures of his opera The Nightingale, which echoes the opening measures of Debussy's "Nuages." As author Mark McFarland here shows, however, the adoption on Debussy's part of characteristics from Stravinsky's style is, perhaps surprisingly, no less substantial. Debussy borrowed motifs from both The Firebird and Petrushka as well as the Russian tradition of Leitharmony in his little-known ballet Khamma, and Stravinsky's ballets, including The Rite of Spring, seems to have sparked an exploration into octatonic harmony in Debussy's second book of piano preludes. McFarland's close analysis of parallel passages and usages in works of the two composers also reveals that Debussy eventually distanced himself from Stravinsky, perhaps fearing to seem like an acolyte rather than an innovator. His borrowings from Stravinsky (and Russian style) gradually disappear, as McFarland demonstrates by close attention to passages in some of the late works, which move in the direction of a neoclassicism that Stravinsky himself would soon adopt and expand further"--
Music --- History and criticism. --- Debussy, Claude, --- Stravinsky, Igor, --- Stravinsky, Igor, --- Criticism and interpretation. --- Criticism and interpretation. --- Influence.
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Management --- Business & Economics --- Management Styles & Communication
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Water resources development --- Water quality management --- Hydrology --- Water --- Ressources en eau --- Eau --- Hydrologie --- Law and legislation --- Exploitation --- Qualité --- Gestion --- Hydrology. --- Water quality management. --- Water resources development. --- Qualité
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Pacific Area --- Région du Pacifique --- Boundaries --- Politics and government --- Frontières --- Politique et gouvernement --- Région du Pacifique --- Frontières --- Pacific Area - Politics and government --- Pacific Area - Boundaries --- Pacific Ocean
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