THE "LITTLE ICE AGE": LOCAL AND GLOBAL PERSPECTIVES P. D. JONES and K. R. BRIFFA Climatic Research Unit, University of East Anglia, Norwich, NR4 7TJ, UK. This volume of Climatic Change is devoted to the study of the climate of the last 1000 years, with a major emphasis on the last few centuries. The timespan encompasses what has been referred to as the "Little Ice Age" (Bradley, 1992). This term was originally coined by glaciologists, with reference to the most recent major glacial advance of the Holocene (Bradley and Jones, 1993). Although other such advances in different parts of the world may not have been synchronous, the term "Little Ice Age" has come to be associated with the period of a widespread foreward movement of European glaciers between about 14 50 to 1850, as well as with relatively cooler temperatures. The issue of whether or not this concept is appropriate, is a major theme of many of the papers included in this volume.

Twelve days after the onset of the American Civil War in April of 1861, Frederic Edwin Church, the most successful American landscape painter of his day, debuted his latest “Great Picture”—a painting titled The North. Despite favorable reviews, the painting failed to find a buyer. Faced with this unexpected setback, Church added a broken mast to the foreground and changed the work’s title to The Icebergs. He then shipped the painting to London, where it was finally sold to an English railroad magnate and subsequently disappeared from view for 116 years. This beautiful book tells the fascinating story of The Icebergs and provides a detailed look at the cycle of fame, neglect, and resuscitation of both this masterwork and Church’s career. In 1979, The Icebergs sold at auction for $2.5 million, at the time the highest amount ever paid for an American painting. The sale coincided with an upswing in the popularity and acclaim accorded to American landscape painting, catalyzing the market for American art and contributing to a revival in the prestige of Church and the Hudson River School. Drawing on extensive interviews with many of the people involved with the painting’s rediscovery, sale, and eventual donation to the Dallas Museum of Art, the author considers the way marketing has defined The Icebergs.

A detective role-playing game in a city of ordinary people and legendary powers

CONTENTS:-I. The social motive in school work.--II. The morning exercise as a socializing influence.--III. Expression as a means of training motive.--IV. Education through concrete experience; a series of illustrations.--V. The course in science.

When we imagine the polar regions, we see a largely lifeless world covered in snow and ice where icebergs drift listlessly through frozen waters, like solitary wanderers of the oceans floating aimlessly in total silence. But nothing could be further from the truth. This book takes us into the fascinating world of icebergs and glaciers to discover what they are really like. Through a series of historical vignettes recalling some of the most tragic and most exhilarating encounters between human beings and these gigantic pieces of matter, and through vivid descriptions of their cycles of birth and death, Olivier Remaud shows that these entities are teeming with many forms of life and that there is a deep continuity between iceberg life and human life, a complex web of reciprocal interconnections that can lead from the deadliest to the most vital. And precisely because there is this continuity, icebergs and glaciers tell us something important about life itself – namely, that it thrives in the most unexpected of places, even where there seems to be no life at all. At a time when we are increasingly aware that the melting of ice sheets, glaciers and sea ice is one of the many disastrous consequences of global warming, this beautiful meditation is a poignant reminder of the interconnectedness of all life and the fragility of the Earth’s ecosystems.