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The English Reports: Chancery
V. 1-11. House of Lords (1677-1865) -- v. 12-20. Privy Council (including Indian Appeals) (1809-1865) -- v. 21-47. Chancery (including Collateral reports) (1557-1865) -- v. 48-55. Rolls Court (1829-1865) -- v. 56-71. Vice-Chancellors' Courts (1815-1865) -- v. 72-122. King's Bench (1378-1865) -- v. 123-144. Common Pleas (1486-1865) -- v. 145-160. Exchequer (1220-1865) -- v. 161-167. Ecclesiastical (1752-1857), Admiralty (1776-1840), and Probate and Divorce (1858-1865) -- v. 168-169. Crown Cases (1743-1865) -- v. 170-176. Nisi Prius (1688-1867).
The English Reports
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Aristocratic Women in Medieval France
Were aristocratic women in medieval France little more than appendages to patrilineal families, valued as objects of exchange and necessary only for the production of male heirs? Such was the view proposed by the great French historian Georges Duby more than three decades ago and still widely accepted. In Aristocratic Women in Medieval France another model is put forth: women of the landholding elite—from countesses down to the wives of ordinary knights—had considerable rights, and exercised surprising power. The authors of the volume offer five case studies of women from the mid-eleventh through the thirteenth centuries, and from regions as diverse as Blois-Chartres, Champagne, Flanders...
The Flanders Panel
The clue to a murder in the art world of contemporary Madrid lies hidden in a medieval painting of a game of chess. In a 15th-century Flemish painting two noblemen are pictured playing chess. Yet two years before he could sit for the portrait, one of them was murdered. In 20th-century Madrid, Julia, a picture restorer preparing the painting for auction, uncovers a hidden inscription in Latin that points to the crime: Quis necavit equitem? Who killed the knight? But as she teams up with a brilliant chess theoretician to retrace the moves, she discovers the deadly game is not yet over.
The Other Dickens
Catherine Hogarth, who came from a cultured Scots family, married Charles Dickens in 1836, the same year he began serializing his first novel. Together they traveled widely, entertained frequently, and raised ten children. In 1858, the celebrated writer pressured Catherine to leave their home, unjustly alleging that she was mentally disordered—unfit and unloved as wife and mother. Constructing a plotline nearly as powerful as his stories of Scrooge and Little Nell, Dickens created the image of his wife as a depressed and uninteresting figure, using two of her three sisters against her, by measuring her presumed weaknesses against their strengths. This self-serving fiction is still widely a...
Advances and Applications of DSmT for Information Fusion. Collected Works, Volume 5
This fifth volume on Advances and Applications of DSmT for Information Fusion collects theoretical and applied contributions of researchers working in different fields of applications and in mathematics, and is available in open-access. The collected contributions of this volume have either been published or presented after disseminating the fourth volume in 2015 (available at fs.unm.edu/DSmT-book4.pdf or www.onera.fr/sites/default/files/297/2015-DSmT-Book4.pdf) in international conferences, seminars, workshops and journals, or they are new. The contributions of each part of this volume are chronologically ordered. First Part of this book presents some theoretical advances on DSmT, dealin...
Moulding the Female Body in Victorian Fairy Tales and Sensation Novels
Laurence Talairach-Vielmas explores Victorian representations of femininity in narratives that depart from mainstream realism, from fairy tales by George MacDonald, Lewis Carroll, Christina Rossetti, Juliana Horatia Ewing, and Jean Ingelow, to sensation novels by Wilkie Collins, Mary Elizabeth Braddon, Rhoda Broughton, and Charles Dickens. Feminine representation, Talairach-Vielmas argues, is actually presented in a hyper-realistic way in such anti-realistic genres as children's literature and sensation fiction. In fact, it is precisely the clash between fantasy and reality that enables the narratives to interrogate the real and re-create a new type of realism that exposes the normative constraints imposed to contain the female body. In her exploration of the female body and its representations, Talairach-Vielmas examines how Victorian fantasies and sensation novels deconstruct and reconstruct femininity; she focuses in particular on the links between the female characters and consumerism, and shows how these serve to illuminate the tensions underlying the representation of the Victorian ideal.
Dickens's Great Expectations
Dickens scholar Jerome Meckier's acclaimed Hidden Rivalries in Victorian Fiction examined fierce literary competition between leading novelists who tried to establish their credentials as realists by rewriting Dickens's novels. Here, Meckier argues that in Great Expectations, Dickens not only updated David Copperfield but also rewrote novels by Lever, Thackeray, Collins, Shelley, and Charlotte and Emily Brontë. He periodically revised his competitors' themes, characters, and incidents to discredit their novels as unrealistic fairy tales imbued with Cinderella motifs. Dickens darkened his fairy tale perspective by replacing Cinderella with the story of Misnar's collapsible pavilion from The Tales of the Genii (a popular, pseudo-oriental collection). The Misnar analogue supplied a corrective for the era's Cinderella complex, a warning to both Haves and Have-nots, and a basis for Dickens's tragicomic view of the world.
