Richard Barham Middleton (28 October 1882 - 1 December 1911) was an English poet and author, who is remembered mostly for his short ghost stories, in particular "The Ghost Ship". Biography" Born in Staines, Middlesex, and educated at Cranbrook School, Kent, Middleton worked in London for the Royal Exchange Assurance Corporation bank, as a clerk, from 1901 to 1907. Unhappy in this, he affected a Bohemian life at night; he is mentioned, in disguised terms, in Arthur Ransome's Bohemia in London. He moved out of his parents' house and into rooms in Blackfriars, and he joined the club The New Bohemians, where he acquired literary contacts who included Arthur Machen, Louis McQuilland (1880-1946), and Christopher Wilson. He became an editor at Vanity Fair under Edgar Jepson, where he confided to his fellow editor Frank Harris that what he really wanted to do was make a living as a poet. Shortly after, Harris published Middleton's poem "The Bathing Boy" I saw him standing idly on the brim Of the quick river, in his beauty clad, So fair he was that Nature looked at him And touched him with her sunbeams here and there So that his cool flesh sparkled, and his hair Blazed like a crown above the naked lad. And so I wept; I have seen lovely things, Maidens and stars and roses all a-nod In moonlit seas, but Love without his wings Set in the azure of an August sky, Was all too fair for my mortality, And so I wept to see the little god. Till with a sudden grace of silver skin And golden lock he dived, his song of joy Broke with the bubbles as he bore them in; And lo, the fear of night was on that place, Till decked with new-found gems and flushed of face He rose again, a laughing, choking boy. His work was also published by Austin Harrison in The English Review, and he wrote book reviews for The Academy. Middleton suffered from severe depression, known as melancholia at that time. He spent the last nine months of his life in Brussels, where in December 1911 he took his life by poisoning himself with chloroform, which had been prescribed as a remedy for his condition. His literary reputation was kept alive by Edgar Jepson and Arthur Machen, the latter of whom wrote an introduction to Middleton's collection The Ghost Ship and Other Stories, and later by John Gawsworth. His stories have appeared in several anthologies. An encounter by Middleton with the young Raymond Chandler is said to have influenced the latter to postpone his career as writer. Chandler wrote, "Middleton struck me as having far more talent than..............
The first biography of Charles Cornwallis in forty years—the soldier, governor, and statesman whose career covered America, India, Britain, and Ireland Charles, First Marquis of Cornwallis (1738–1805), was a leading figure in late eighteenth-century Britain. His career spanned the American War of Independence, Irish Union, the French Revolutionary Wars, and the building of the Second British Empire in India—and he has long been associated with the unacceptable face of Britain’s colonial past. In this vivid new biography, Richard Middleton shows that this portrait is far from accurate. Cornwallis emerges as a reformer who had deep empathy for those under his authority and was clear about his obligation to govern justly. He sought to protect the population of Bengal with a constitution of written laws, insisted on Catholic emancipation in Ireland, and recognized the limitations of British power after the American war. Middleton reveals how Cornwallis’ rewarding of merit, search for economy, and elimination of corruption helped improve the machinery of British government into the nineteenth century.
A critical analysis of issues and approaches in a variety of areas, ranging from the political economy of popular music through its history and ethnography to its semiology, aesthetics and ideology. The book focuses on Anglo-American popular music of the last 200 years.
How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future?Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.
How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future?Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.
Pontiac’s War: Its Causes, Course, and Consequence, 1763-1765 is a compelling retelling of one of the most pivotal points in American colonial history, in which the Native peoples staged one of the most successful campaigns in three centuries of European contact. With his balanced analysis of the organization and execution of this important conflict, Middleton sheds light on the military movement that forced the British imperial forces to reinstate diplomacy to retain their authority over the region. Spotlighting the Native American perspective, Pontiac’s War presents a careful, engaging account of how very close to success those Native American forces truly came.
Pontiac’s War: Its Causes, Course, and Consequence, 1763-1765 is a compelling retelling of one of the most pivotal points in American colonial history, in which the Native peoples staged one of the most successful campaigns in three centuries of European contact. With his balanced analysis of the organization and execution of this important conflict, Middleton sheds light on the military movement that forced the British imperial forces to reinstate diplomacy to retain their authority over the region. Spotlighting the Native American perspective, Pontiac’s War presents a careful, engaging account of how very close to success those Native American forces truly came.
‘Our Bells are worn threadbare with ringing for victory’, wrote Horace Walpole after receiving news of Wolfe’s victory at Quebec in October 1759. Traditional accounts of the Seven Years’ War have emphasized the contribution of the Elder Pitt to the success of Britain in Europe, the Caribbean, Africa, India and the Far East. The Bells of Victory argues that such a view is misguided and that, far from exercising single-handed control, Pitt’s influence was necessarily circumscribed. The margin between military success and failure was extremely small, and the British authorities worked within constraints imposed by constitutional propriety and political expediency. Effective government action was the result of teamwork by many individuals in the diverse fields of diplomacy, politics, finance, the army, navy, ordnance and commissariat.
Wars rarely turn out as expected. This book shows how Britain entered a conflict that it believed could not be lost. The American Patriots were similarly optimistic about their martial prospects. Although they eventually secured independence, it was only with the assistance of France and indirectly Spain, who diverted British resources from the conflict in America, allowing France eventually to deliver a knockout blow at Yorktown. This extensive yet accessible exploration into the War of American Independence provides aclear analysis of why this complex conflict occurred and why it ended as it did, revealing the fragile nature of the American Patriot cause. An essential guide for any history student, including those specializing in war/peace studies and the study of international relations, as well the general reader with an interest in the study of war.
The 13 North American colonies established by Great Britain eventually formed the nucleus of the United States. This volume describes the history of these colonies, both individually and collectively. It offers an analysis of the evolution of a new and distinctive society.
One of the pioneers of popular music studies, Richard Middleton has made an important contribution not only to this particular field but also to the critical and cultural theory of music more generally. Sixteen of his essays, dating from the late 1970s to the present day, have been selected for this collection, most of them previously published but some of which are new. The musical topics vary widely, from Mozart and Gershwin to rock and rap, from music hall to blues and jazz, from Elvis Presley and John Lennon to Patti Smith and Mariah Carey. But throughout, the author is concerned to locate appropriate ways of understanding 'the popular', and suggests that this task is crucial to any critical musicology worth the name. In a substantial introduction, he places his own intellectual development in the context of the development of the discipline, offering his latest thoughts on the past, present and future of critical musicology and its place in the critique of modernity. The overall theme, 'musical belongings', is revealed as a key not only to the relationship between music and the politics of possession, but also, by extension, to the investments made by musicology, critical and other, in those politics.
People have long been shooting small stones and carefully rounded bullets of clay, glass, steel, and lead from weapons without using gunpowder. And the bow and arrow has been man's choice all over the world and throughout history at times when modern firearms have been unavailable or unsuitable. In America, there is currently an explosion of interest in making primitive archery tackle--wooden bows, flint arrowheads, natural fiber strings. The author has made and shot flint-tipped arrows from many bows of his own making. He first noticed, twenty years ago, that no one has written a book on catapults, and started to keep records of his own experiments in that and other related fields, leading to this book, which explores many of the ways, old and new, in which people have shot bullets by force of their own muscles.
