Peter Thomson – författare

SJÖFARTSSKYDD beskriver skyddet av sjöfarten ur en svensk synvinkel. I boken behandlas hotbilden mot dagens svenska sjöfart, tillämplig lagstiftning och grunderna för sjöfartsskyddets uppbyggnad. Vidare innehåller boken en utförlig redogörelse för ansvars- och befogenhetsfrågor vad gäller de befattningshavare som ska tillse att sjöfartsskyddet upprätthålls.

Boken vänder sig till skyddschefer och andra som praktiskt arbetar med sjöfartsskydd. Den är även avsedd att kunna användas vid utbildningar i ämnet.

Innehåll: 1. Inledning 2. Hot mot sjöfarten 3. Regelverket 4. Fartygets sjöfartsskydd 5. Sjöfartsskydd i hamnanläggningar och hamnskydd 6. Ordningsbestämmelser och tvångsmedel 7. Staternas funktion 8. Sjöfartsskyddsorganisationer 9. Redaren 10. Befälhavaren 11. Besättningen 12. Beväpnad säkerhetspersonal 13. Skyddsorganisationen i hamnanläggningar och hamnar 14. Ansvarsbestämmelser 15. Sjöfartsskyddets civilrättsliga effekter

Peter Thomsson är kommendörkapten och civilekonom. Mattias Widlund är advokat och specialiserad på sjörätt. Båda är ledamöter av Kungliga Örlogsmannasällskapet – Sveriges marina akademi.

"Absoliutno blagopoluchnoe ozero Baikal!" the Russian scientist looking out over the great lake says. "Lake Baikal is Perfect!" And humans can never harm it. For a man cut loose from his life in the U.S., Lake Baikal-Siberia's sacred inland sea-becomes a place of pilgrimage, the focal point of a 25,000-mile journey by land and sea in search of connection, permanence, restoration and hope. Following a difficult divorce, veteran environmental journalist Peter Thomson sets off from Boston with his younger brother for one of nature's most remarkable creations, in one of the farthest corners of the planet. Lake Baikal, a gargantuan crack in the Siberian plateau, is the world's largest body of fresh water, its deepest and oldest lake, and a cauldron of evolution, home to hundreds of unique creatures, including the world's only freshwater seal. It's also among the most pristine lakes on earth, with a mythical ability to protect itself from the growing human impact-a "perfect," self-cleansing ecosystem. A trip halfway around the world by train, cargo ship and rubber raft brings the brothers to a place of sublime beauty, deep history and immense natural power. But at Baikal they also find ominous signs that this perfect piece of nature could yet succumb to the even more powerful forces of human hubris, carelessness and ignorance. They find that despite its isolation, Baikal is connected to everything else on Earth, and that it will need the love and devotion of people around the world to protect it. On their trek to and from Siberia the author and his brother also encounter a stream of people who are also lonely, displaced and yearning for something beyond the limits of their own lives, but many of whom are also big-hearted and deeply connected to their own communities and the world around them. What begins as a search for restoration in nature becomes as well a discovery of the restorative power of trust, faith and human connection.

Siberia's Lake Baikal is one of nature's most magnificent creations, the largest and deepest body of fresh water in the world. And yet it is nearly unknown outside of Russia. In Sacred Sea--the first major journalistic examination of Baikal in English--veteran environmental writer Peter Thomson and his younger brother undertake a kind of pilgrimage, journeying 25,000 miles by land and sea to reach this extraordinary lake. At Baikal they find a place of sublime beauty, deep history, and immense natural power. But they also find ominous signs that this perfect eco-system--containing one-fifth of earth's fresh water and said to possess a mythical ability to cleanse itself--could yet succumb to the even more powerful forces of human hubris, carelessness, and ignorance. Ultimately, they help us see that despite its isolation, Baikal is connected to everything else on Earth, and that it will need the love and devotion of people around the world to protect it.

The eighteenth century produced more inventive actors than fine dramatists, and it displayed its actors to increasing advantage as theatre management became more expert, and stage design more ambitious. First published in 1972, the eleven papers collected in The Eighteenth-Century English Stage, originally read at a Manchester University Symposium in July 1971, follow this historical emphasis. Two papers are centred on dramatists, four on actors, three on managers, and two on designers.Malcolm Kelsall analyses Steele’s debt to Terence, using his classical scholarship as illuminatingly as Edgar Roberts uses his musical scholarship in writing about the songs in Fielding’s plays. George Taylor compares and evaluates a number of theories of acting, and speculates on the likely relevance of the best-known books on rhetoric, whilst Kathleen Barker, Arnold Hare, and David Rostron consider the work of individual actors – Powell, Cooke, and John Kemble. Theatre managers are represented by John Rich in Paul Sawyer’s sympathetic account, Thomas Harris, who is given new life in the recent researches of Cecil Price, and Stephen Kemble, fixed by Kenneth Robinson in canny control of the Newcastle theatre circuit. Finally, Graham Barlow reaches some controversial conclusions about the dimensions of the Theatre Royal, Drury Lane, by subjecting Thornhill’s sketches to a practising designer’s statistical examination, and Sybil Rosenfeld carries a stage further her pioneering work on eighteenth-century scene-painting and design. The two last are attractively illustrated by 8 pages of plates.This book’s particular value lies in its bringing together several simply presented but deeply informed explorations of often neglected aspects of the eighteenth-century theatre. The papers, with their general sense of enthusiasm and concern for their subject, will interest all students of the eighteenth century, and theatre enthusiasts in particular.

The eighteenth century produced more inventive actors than fine dramatists, and it displayed its actors to increasing advantage as theatre management became more expert, and stage design more ambitious. First published in 1972, the eleven papers collected in The Eighteenth-Century English Stage, originally read at a Manchester University Symposium in July 1971, follow this historical emphasis. Two papers are centred on dramatists, four on actors, three on managers, and two on designers.Malcolm Kelsall analyses Steele’s debt to Terence, using his classical scholarship as illuminatingly as Edgar Roberts uses his musical scholarship in writing about the songs in Fielding’s plays. George Taylor compares and evaluates a number of theories of acting, and speculates on the likely relevance of the best-known books on rhetoric, whilst Kathleen Barker, Arnold Hare, and David Rostron consider the work of individual actors – Powell, Cooke, and John Kemble. Theatre managers are represented by John Rich in Paul Sawyer’s sympathetic account, Thomas Harris, who is given new life in the recent researches of Cecil Price, and Stephen Kemble, fixed by Kenneth Robinson in canny control of the Newcastle theatre circuit. Finally, Graham Barlow reaches some controversial conclusions about the dimensions of the Theatre Royal, Drury Lane, by subjecting Thornhill’s sketches to a practising designer’s statistical examination, and Sybil Rosenfeld carries a stage further her pioneering work on eighteenth-century scene-painting and design. The two last are attractively illustrated by 8 pages of plates.This book’s particular value lies in its bringing together several simply presented but deeply informed explorations of often neglected aspects of the eighteenth-century theatre. The papers, with their general sense of enthusiasm and concern for their subject, will interest all students of the eighteenth century, and theatre enthusiasts in particular.

Reviews of the First Edition`...valuable and enjoyable reading for all studying Shakespeare's plays.'Following in the patternestablished by John Russell Brown for the excellent series (Theatre and Production Studies), he provides first an account of Shakespeare's company, then a study of three individual plays Twelfth Night, Hamlet and Macbeth as performed by the company. Peter Thomson writes in a crisp, sharp, enlivening style.' TLS'`...the best analysis yet of Elizabethan acting practices, excavated form the texts themselves rather than reconstructed on basis of one monolithic theory, and an essay on Hamlet that is a model of Critical intelligence and theatrical invention.' Yearbook of English Studies`Synthesizes the important facts and summarizes projects with a vigorous prose style, and expertly applies his experience in both practical drama and academic teaching to his discussion.' Review of English Studies

Introduction to Podopaediatrics 2/e is a concise but comprehensive introduction to the effective care of foot problems in children. Including coverage of the general specialist and medical conditions which may influence the course of the podiatric treatment. Written by a multidisciplinary international team of contributors under the editorship of a UK practitioner and an American educator and practitioner both podiatrists.

Five plays by this virtuoso of the theatre have been gathered in one volume and given scholarly attention. Dion Boucicault, the most popular dramatist of the second half of the nineteenth century, was also one of the most prolific and representative. Irish in origin, he worked and wrote in England and America where for twenty years he led the touring circuit. His plays reflect the different theatrical traditions, Irish, English and American, in which he was a crucial figure. Two plays are published here for the first time this century, Used Up and Jessie Brown. The Shaughraun and The Octoroon are outstanding examples of melodrama; Old Heads and Young Hearts is one of the few notable nineteenth-century comedies. Peter Thomson's introduction assesses Boucicault's place in the nineteenth century in both England and America, and shows that his work cannot be ignored by any serious student of drama.

This 2006 introduction aims to share with readers the author's enjoyment of the turbulent 240-year history of a theatre that tried, often against the odds, to be 'modern'. In each of its five parts, it deals successively with history and cultural context, with the plays and the actors who caught the imagination of their era. Peter Thomson's text, always approachable, is enriched by quotations and carefully selected illustrations that capture 'the spirit of the age' under consideration. Beginning with the reopening of the playhouses under licence from Charles II, Thomson introduces the modern English theatre by breaking off at key dates - 1700, 1737, 1789 and 1843 - in order to explore both continuity and innovation. Familiar names and well-known plays feature alongside the forgotten and neglected. This is a reading of dramatic history that keeps constantly in mind the material circumstances that produced, and sometimes oppressed, a supremely popular theatre.

This is the first comprehensive study of Brecht's Mother Courage. Peter Thomson locates the sources of the play in Brecht's own experience and heritage, and provides a detailed account of Brecht's own production with the newly formed Berliner Ensemble in 1949. Thomson then explores how the play has been transmitted in the English-speaking theatre from Joan Littlewood's production with the Theatre Workshop Company in 1956 to the Royal National Theatre, with Diana Rigg as Mother Courage, in 1995. The book also examines such influential interpretations as those by William Gaskill, Judi Dench, and Glenda Jackson in the English theatre, and by Herbert Balu and Richard Schechner in America. Seminal productions in France and the Germanies are also discussed. A final chapter highlights the new urgency of the text in light of the wars in the former Yugoslavia, and closes with an account of a triumphant staging in Uganda.

Volume 1 of The Cambridge History of British Theatre begins in Roman Britain and ends with Charles II's restoration to the throne imminent. The four essays in Part I treat pre-Elizabethan theatre, the eight in Part II focus on the riches of the Elizabethan era, and the seven in Part III on theatrical developments during and after the reigns of James I and Charles I. The essays are written for the general reader by leading British and American scholars, who combine an interest in the written drama with an understanding of the material conditions of the evolving professional theatre which the drama helped to sustain, often enough against formidable odds. The volume unfolds a story of enterprise, innovation and, sometimes, of desperate survival over years in which theatre and drama were necessarily embroiled in the politics of everyday life: a vivid subject vividly presented.

Shakespeare's career as actor and playwright reveals the extraordinary accommodation of his genius to the circumstances of his time. This unique account describes Shakespeare at work against a background of theatrical rivalry, opportunism, service to noble patrons, and political intrigue. Peter Thomson recreates Shakespeare's writing career year by year, showing how the plays mirror their times. The story reveals the precarious nature of theatrical survival, the constant threat posed by the withdrawal of noble or royal patronage, the spread of disease, the anxieties of war and the climate of political uncertainty. This account of Elizabethan and Jacobean social and professional life offers a fascinating insight into the world in which Shakespeare produced his plays. There are numerous illustrations gleaned from museums, libraries and great houses to illustrate the theatrical and social context of Elizabethan and Jacobean England. Formerly published within the Cambridge Canto imprint, this paperback restores the format and illustrations of the original hardback.

This updated Companion offers students crucial guidance on virtually every aspect of the work of this complex and controversial writer. It brings together the contrasting views of major critics and active practitioners, and this edition introduces more voices and themes. The opening essays place Brecht's creative work in its historical and biographical context and are followed by chapters on single texts, from The Threepenny Opera to The Caucasian Chalk Circle, on some early plays and on the Lehrstücke. Other essays analyse Brecht's directing, his poetry, his interest in music and his work with actors. This revised edition also contains additional essays on his early experience of cabaret, his significance in the development of film theory and his unique approach to dramaturgy. A detailed calendar of Brecht's life and work and a selective bibliography of English criticism complete this provocative overview of a writer who constantly aimed to provoke.

This 2006 introduction aims to share with readers the author's enjoyment of the turbulent 240-year history of a theatre that tried, often against the odds, to be 'modern'. In each of its five parts, it deals successively with history and cultural context, with the plays and the actors who caught the imagination of their era. Peter Thomson's text, always approachable, is enriched by quotations and carefully selected illustrations that capture 'the spirit of the age' under consideration. Beginning with the reopening of the playhouses under licence from Charles II, Thomson introduces the modern English theatre by breaking off at key dates - 1700, 1737, 1789 and 1843 - in order to explore both continuity and innovation. Familiar names and well-known plays feature alongside the forgotten and neglected. This is a reading of dramatic history that keeps constantly in mind the material circumstances that produced, and sometimes oppressed, a supremely popular theatre.

This updated Companion offers students crucial guidance on virtually every aspect of the work of this complex and controversial writer. It brings together the contrasting views of major critics and active practitioners, and this edition introduces more voices and themes. The opening essays place Brecht's creative work in its historical and biographical context and are followed by chapters on single texts, from The Threepenny Opera to The Caucasian Chalk Circle, on some early plays and on the Lehrstücke. Other essays analyse Brecht's directing, his poetry, his interest in music and his work with actors. This revised edition also contains additional essays on his early experience of cabaret, his significance in the development of film theory and his unique approach to dramaturgy. A detailed calendar of Brecht's life and work and a selective bibliography of English criticism complete this provocative overview of a writer who constantly aimed to provoke.

This is a book for theatre-lovers, written for anyone who shares the author's curiosity about the art of acting and about theatre past and present. The first section centres on Elizabethan theatre practice, the second highlights themes, episodes and contemporary taste in the eighteenth and nineteenth centuries in England, and the third focuses on twentieth-century performances of Shakespeare at Stratford in the 1970s and in the New Globe as the new century begins.The extensive cast of actors discussed includes Richard Tarlton, Will Kemp, David Garrick, Samuel Foote, Richard and Mary Ann Yates, Thomas Weston, John Kemble, Edmund Kean, Frederick Robson, Henry Irving, Ian Richardson and Ben Kingsley.

This is a book for theatre-lovers, written for anyone who shares the author's curiosity about the art of acting and about theatre past and present. The first section centres on Elizabethan theatre practice, the second highlights themes, episodes and contemporary taste in the eighteenth and nineteenth centuries in England, and the third focuses on twentieth-century performances of Shakespeare at Stratford in the 1970s and in the New Globe as the new century begins.The extensive cast of actors discussed includes Richard Tarlton, Will Kemp, David Garrick, Samuel Foote, Richard and Mary Ann Yates, Thomas Weston, John Kemble, Edmund Kean, Frederick Robson, Henry Irving, Ian Richardson and Ben Kingsley.

Volume 1 of The Cambridge History of British Theatre begins in Roman Britain and ends with Charles II's restoration to the throne imminent. The four essays in Part I treat pre-Elizabethan theatre, the eight in Part II focus on the riches of the Elizabethan era, and the seven in Part III on theatrical developments during and after the reigns of James I and Charles I. The essays are written for the general reader by leading British and American scholars, who combine an interest in the written drama with an understanding of the material conditions of the evolving professional theatre which the drama helped to sustain, often enough against formidable odds. The volume unfolds a story of enterprise, innovation and, sometimes, of desperate survival over years in which theatre and drama were necessarily embroiled in the politics of everyday life: a vivid subject vividly presented.

Reviews of the First Edition`...valuable and enjoyable reading for all studying Shakespeare's plays.'Following in the patternestablished by John Russell Brown for the excellent series (Theatre and Production Studies), he provides first an account of Shakespeare's company, then a study of three individual plays Twelfth Night, Hamlet and Macbeth as performed by the company. Peter Thomson writes in a crisp, sharp, enlivening style.' TLS'`...the best analysis yet of Elizabethan acting practices, excavated form the texts themselves rather than reconstructed on basis of one monolithic theory, and an essay on Hamlet that is a model of Critical intelligence and theatrical invention.' Yearbook of English Studies`Synthesizes the important facts and summarizes projects with a vigorous prose style, and expertly applies his experience in both practical drama and academic teaching to his discussion.' Review of English Studies

Originally published in 1971. Nineteenth-century theatre in England has been greatly neglected, although serious study would reveal that the roots of much modern drama are to be found in the experiments and extravagancies of the nineteenth-century stage. The essays collected here cover a range of topics within the world of Victorian theatre, from particular actors to particular theatres; from farce to Byron’s tragedies, plus a separate section about Shakespearean productions.

Originally published in 1971. Nineteenth-century theatre in England has been greatly neglected, although serious study would reveal that the roots of much modern drama are to be found in the experiments and extravagancies of the nineteenth-century stage. The essays collected here cover a range of topics within the world of Victorian theatre, from particular actors to particular theatres; from farce to Byron’s tragedies, plus a separate section about Shakespearean productions.

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