New Release Books by Nicholas Anderson

International child abduction is a distinct field of practice within the family law sphere. It is a topic that requires specialist knowledge of a large body of case-law. It also requires an understanding of several international regulations and treaties. In addition to cases that are governed by our international reciprocal arrangements, there are also some cases, usually described as 'non-Hague Convention abductions', which concern abductions to or from non-Member States of the above instruments. Such cases present their own specific complications and are subject to their own line of legal authority. The majority of international child abduction cases take place in the High Court, and practitioners in this area therefore also need to have good practical knowledge of High Court practice and procedure. This includes issues such as how to make urgent without notice applications, the criteria to apply for different types of Tipstaff orders, and when to seek specific orders for disclosure to assist in tracing a child. Most family solicitors encounter child abduction cases from time to time, but only a relatively small number are specialists in this field. This title provides a practical and accessible guide to the subject which can be used as a reference tool by all family practitioners, but which is also sufficiently detailed to be of use to those who specialise in this area. It includes relevant statutory and other materials, so that practitioners can take the book to court and have all the tools needed for day-to-day practice in one place. In addition to general commentary there are flow charts explaining procedural steps to be undertaken and diagrams summarising key cases.

This edited collection uses works of science fiction to illustrate and explore the fundamental themes and concepts of political philosophy, including freedom, justice, and the advantages and disadvantages of progress.

Third and last part of 'The NOC Trilogy'. Seen through the uncommon perspective of a British covert action MI6 intelligence officer as a one-man station overseas, who is occasionally operational in hostile environments for queen and country. See author's website: www.NicholasAnderson.info

"WE WERE INSTITUTIONAL KILLERS in disruptive actions on the black, that is to say we made illegal entries across borders to perform dirty work, then returned home mostly without the knowledge or connection to the local British embassy's staff assigned to other covert affairs. The main job description was called deep cover within SIS, though the U.S.-led NATO preferred NOC or non-official cover - either description was undeclared. I served in various divisions in charge of different continents, often living like a mole..."

By 1942 the formidable Japanese military had conquered swathes of territory across south-east Asia and the Pacific Ocean. Despite its defeat at the Battle of Midway, Japan remained a potent enemy committed to the creation of a defensive arc to shield its captured possessions in the Pacific. The capture of Port Moresby would cement the southern border of this defensive arc and sever the vital lines of communication between Australia and the United States. It was the Japanese plan to seize Moresby that would set the course for the Battle of Milne Bay. Situated on the eastern tip of New Guinea, Milne Bay was a wretched hell-hole: swamp-riddled, a haven for malaria and cursed with torrential rain. It was here that General Douglas MacArthur ordered the secret construction of an Allied base with airfields to protect the maritime approach to Port Moresby. But the Japanese soon discovered the base at Milne Bay and despatched a task force to destroy its garrison and occupy the base. All that stood between the Japanese and their prize was a brigade of regular Australian soldiers untrained in tropical warfare and a brigade of Australian militia with no combat experience whatsoever. While the Kokoda campaign is etched in public memory, its sister battle at Milne Bay has long been neglected. However the bitter fighting over this isolated harbour played an equally important role in protecting Port Moresby and made a valuable contribution to shifting Allied fortunes in the Pacific War.

When the Japanese war machine swept through South-East Asia in early 1942, it was inevitable that conflict would reach Australian territory on the island of New Guinea. The ultimate Japanese target was Port Moresby. Conquering the capital would sever communication between Australia and her American ally and allow Japanese air power to threaten Australia’s northern cities. When a seaborne invasion was thwarted at the Battle of the Coral Sea, the Nankai Shitai landed in Papua on 21 July and lunched an overland attack. Having captured the village of Kokoda with its vital airstrip, the Japanese headed for Port Moresby, traversing the treacherous Kokoda trail that winds across the might Owen Stanley Range. The Australian Army was ill prepared to confront the Japanese. Poorly equipped, undertrained, and unaccustomed to jungle warfare, the untested militia battalions were the first to face the battle-hardened invading forces. Later, when veteran AIF brigades were rushed forward to bolster the militia, they also fell in the path of the Japanese onslaught. But the over-extension of supply lines and disaster on Guadalcanal eventually cruelled Japanese aspirations and the Kokoda campaign became a bloody and protracted struggle as the Australian troops fought to drive the Japanese off the Owen Stanleys and out of Papua. While the front-line troops were engaged in a bitter fight for survival, a power struggle erupted at the top of the Allied command hierarchy resulting in a series of sackings, the competing ambitions of the Allied commanders clouding their judgement at a critical time. It was under these conditions, against a determined enemy and on one of the harshest battlefields on earth, that the Australian forces began to learn the crucial lessons that would be needed to break the back of the Japanese Army in New Guinea.

The Baroque Style in music emerged during the late sixteenth century and lasted well into the eighteenth. Italy was the source of this new artistic impulse, which soon spread across Europe, and the period was one of striking contrasts and innovations. Few other eras witnessed such a profusion of new forms: opera, oratorio, cantata, sonata and concerto. Although Baroque music contained distinct national idioms, fundamental values were shared by all the leading creative figures of the time. One such value was a declared intent to move the passions, to stir emotions - those emotions appropriate to the two great contemporary patrons of music, the Church and the nobility. Ecclesiastical commissions encouraged composers to depict suffering, pathos and elation, while secular and court patronage gave them the opportunity to evoke splendor and opulence. Nicholas Anderson, a leading authority on Baroque music and a well-known scholar and broadcaster, relates musical history to the cultural milieu of Church and court, as well as to public patronage. He considers both major figures such as Bach, Handel and Vivaldi, and lesser-known artists whose music is now being avidly collected and explored - Telemann, Charpentier and Leclair, among others. The Baroque period, one of the richest in Western music, provided the foundation for all subsequent musical development. Its enduring strength is amply attested by the popularity of today's "authentic" performances and recordings. Now this growing interest finds its proper complement in a complete and authoritative account of the Baroque heritage.

A complex four-way interaction is discovered between collinearity, the magnitude of non-focal variable slope parameters, diversity in covariate sets, and choice of meta-analytical methods. An applied example focusing on estimating the effects of albumin on mortality is also presented to complement the simulation results.