Roger Morgan – författare

This book analyses the European Parliament's relations with the national parliaments of the European Union, in terms of political party interactions, institutional arrangements, and two-way influence.;Each of the twelve chapters on the member-states of the EU covers three main themes: the links between party-political activity at the European and national levels; the degree of cooperation between the national and the European parliaments; and the extent to which the national legislature is influenced by the EP's resolutions or other communications.

In his book Dr Morgan describes the relations between the First International and the first German socialist parties, the General German Workers' Union, founded by Ferdinand Lassalle and led by J. B. von Schweitzer, and the rival organisation of Wilhelm Liebknecht and August Bebel, whose programme was partly inspired by Marx. In particular Dr Morgan studies the attempts of the International's leaders, especially the German exiles Marx and Johann Philipp Becker, to spread its influence in Germany. Dr Morgan's study is not simply a history of socialist ideas, but an analysis of one source of these ideas - the International - and its influence on the problems of organisation and personalities facing the German Labour movement. As he shows in his concluding chapter, although the International played a subsidiary role, it did influence the development of German socialist thinking.

This book analyses the European Parliament''s relations with the national parliaments of the European Union, in terms of political party interactions, institutional arrangements, and two-way influence. Each of the twelve chapters on the member-states of the EU covers three main themes: the links between party-political activity at the European and national levels; the degree of cooperation between the national and the European parliaments; and the extent to which the national legislature is influenced by the EP''s resolutions or other communications.

This book analyses the European Parliament's relations with the national parliaments of the European Union, in terms of political party interactions, institutional arrangements, and two-way influence. Each of the twelve chapters on the member-states of the EU covers three main themes: the links between party-political activity at the European and national levels; the degree of cooperation between the national and the European parliaments; and the extent to which the national legislature is influenced by the EP's resolutions or other communications.

I am a hunter. I haunt the walled lanes of far away villages, hang out in markets and bazaars, walk clockwise in a kora of prayer-spinning old ladies, earning my points from the gods and the spirits that frequent this monastery or that. I eat with the truckies, the farmers, the monks. My bearing relaxed, camera always at hand, pointing, its long lens inhibiting, always questioning: who are you, who are you? Then I stop, a face holds me, I try not to stare yet I want so much more: What have you done? What have you seen? Your past, what of the future? I can only imagine. I take a picture, then another and another. No counterfeit smiles for me. I want the real thing. Get under the skin, enter the personal, the space that divides, that calls for reflex. The shutter snaps to snare that involuntary retort that says this is me, this is me - the moment when all those facial muscles spring into play; so hard to replicate that which cannot easily be copied has value. I like faces. For the old, the lines and the wrinkles like growth rings in a tree. For the young their countenance fresh like tabula rasa, their story yet to be written. Old ladies and the young, they work well for me. The former not reticent to confront, the latter once through the hurdles of shyness - having seen their image on the camera screen - become charming actors in a world of the could-be. What makes a good face? I dont know - I believe if I did the dialogue would stop coming.www.rogermorganfacingeast.com

Covers excepts from the early life, both at sea and on land, in North Sea, Libya,Nigeria, Taiwan, Indonesia,(Sumatra, Borneo, Taracan, Aceh & Bunju), and the Canadian ArcticThere is also a motorcycle ride starting from Singapore, through Australia to New Zealand, doneduring this period 1973-74 when free of work committments.

Charles Morgan was the dramatic critic of The Times for most of the years between 1922 and 1939.The reviews for this small selection are taken from thousands written for The Times and from his weekly articles for the New York Times on the London theatre. Morgan was widely regarded as the most influential critic of his day. His fellow critic, James Agate, wrote 'When Morgan is on form he has us all beat.' Though most were written overnight for the following day’s paper, they were given space allowed to no modern critic.Beautifully written, they bring to life many of the great actors and actresses and the dramatists, old and new, as the theatre moved from the frivolous Twenties into the shadow of another war and towards the modern theatre of today. As they mirror the development of English theatrical taste in the inter-war years, they are as much a delight to read, both witty and erudite, as they are an important historical record.

Charles Morgan was the dramatic critic of The Times for most of the years between 1922 and 1939.The reviews for this small selection are taken from thousands written for The Times and from his weekly articles for the New York Times on the London theatre. Morgan was widely regarded as the most influential critic of his day. His fellow critic, James Agate, wrote 'When Morgan is on form he has us all beat.' Though most were written overnight for the following day’s paper, they were given space allowed to no modern critic.Beautifully written, they bring to life many of the great actors and actresses and the dramatists, old and new, as the theatre moved from the frivolous Twenties into the shadow of another war and towards the modern theatre of today. As they mirror the development of English theatrical taste in the inter-war years, they are as much a delight to read, both witty and erudite, as they are an important historical record.

Children's homes in England must follow rules, or standards, that are set by the government. This guide tells you what the rules are, and how they apply to you and to where you live.Use this guide to find out about what should happen when you move into a home, what your home should be doing for you while you live there, and what should happen when you leave. The guide covers a wide range of issues such as staying in touch with friends and family, food, managing your money, health, education, hobbies, and management of the home. The guide also tells you what you can do if you want to make a complaint or if you think your home is not keeping to the rules.The Young Person's Guide to Children's Homes Standards and Regulations is part of a series of guides about the National Minimum Standards for Children's Homes. Other guides are available for parents of young people living in homes and staff who work in homes.