Stuart Campbell – författare

Tchaikovsky not only composed, he also wrote about music. This substantial anthology of Russian writing on Russian music features the most influential critics of music in nineteenth-century Russia. They wrote on the first two generations of Russian composers from Glinka to Musorgsky, Tchaikovsky and Rimsky-Korsakov. The volume reveals through contemporary Russian eyes how the foundations of the hugely popular Russian classical repertory were laid, providing a vivid picture of the musical life of the opera house and the concert hall from which this repertory sprang. Featuring most extensively the critical writing of Odoyevsky, Serov, Cui and Laroche, the volume contains the first authoritative review of key works, such as Musorgsky's Boris Godunov, Tchaikovsky's Romeo and Juliet and Rimsky-Korsakov's First Symphony.

This second anthology of Russian writing on Russian music begins in 1880 (where the first volume concluded) and ends in 1917. It brings the thoughts of leading Russian music critics to an English-speaking readership as they react to the Russian music that is new to them, during a period when all aspects of musical life were developing rapidly. Music criticism had become more sure-footed, if no less opinionated. These reviews demonstrate greater awareness both of music history and of contemporary music abroad. The period covers the late careers of Tchaikovsky and Rimsky-Korsakov as well as late works by Borodin and Balakirev, and the emergence of Mussorgsky's compositions. Works by the intervening generation, including Arensky, Glazunov and Lyadov, are also reviewed and the book concludes with coverage of works by the Moscow School, including Medtner, Rachmaninoff and Skryabin and the early compositions of Stravinsky and Prokoviev.

Tchaikovsky not only composed, he also wrote about music. This substantial anthology of Russian writing on Russian music features the most influential critics of music in nineteenth-century Russia. They wrote on the first two generations of Russian composers from Glinka to Musorgsky, Tchaikovsky and Rimsky-Korsakov. The volume reveals through contemporary Russian eyes how the foundations of the hugely popular Russian classical repertory were laid, providing a vivid picture of the musical life of the opera house and the concert hall from which this repertory sprang. Featuring most extensively the critical writing of Odoyevsky, Serov, Cui and Laroche, the volume contains the first authoritative review of key works, such as Musorgsky's Boris Godunov, Tchaikovsky's Romeo and Juliet and Rimsky-Korsakov's First Symphony.

This second anthology of Russian writing on Russian music begins in 1880 (where the first volume concluded) and ends in 1917. It brings the thoughts of leading Russian music critics to an English-speaking readership as they react to the Russian music that is new to them, during a period when all aspects of musical life were developing rapidly. Music criticism had become more sure-footed, if no less opinionated. These reviews demonstrate greater awareness both of music history and of contemporary music abroad. The period covers the late careers of Tchaikovsky and Rimsky-Korsakov as well as late works by Borodin and Balakirev, and the emergence of Mussorgsky's compositions. Works by the intervening generation, including Arensky, Glazunov and Lyadov, are also reviewed and the book concludes with coverage of works by the Moscow School, including Medtner, Rachmaninoff and Skryabin and the early compositions of Stravinsky and Prokoviev.

The dynamics of immigration, international commerce and the postcolonial world make it inevitable that much translation is done into a second language. This study adopts an interlanguage framework to consider second language translation as the product of developing competence.

The dynamics of immigration, international commerce and the postcolonial world make it inevitable that much translation is done into a second language, despite the prevailing wisdom that translators should only work into their mother tongue. This book is the first study to explore the phenomenon of translation into a second language in a way that will interest applied linguists, translators and translation teachers, and ESOL teachers working with advanced level students. Rather than seeing translation into a second language as deficient output, this study adopts an interlanguage framework to consider L2 translation as the product of developing competence; learning to translate is seen as a special variety of second language acquisition. Through carefully worked case studies, separate components of translation competence are identified, among them the ability to create stylistically authentic texts in English, the ability to monitor and edit output, and the psychological attitudes that the translator brings to the task. While the case studies mainly deal with Arabic speakers undergoing translator training in Australia, the conclusions will have implications for translation into a second language, especially English, around the world. Translation into the Second Language is firmly grounded in empirical research, and in this regard it serves as a stimulus and a methodological guide for further research. It will be a valuable addition for advanced undergraduate and postgraduate students of applied linguistics, translation theory, bilingualism and second language acquisition as well as those involved in teaching or practicing translation at a professional level.

Soon after John McPake's marriage falls apart he starts hearing voices. An obsession with the works of Breughel develops into a full blown delusion, and he assumes the personna of Johannes, a 16th century Dutch weaver who travels with his friends, Balthazar and Cornelius, in pursuit of his son who has been abducted by the Spanish mercenaries.

Archaeological heritage legislation aims to ensure the best possible protection for the archaeological heritage, yet it remains the case that legislation can remain ineffective through other practical considerations.