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From two world wars to rapid industrialization and population shifts, events of the twentieth century engendered cultural anxieties to an extent hitherto unseen, particularly in Europe. In Telling Anxiety, Jennifer Willging examines manifestations of such anxieties in the selected narratives of four women writing in French – Marguerite Duras, Nathalie Sarraute, Annie Ernaux, and Anne Hebert. Willging demonstrates that the anxieties inherent in these women's works (whether attributed to characters, narrators, or implied authors) are multiple in nature and relate to a general post-Second World War scepticism about the power of language to express non-linguistic phenomena such as the destruction and loss of life that a large portion of Europe endured during that period. Willging maintains that while these women writers are profoundly wary of language and its artificiality, they eschew the radical linguistic scepticism of many post-war male writers and theorists. Rather, she argues, the anxiety that these four writers express stems less from a loss of faith in language's referential function than from a culturally ingrained doubt about their own ability as women to make language reflect certain realities. Ultimately, Telling Anxiety shows the crippling obstacles of literary agency for women in the twentieth century from the perspective of those who fully understood the significant responsibility of their work.

Kant considered it to be scandalous that philosophy still had not found a rational proof of the existence of the external world during his time. Arguably, the scandal continues today because scepticism remains a widely debated and extremely divisive issue among contemporary thinkers. Although scholars have devoted considerable attention to Kant's arguments against Cartesian scepticism, the literature still presents gaps and inaccuracies that obscure a full understanding of this issue and its significance for contemporary philosophy. In Kant and the Scandal of Philosophy, Luigi Caranti corrects this omission, providing a thorough historical analysis of Kant's anti-sceptical arguments from the pre-critical period up to the 'Reflexionen zum Idealismus' (1788-93).Caranti demonstrates how reconstructing Kant's critique of scepticism is crucial for understanding the origin of his philosophy and for avoiding serious mistakes that still serve as obstacles to the proper understanding of the Critique of Pure Reason. In particular, Caranti shows how the sceptical challenge leads Kant to the critical stage of his thought. Moreover, this study responds to recent criticism of transcendental idealism, showing how it can serve as the main premise of a powerful anti-sceptical argument whose main structure is suggested by Kant in the 1781 Fourth Paralogism. Erudite and engaging, Kant and the Scandal of Philosophy fills an important void in the literature and breathes new life into this field of inquiry.

In the early modern period, the theatrical stage offered one of the most popular forms of entertainment and aesthetic pleasure. It also fulfilled an important cultural function by displaying modes of behaviour and dramatizing social interaction within a community. Flaunting argues that the theatre in late sixteenth-century England created the conditions for a subculture of style whose members came to distinguish themselves by their sartorial extravagance and social impudence.Drawing on evidence from legal documents, economic treatises, domestic manuals, accounts of playhouse practices, and stage plays, Amanda Bailey critiques standard accounts maintaining that those who flaunted their apparel were simply aspirants, or gaudy versions of the superiors they sought to emulate. Instead, she suggests that what mattered most was not what these young men wore but how they wore their clothes. These young men shared a distinctive sartorial sensibility and used that sensibility to undermine authority at all levels of society. Flaunting therefore, examines male style as a visual form of subversion against the norms of Renaissance England with the stage as the primary source of inspiration for collective identification.A glimpse into both the celebration of and opposition to social irreverence in the early modern period, Flaunting is a fascinating historical account of drama, fashion, and rebellion with surprisingly close parallels to the contemporary world.

Benedetto Croce (1866-1952) was among the most important of those philosophers of the twentieth century who grappled with issues of pure aesthetics. The series of lectures written in 1912 as the inaugural address of the Rice Institute in Texas and collected under the title Breviario di estetica (Breviary of Aesthetics) is undoubtedly Croce's definitive study of the arts, and the work remains foundational in the philosophy of aesthetics to this day. It has been translated into several languages and continues to attract a wide readership.In this edition, the Breviary of Aesthetics is presented in a brand new English translation and accompanied by informative endnotes that discuss many of the philosophers, writers, and works cited by Croce in his original text. The new translation deliberately preserves the idiosyncratic use of language for which Croce was famous, and emphasizes his writing style, which, together with that of Galileo Galilei, is considered to be among the most lucid in Italian literature. An introduction by Remo Bodei discusses the broader impact of the work and places it in historical context. In short, this edition reintroduces a seminal text on aesthetics to a new generation of English-speaking readers, and represents a significant contribution to the Lorenzo Da Ponte Italian Library series.

Anxieties about embodiment and posthumanism have always found an outlet in the science fiction of the day. In Bodies of Tomorrow, Sherryl Vint argues for a new model of an ethical and embodied posthuman subject through close readings of the works of Gwyneth Jones, Octavia Butler, Iain M. Banks, William Gibson, and other science fiction authors. Vint's discussion is firmly contextualized by discussions of contemporary technoscience, specifically genetics and information technology, and the implications of this technology for the way we consider human subjectivity. Engaging with theorists such as Michel Foucault, Judith Butler, Anne Balsamo, N. Katherine Hayles, and Douglas Kellner,Bodies of Tomorrow argues for the importance of challenging visions of humanity in the future that overlook our responsibility as embodied beings connected to a material world. If we are to understand the post-human subject, then we must acknowledge our embodied connection to the world around us and the value of our multiple subjective responses to it. Vint's study thus encourages a move from the common liberal humanist approach to posthuman theory toward what she calls 'embodied posthumanism.' This timely work of science fiction criticism will prove fascinating to cultural theorists, philosophers, and literary scholars alike, as well as anyone concerned with the ethics of posthumanism.

Winfried Siemerling examines alterity in the work of four innovative postmodern authors, exploring self and other as textual figures of the unknown. Subjectivity appears mediated, in these texts, by a self-reflexive work in language, seeking to grasp itself in relation to a significant and often fascinating, but also enigmatic, other.

The ugly woman is a surprisingly common figure in Italian poetry, one that has been frequently appropriated by male poetic imagination to depict moral, aesthetic, social, and racial boundaries. Mostly used between the thirteenth and seventeenth centuries - from the invectives of Rustico Filippi, Franco Sacchetti, and Burchiello, to the paradoxical praises of Francesco Berni, Niccolo Campani and Pietro Aretino, and further to the conceited encomia of Giambattista Marino and Marinisti - the portrayal of female unattractiveness was, argues Patrizia Bettella in The Ugly Woman, one way of figuring woman as 'other.'Bettella shows how medieval female ugliness included transgressive types ranging from the lustful old hag, to the slanderer, the wild woman, the heretic/witch, and the prostitute, whereas Early Modern unattractiveness targeted peasants, mountain dwellers, and black slaves: marginal women whose bodies and manners subvert aesthetic precepts of culturally normative beauty and propriety. Taking a philological and feminist approach, and drawing on the Bakhtinian concept of the grotesque body and on the poetics of transgression, The Ugly Woman is a unique look at the essential counterdiscourse of the celebrated Italian poetic canon and a valuable contribution to the study of women in literature.

Most people are aware of the large and persistent gender imbalance in elected office at all levels of government in Canada, but few appreciate the far greater imbalance that occurs outside of large cities. This deficit arises not from rural voter bias, but from low numbers of female candidates running for winnable seats. The question of why there are so few female candidates has been difficult to answer, largely because we know so little about the pool of potential candidates. Rural Women's Leadership in Atlantic Canada presents results from a regional field-based study, which confronted this challenge directly for the first time. Louise Carbert gathered together small groups of rural community leaders (126 women in all) throughout the four Atlantic provinces, and interviewed them about their experiences and perceptions of leadership, public life, and running for elected office. Their answers paint a vivid picture of politics in rural communities, illustrating how it intersects with family life, work, and the overall local economy. Through discussion of their own reasoned aversion to holding elected office, and of resistance encountered by those who have put their names forward, the interviewees shed much-needed light on the pervasive barriers to the election of women. Carbert not only contextualizes the results in terms of economic and demographic structures of rural Atlantic Canada, but also considers points of comparison and contrast with other parts of the country.

This ambitious interdisciplinary study undertakes a new definition of the eighteenth-century novel's investment in vision and visual culture, tracing the relationship between the development of the novel and that of the equally contentious genre of the portrait, particularly as represented in the novel itself. Working with the novels of Richardson, Fielding, Haywood, Manley, Sterne, Wollstonecraft and Inchbald, and the portraits of Reynolds, Gainsborough, Highmore, Hudson, Hogarth, and others, Private Interests points to the intimate connections between the literary works and the paintings. Arguing that the novel's representation of the portrait sustains a tension between competing definitions of private interests, Conway shows how private interests are figured as simultaneously decorous and illicit in the novel, with the portrait at once an instrument of propriety and of scandal. Examining women's roles as both authors of and characters in the novel and the novel's encounters with the portrait, the author provides a new definition of private interests, one which highlights the development of women's agency as both spectacles and spectators.

In Playing the Hero, Ann Dooley examines the surviving manuscript versions of the greatest of the early Irish sagas, the Tain Bo Cuailnge (Cattle-Raid of Cooley), and creates a picture of the cultural conditions and literary mind-sets under which medieval scribes recreated the text. Dooley argues that the scribes' work is both a transmission and a translation, and that their own changing historical circumstances within the space of one hundred years, from the beginning to the end of the twelfth century, determines the specifics of their literary creativity.Playing the Hero is a unique example of more contemporary literary methodologies – post-structuralist, feminist, historicist and beyond – being used to illuminate the Irish saga world. Dooley provides a commentary for the saga, helping to re-animate its literary sophistication. Her work is an interrogation of both the Irish epic hero – a reading of the male through the medium of feminine discourse – and the process whereby violence as normalized in the saga genre can be recovered as problematic and troubling. Dooley's work is groundbreaking and will provoke a wide response in Medieval Irish studies.

One of the most famous and prestigious of Renaissance schools, Italy's University of Padua attracted a notable body of students from England, including such well-known alumni as Thomas Linacre, Thomas Starkey, and William Harvey. In this work Jonathan Woolfson looks at the reasons why so many Englishmen went to Padua, what they did there, and most importantly, the various ways in which their studies had an impact on Tudor life and thought.Covering a formidable range of intellectual history, Woolfson explores the complex processes of cultural transmission between Italy and England in the areas of humanism, law, political thought, medicine, and natural philosophy. An impressive feature of the book is its biographical register of English visitors to Padua, which comprises 349 separate entries drawn from extensive archival research in Italy and England. From the collective biography that results, as well as from textual studies, Woolfson argues that Padua influenced England in ways that were profound and enduring, but also extremely diverse and sometimes surprising.

This long-awaited study, lavishly illustrated, tells the remarkable story of the work of one of Canada's great artists. David Milne (1882-1953) left rural Ontario for New York City in 1903. After training at the Art Students' League, he emerged as an exceptional modernist, one of the 'American extremists,' whose work was well-represented at the famous 1913 Armory Show and won a major prize at the 1915 Panama-Pacific Exposition. Milne's studio at 42nd Street and Fifth Avenue was a regular forum for artists to debate art and aesthetics.In 1916 Milne moved to Boston Corners, in upstate New York, devoting his whole time to painting. As he wandered over the years to the deserted battlefields of France and Belgium, to the Adirondacks, then back to Canada - Temagami, Palgrave, Muskoka, Toronto, Uxbridge, and Baptiste Lake - his work continued to evolve and change. Critics and other artists hailed him as one of the most original, intelligent, and innovative of artists in Canada. His work is in the British Museum, the Museum of Modern Art, and public galleries in Canada.Silcox's biography, based on many years of research for the Milne Catalogue Raisonne, is, in the words of one of our readers, 'a near-perfect dialectic between biography and aesthetic analysis.' It will stand both as a definitive study of Milne and as a model for future biographies of Canadian artists.This gorgeous book, in a large format with 190 images in colour and 240 black and white illustrations throughout (many published for the first time), will astonish and delight all those interested in art history, and in the life of a unique individual.

The mass production and dissemination of printed materials were unparalleled in England during the 1640s and 50s. While theatrical performance traditionally defined literary culture, print steadily gained ground, becoming more prevalent and enabling the formation of various networks of writers, readers, and consumers of books.In conjunction with an evolving print culture, seventeenth-century England experienced a rise of political instability and religious dissent, the closing of the theatres, and the emergence of a middle class. Elizabeth Sauer examines how this played out in the nation's book and print industry with an emphasis on performative writings, their materiality, reception, and their extra-judicial function. 'Paper-contestations' and Textual Communities in England challenges traditional readings of literary history, offers new insights into drama and its transgression of boundaries, and proposes a fresh approach to the politics of consensus and contestation that animated seventeenth-century culture and that distinguishes current scholarly debates about this period.

Texts centred on the mother of Jesus abound in religious traditions the world over, but thirteenth-century Old French lyric stands apart, both because of the enormous size of the Marian cult in thirteenth-century France and the lack of critical attention the genre has garnered from scholars.As hybrid texts, Old French Marian songs combine motifs from several genres and registers to articulate a devotional message. In this comprehensive and illuminating study, Daniel E. O'Sullivan examines the movement between secular and religious traditions in medieval culture that Old French religious song embodies. He demonstrates that Marian lyric was far more than a simple, mindless imitation of secular love song. On the contrary, Marian lyric participated in a dynamic interplay with the secular tradition that different composers shaped and reshaped in light of particular doctrinal and aesthetic concerns. It is a corpus that reveals itself to be far more malleable and supple than past readers have admitted.With an extensive index of musical and textual editions of dozens of songs, Marian Devotion in Thirteenth-Century French Lyric brings a heretofore neglected genre to light.

In this major re-examination of Descartes's founding principle, cogito, ergo sum, Murray Miles presents a portrait of Descartes as the Father of Modern Philosophy that is very different from the standard one.Viewing Descartes in both a historical and a systematic perspective, Miles presents a wealth of original analyses, arguments, and re-interpretations of key texts. The result is a fresh and illuminating account of Descartes's metaphysical project and theory of the mind. Descartes's achievement is a radical reversal of the order of knowing, a subjectivism that places knowledge of the mind ahead of knowledge of material things, yet is free of the metaphysical idealism that some of his successors went on to embrace.A meticulous, scholarly, and exhaustive analysis, this book provides a minutely detailed reading of each word of Descartes's founding principle, exploring in great depth the underlying epistemology and ontology. The book will fully repay a careful reading by any serious student of Descartes's philosophy.

Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines `humoristic'. She delineates a `Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the `new generation,' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore.A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the `melodramatic imagination' and the `humoristic,' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a `Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour.

For the ardent collector and (or anyone who once owned a doll, here is a history of the dolls that have been made and loved in Canada.Doll collecting, a popular pursuit in Europe and the United States, has been growing rapidly in Canada. Evelyn Strahlendorf has compiled a reference work that traces the development of dolls in Canada and of the industry that produces them. It contains the dates, names, and characteristics of about 1000 Canadian dolls from prehistoric times to the present.Coverage begins with Inuit and other native dolls, then turns to the dolls that have survived from the days of early European settlement and the dolls of several of the ethnic cultures which make the Canadian mosaic. Much of the book is devoted to the work of commercial dollmakers and the evolution of their dolls, including the history of each company with information about their products, progress, and achievements. The manufacturing process is examined as it developed from bisque and composition through various plastics to the dolls of today.Separate chapters deal with dolls that portray celebrities (including Barbara Ann Scott, the Dionne quintuplets, and Wayne Gretsky), dolls that are more than playthings (used in displays or advertising), the Eaton's Beauty dolls that were the most popular dolls in Canada for many years, and dolls created by artists.The dolls reflect the changing fashions and culture of Canada. Their clothing is often the latest in style and materials; their abilities not only include talking, wiggling, and drinking but in recent years extend to bilingualism.With few exceptions, every doll described has been personally examined by the author.This book is a valuable reference tool for doll collectors, museums, libraries, antique dealers, doll stores, and flea market operators. Because Canada has been exporting dolls for half a century, it will benefit collectors internationally as well.It is also intended for a special class of enthusiast Mrs. Strahlendorf calls the closet collector. There are tens of thousands of such people in North America who have dolls and may collect dolls but do not admit their pleasure to others.

Without the notes, Erasmus said, the texts of the Scripture were 'naked and defenceless,' open to criticism by uncomprehending readers and corruption by careless printers. The Annotations represent not only Erasmus' defence of the New Testament against such abuss, but also a reflection of his own philosophy, objectives, and working methods.In establishing the text and defending it against his opponents, Erasmus drew on manuscript sources, classical literature, patristic writings, scholastic exegesis, and the work of his immediate forerunners, Valla and Lefevre. He did not hesitate to point out the errors of illustrious writers like Jerome and established medieval authorities like Peter Lombard. In general he was appreciative of the early church Fathers and contemptuous of medieval commentators.As well as discussing the contents and aims of the Annotations, Erika Rummel investigates Erasmus' development from philologist to theologian and traces the prepublication history of the New Testament. She examines the critical reaction of conservative theologians to Erasmus' work and his replies, incorporated in later editions of the Annotations. The book ends by suggesting a wider field of research: the relationship between the Annotations and the corpus of Erasmian apologetic works.

The annals of the Anglo-Saxon Chronicle are fundamental to the study of the language, literature, and culture of the Anglo-Saxon period. Ranging from the ninth to the twelfth century, its five primary manuscripts offer a virtually contemporary history of Anglo-Saxon England, contribute to the body of Old English prose and poetic texts, and enable scholars to document how the Old English language changed.In Families of the King, Alice Sheppard explicitly addresses the larger interpretive question of how the manuscripts function as history. She shows that what has been read as a series of disparate entries and peculiar juxtapositions is in fact a compelling articulation of collective identity and a coherent approach to writing the secular history of invasion, conquest, and settlement. Sheppard argues that, in writing about the king's performance of his lordship obligations, the annalists transform literary representations of a political ethos into an identifying culture for the Anglo-Saxon nobles and those who conquered them.

Theories of sight and spectatorship captivated many writers and philosophers of the eighteenth century and, in turn, helped to define both sexual politics and gender identity. Eliza Haywood was thoroughly engaged in the social, philosophical, and political issues of her time, and she wrote prolifically about them, producing over seventy-five works of literature - plays, novels, and pamphlets - during her lifetime. Examining a number of works from this prodigious canon, Juliette Merritt focuses on Haywood's consideration of the myriad issues surrounding sight and seeing and argues that Haywood explored strategies to undermine the conventional male spectator/female spectacle structure of looking.Combining close readings of Haywood's work with twentieth-century debates among feminist and psychoanalytic theorists concerning the visual dynamics of identity and gender formation, Merritt explores insights into how the gaze operates socially, epistemologically, and ontologically in Haywood's writing, ultimately concluding that Haywood's own strategy as an author involved appropriating the spectator position as a means of exercising female power. Beyond Spectacle will cement Haywood's deservedly prominent place in the canon of eighteenth-century fiction and position her as a writer whose work speaks not only to female agency, but to eighteenth-century writers, gender relations, and power politics as well.

This book, a translation of the German volume n-Ecke, presents an elegant geometric theory which, starting from quite elementary geometrical observations, exhibits an interesting connection between geometry and fundamental ideas of modern algebra in a form that is easily accessible to the student who lacks a sophisticated background in mathematics. It stimulates geometrical thought by applying the tools of linear algebra and the algebra of polynomials to a concrete geometrical situation to reveal some rather surprising insights into the geometry of n-gons. The twelve chapters treat n-gons, classes of n-gons, and mapping of the set of n-gons into itself. Exercises are included throughout, and two appendixes, by Henner Kinder and Eckart Schmidt, provide background material on lattices and cyclotomic polynomials.(Mathematical Expositions No. 18)

This is a comprehensive study of forest soils for foresters, wildlife and park managers, ecologists, and others interested in forest soils. It provides a valuable text for introductory and more advanced courses. The first ten chapters deal with basic soil information: texture, structure, and porosity; colour, temperature, and aeration; water; organic content; biological organisms and processes; chemistry; fertility; classification; and surveys. The last six chapters consider the components of the forest soil systems as related processes, discussing roots, fire, and water and nutrient cycles as they exist in natural forests and as they are modified by man. Professor Armson examines the process of forest soil development, and the place of soil as a part of a continuously changing landscape from both the historical and ecological viewpoints. An appendix describes the procedures for soil profile description and sampling. Full bibliographical references are supplied.

Istvan Anhalt, himself a composer of many vocal works, has written an interdisciplinary study of the innovative vocal and choral music that has emerged in Europe and North America since the Second World War. This music has amazed, confused, sometimes shocked, and often deeply moved its listeners, and the author probes its very roots.Anhalt sketches briefly the antecedents of this revolutionary music and then illustrates the subject by looking closely at works by three of the greatest composers of modern vocal and choral music: Luciano Berio's Sequenza III for female solo voice, GyO rgy Ligeti's  Nouvelles Aventures for three solo voices and small instrumental ensemble, and Witold Lutoslawski's Trois Pomes d'Henri Michaux for large chorus and orchestra. The author next seeks to formulate a conceptual framework to explain post-war vocal composition. He discusses relationships between poetry and music, speaking and singing, theatre and music, and composers and performers. He identifies and examines recurring themes in his corpus, including hallowed and cursed names, repetition as a mythical and/or mystical technique, the arcane, magical elements in music and language, and music as spectacle or celebration and as a search for the past. Anhalt also considers the structural elements and compositional procedures used in creating this type of music.The complex associations with other creative activities that typify modern vocal composition help to make it, as Anhalt shows clearly, an extraordinary rich mosaic of alternative voices.

Although not one of De Mille's best works it does show his unerring assessment of the tastes of the American and Canadian reading public in the 1870s. With echoes of Wilkie Collins, Jules Verne, and other popular novelists of the period, this is a sensational melodrama full of impossible adventures, and of  'angelic heroines and villains of the deepest dye.'

The Civil War is a poem which Abraham Cowley (1618-67) did not complete, for political and historical reasons, and of which only the first volume was published; the other two volumes have been considered irrecoverably lost since Cowley's death. Professor Pritchard recently found two copies of the complete poem in a collection of family papers at the Hertfordshire County Record Office and here presents a corrected edition of the first and previously published book, and the text of the hitherto unpublished books two and three.The poem is a major addition to the body of Cowley's poetry; it has close and sometimes surprising connections with much of his other work. It is not only the most extended and important of his political poems but a significant addition to the genre of the political poem. It is also unique as the attempt by a poet of stature to give epic treatment to the events of the English Civil War.Professor Pritchard provides a discussion of the personal, historical, and literary contexts of the poem in the introduction, as well as of textual problems and methods, showing the way in which the poem is shaped both by contemporary history and polemics and by classical and later literary tradition. 

Head waves – also called refraction arrivals, lateral waves, or conical waves – have been used extensively in near-earthquake studies, geophysical prospecting, and deep-crustal seismological investigations. In the past, research was confined largely to the kinematic characteristics of the waves, but emphasis is now being given to the dynamic characteristics: amplitudes, spectra, and wave forms. In the last fifteen years, several new mathematical and computational techniques have been developed to study these waves.This is an advanced, technical book presenting a consistent theory of head waves, using methods developed in the famous Leningrad school under G.I. Petrashen and his colleagues. It proceeds from a consideration of the simplest problem of one interface to a study of the situation in which there are many interfaces (some of which may not be plane or parallel to one another) and the material between the interfaces is not necessarily homogenous. The method is used principally, though not exclusively, that of ray series in which the displacement vector is expressed in terms of an asymptotic series in inverse powers of frequency. The volume includes numerical data and an extensive bibliography.This book is intended as a text for graduate and senior undergraduate students in geophysics, and as a reference work for practising seismologists and research workers.

This pamphlet, based on lectures given by Laurent Schwartz at the Canadian Mathematical Congress in 1951, gives a detailed introduction to the theory of distributions, in terms of classical analysis, for applied mathematicians and physicists. Mathematical Congress Lecture Series, No. 1

How was it that the Torrens system, a mid-nineteenth-century reform of land titles registration from distant South Australia, gradually replaced the inherited Anglo-Canadian common law system of land registration? In The Law of the Land, Greg Taylor traces the spread of the Torrens system, from its arrival in the far-flung outpost of 1860s Victoria, British Columbia, right up to twenty-first century Ontario.Examining the peculiarity of how this system of land reform swept through some provinces like wildfire, and yet still remains completely unknown in three provinces, Taylor shows how the different histories of various regions in Canada continue to shape the law in the present day. Presenting a concise and illuminating history of land reform, he also demonstrates the power of lobbying, by examining the influence of both moneylenders and lawyers who were the first to introduce the Torrens system to Canada east of the Rockies.An exact and fluent legal history of regional law reforms, The Law of the Land is a fascinating examination of commonwealth influence, and ongoing regional differences in Canada.