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A History of the Doggett-Daggett Family
John Doggett (d.1673) immigrated in 1630 from England to Watertown, Massachusetts, married twice, and died in Plymouth, Massachusetts. Descendants lived in New England, New York, Pennsylvania, Virginia and elsewhere. Some descendants immigrated to New Brunswick, Nova Scotia and elsewhere in Canada. Includes ancestors in England to the 1200s.
If Then
Radio 4's Book of the Week A Financial Times Book of the Year Shortlisted for the 2020 Financial Times / McKinsey Business Book of the Year Longlisted for the National Book Award 'The story of the original data science hucksters of the 1960s is hilarious, scathing and sobering - what you might get if you crossed Mad Men with Theranos' David Runciman The Simulmatics Corporation, founded in 1959, mined data, targeted voters, accelerated news, manipulated consumers, destabilized politics, and disordered knowledge--decades before Facebook, Google, Amazon, and Cambridge Analytica. Silicon Valley likes to imagine it has no past but the scientists of Simulmatics are the long-dead grandfathers of Ma...
The Guardian Index
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Gazetteer and business directory
Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Middlebrow Modernism
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music.
