The Introduction begins by quoting a lengthy charm from Lacnunga and asks if there is rhyme and reason for its many formulas. It answers that question by establishing that comprehensive verbal strategies operate in early English charms. These take the form of unified sets of incantations that comprise the four verbal medicines identified in the book. Two involve the invocation of liturgy, a notion introduced here. The preface places folk tradition within the context of popular Christianity and considers charms as practical remedies for disease. Charm efficacy may be attributed to word-power, the skill of healers, prayer, and supplication. After examining Anglo-Saxon theories of disease the preface surveys what we know about medical practitioners at the time. It defines terminology, presents the corpus of charms, and summarizes methodology. Finally, it describes the performance-based analytical framework that will be used for the study of charms’ oral performance.

Oscillations between members of flavoured, electrically neutral meson pairs and the CP violation are phenomena strictly connected with the mixing. However, CP is more general, having been observed also in the decay of charged mesons.

CP violation was first observed in the neutral K system. We see the states of definite strangeness, those of definite CP and those with definite mass and lifetime. The oscillation between the former states, the mathematical expressions and the experimental evidence.

The oscillations and CP violation in the B0 system, and the beautiful experimental results obtained at dedicated high-luminosity electron–positron colliders, the ‘beauty factories’. Beauty physics at the dedicated experiment LHCb at LHC, in particular for the B0, that is not accessible to beauty factories. Examples of CP violation in B0. The recent discovery of CP violation in the charm sector.

How the many different measurements can be put together to test the SM with the unitary triangle.

If the mass of a hadron is large enough, decays into final states that can be reached by strong interaction, that is, without violating any selection rule, are possible. The lifetime is then extremely short, of the order of a yoctosecond (10−24 s). These hadrons decay practically where they were born. We show how they are observed as ‘resonances’.

Hadrons, both baryons and mesons, were discovered in rapidly increasing numbers in the 1950s and early 1960s. How their quantum numbers, spin, parity and isospin were measured. Gradually it became clear that hadrons with the same spin and parity could be grouped in multiplets of the SU(3) symmetry. Proposal of the quark model and experimental verifications of its predictions. With increasing accelerator energies, more surprises were to come. The quarks are not only the three originally known, u, d and s, but three more exist, c, b and t. And more leptons were found, in total three ‘families’ of fundamental fermions, each with two quarks, a charged lepton and its neutrino.

When Pater’s Appreciations was first published in 1889, the chapters on Wordsworth and Coleridge were uniformly praised. Although Pater had previously published material on both poets, the chapters in Appreciations are the most oft cited. In order to assess them, we must contextualise the essays within a longer arc of Pater’s career. ‘Coleridge’s Writings’ was Pater’s first publication, appearing in the Westminster Review in 1866. Pater later contributed detailed remarks on Coleridge’s poetry to volume 4 of T. H. Ward’s English Poets (1880). The chapter on Coleridge in Appreciations consists of the first half of ‘Coleridge’s Writings’ as well as its concluding paragraphs, with the commentary on the poetry inserted in the middle. Pater’s essay ‘On Wordsworth’, which first appeared in the Fortnightly Review in 1874, may be regarded as one of the most important critical statements of his career. It is closely allied with his remarks on Wordsworth in the Preface to The Renaissance, published the previous year, and may have been designed to be included in that study. It stands as an important corrective to the Victorian Wordsworth.

This chapter examines the origin of the St Osyth witchcraft accusations in the strained relationship between Grace Thurlowe, a servant at St Osyth Priory, and the cunning woman Ursley Kempe. It reconstructs the network of magical healers in the locality, suggesting that competition and sensitivities around child-rearing and illegitimacy were important in sparking suspicion, as well as several recent deaths of key players in the village.

Chapter 10 surveys a range of partial survey and non-survey estimation approaches for creating input–output tables at the regional level. Variants of the commonly used class of estimating procedures using location quotients are reviewed; these presume a regional estimate of input–output data can be derived using some information about a target region. Cross-hauling is discussed and approaches to address it are presented. The RAS technique developed in Chapter 9 is applied using a base national table or a table for another region and some available data for the target region. Techniques for partial survey estimation of commodity flows between regions are also presented along with discussions of several real-world multinational applications, including the China–Japan Transnational Interregional Model and Leontief’s World Model.

Contrary to received wisdom, music has always been connected with language, however tenuously, on at least two levels. First, despite theoretically standing apart from our two principal systems of representation, words and images, music has persistently been linked throughout our history and culture with something beyond itself. Each age has constructed a system of relationships, metaphors, or analogies through which musical scores are conceived and heard – simple examples include a musical “phrase,” “high” and “low” pitches, “soft” and “powerful” tones.1 Second, music has constantly been connected with verbal discourse, whose importance increased throughout the nineteenth century (if only through the proliferation of the press and the growth of writing about music): musical works are not understood and appreciated as unmediated objects, but are filtered through discourses that precede, accompany, and succeed them. Aesthetic theories, critical reception, and historical studies, together with informal conversation, enter into the life of a musical work. It is this second level that will concern us.