An illustrated examination of the role played by the Sunderland as an antisubmarine aircraft during the Battle of the Atlantic, focusing on the key battles of the Biscay campaign in 1943–44. The Sunderland is an iconic British aircraft of World War II, and the only RAF Coastal Command type to perform frontline service throughout the conflict. Its prime target – the German U-boat – was a deadly adversary to Allied warships and other oceangoing vessels, but proved vulnerable to detection and air attacks from the radar-equipped Sunderland. This book examines the respective advantages and drawbacks of these two maritime predators by providing a vivid analysis of their historic engagement during the Biscay campaign in 1943–44. Drawing upon first-hand accounts of this famous duel, Mark Lardas tells the story of how highly skilled Sunderland crews took the fight to an often elusive enemy and helped RAF Coastal Command defeat the U-boat threat. Maps, tactical diagrams, photographs and specially commissioned artwork bring the action to life as the Sunderland's losses – and eventual victory – in the Bay of Biscay play out in fascinating, insightful detail.

This textbook presents the full spectrum of musculoskeletal disorders, covering their definitions, epidemiology, physiopathology, diagnosis and treatment. Ranging from fractures, through infections and tumors, to dystrophies, the authors provide an up-to-date overview of the methodologies used in the diagnosis and management of common orthopedic conditions. The content is divided into several sections: disorders are grouped by typology in the opening section, and subsequently grouped anatomically, offering readers a quick and convenient reference guide to fundamental concepts in everyday orthopedic care. Written by an international panel of experts, it offers a valuable asset for students and residents approaching the study of orthopedics, pediatric orthopedics, sports medicine, rheumatology and rehabilitation. It further can be of interest also for practicing orthopedic surgeons, as well as nurses, physical therapists and athletic trainers.

Ronnie Selley, a South African from rural Natal, joined the RAF on a short-service commission in 1937, considered the Golden Age of aviation. During these glory years of Howard Hughes and Amelia Earhart few guessed at the brewing storm and dark days to come. After completing his training on antiquated First World War aircraft, Selley was posted to 220 Squadron Coastal Command, the RAFÕs under-staffed and under-equipped poor relation to the more prestigious Fighter and Bomber Commands. Tasked with reconnaissance, convoy patrols and submarine-hunting the pilots of Coastal Command chalked up more flying hours than any other RAF Command. It was not uncommon for pilots to be in the air, searching the waters of the North Atlantic, for up to sixteen hours a day, in aircraft that were neither capable of such ranges nor, initially, adequately armed to defend their charges. From the outbreak of war until after its cessation Coastal Command had aircraft in the air twenty-four hours a day, every single day. The toll this took on the men of Coastal Command was unthinkable. The first RAF pilot to sink a German U-boat, Selley went on the win the DFC for his actions during the Dunkirk evacuation. He won high praise and newspaper headlines such as ÒPlane fights 13 German warshipsÓ, ÒOne RAF man bombs 3 ships, routs NazisÓ and ÒOne against eightÓ were not uncommon. Selley subsequently suffered acute battle fatigue and spent time convalescing at the Dunblane Hydro. Thereafter, he was posted by the Air Ministry as Air Vice-Marshal BreeseÕs personal pilot. On 5 March 1941 Ronnie Selley, Air Vice-Marshal Breese and the entire crew of the fully armed Lockheed Hudson they was flying experienced engine problems, lost speed, stalled and exploded on impact at Wick in northern Scotland.

Ceramics and the Museum interrogates the relationship between art-oriented ceramic practice and museum practice in Britain since 1970. Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice and in the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that 'gestures of showing,' such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which in turn can be used to deconstruct the art.