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inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
Recognized as the best history of Harford County ever published, this work's genealogical importance is based on its numerous biographical sketches of the county's leading citizens, as well as lists of non-associators and non-enrollers, ...
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
Building on scholarship about Shakespeare and politics, this book argues that Shakespeare's representations and stagings of political power, sovereignty, resistance, and controversy are more complex.
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
A remarkable story of a personal vision and sense of calling this text provides an insight into the establishment of the hospice movement and its development world-wide.
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
David Parrott's book offers a major re-evaluation of the last year of the Fronde - the political upheaval between 1648 and 1652 - in the making of seventeenth-century France.
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
Timothy Williamson explains clearly and concisely how contemporary philosophers think and work, and reflects on their powers and limitations.
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
What does 'if' mean? Timothy Williamson presents a controversial new approach to understanding conditional thinking, which is central to human cognitive life.
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
What kind of knowledge can we get just by thinking?
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
Ann Jefferson's work is an authoritative biography of this major writer.
inauthor: Thomas Curtis (of Grove house school, Islington) from books.google.com
Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera's past, present, and future. Why did its canon evolve so differently from that of concert music?