English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

disappointed by the weak annotations, insufficient subject indexing, and limited chronological span, as well as the absence of writings in languages other than Eng-lish. As a result, most researchers will continue to rely on Meadows as their primary jazz bibliography, and only libraries with very ambitious collecting missions in the area of jazz should feel it necessary to purchase Jazz Books in the 1990s. Ultimately, it may just be that the publication of this bibliography was premature, leaving any evaluation of it unduly tilted toward the negative. Despite the above critique, Greenberg has proven to have the research skills and dedication necessary for authoring an in-depth reference tool, and with this book she has made a valid contribution—or at least the beginning of one. In her introduction , as well as in series editor Ed Berger's foreword, there are intimations that this volume is the first of more to come. If indeed the bibliography keeps growing, thus creating a much more complete inventory of jazz books and establishing a broader context for the publications compiled so far, Jazz Books in the 1990s can be understood less for its limitations and more for its potential. While it is hoped that the criticisms stated here will be regarded in future iterations, it is clear that Greenberg is on the right track; and, with continued pursuit, this project could become significant in jazz bibliography's developing history.—D.J. The Haunted: A Social History of Ghosts; and Cunning-folk: Popular Magic in English History. Davies places this current effort within the framework of the history of the book, the history of ideas, and, most especially, the powers (whether perceived or real) that people throughout history have bestowed on writing, words, and the physical book. The epigraph to Grimoires quotes an episode from Don Quixote in which a character, standing at the gates of hell, observes a dozen or so devils, playing tennis with rackets of fire—but rather than using tennis balls, their implements were books, " apparently full of wind and rubbish. " While Davies never specifically says that grimoires are trash-filled tennis balls, " his entire book is filled with examples of charlatans, cunning-men, and those who are duped by them and their magical books. The introduction defines grimoires as " books of conjurations and charms, providing instructions on how to make magical objects such as protective amulets and talismans. They are repositories of knowledge that …

college and research libraries/college and research libraries

<b>Owen Davies.</b> <i>Grimoires: A History of Magic Books</i>. Oxford, U.K.: Oxford University Press, 2009. x, 368p. $29.95 (ISBN 9780199204519). LC2009-924589.

Owen Davies. Grimoires: A History of Magic Books. Oxford, U.K.: Oxford University Press, 2009. x, 368p. $29.95 (ISBN 9780199204519). LC2009-924589.