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We prove that the cohomology groups of an etale Q_p-local system on a smooth proper rigid analytic space are finite-dimensional Q_p-vector spaces, provided that the base field is either a finite extension of Q_p or an algebraically closed nonarchimedean field containing Q_p. This result manifests as a special case of a more general finiteness result for the higher direct images of a relative (phi, Gamma)-module along a smooth proper morphism of rigid analytic spaces over a mixed-characterstic nonarchimedean field.

We introduce a category of 'rigid spaces with overconvergent structure sheaf' which we call dagger spaces --- this is the correct category in which de Rham cohomology in rigid analysis should be studied. We compare it with the (usual) category of rigid spaces, give Serre and Poincar\'e duality theorems and explain the relation with Berthelot's rigid cohomology.

We introduce a sheaf of infinite order differential operators D-cap on smooth rigid analytic spaces that is a rigid analytic quantisation of the cotangent bundle. We show that the sections of this sheaf over sufficiently small affinoid varieties are Fr\'echet-Stein algebras, and use this to define co-admissible sheaves of D-cap-modules. We prove analogues of Cartan's Theorems A and B for co-admissible D-cap-modules.

I extend the framework of rigid analytic geometry to the setting of algebraic geometry relative to monoids, and study the associated notions of separated, proper, and overconvergent morphisms. The category of affine manifolds embeds as a subcategory defined by simple algebraic (normal) and topological (overconvergent) criteria. The affine manifold of a rigid space can be recovered either as a set of `Novikov field' points or as a universal Hausdorff quotient. After base change to any topological field, one obtains a `toric' analytic space that fibres over the affine manifold.

We give an overview of the theory of $\wideparen{\mathcal{D}}$-modules on rigid analytic spaces and its applications to admissible locally analytic representations of $p$-adic Lie groups.

In this paper, we study a deformation theory of rigid analytic spaces. We develop a theory of cotangent complexes for rigid geometry which fits in with our deformations. We then use the complexes to give a cohomological description of infinitesimal deformation of rigid analytic spaces. Moreover, we will prove an existence of a formal versal family for a proper rigid analytic space.

I extend the definitions of schemes relative to monoids with zero - and therefore, toric geometry - to the world of formal schemes. This expands the usual framework to include, for instance, models for Mumford's degenerating Abelian varieties. Following the usual toric paradigm, normal formal monoid schemes can be classified in terms of certain cone complexes, and their properties understood in combinatorial terms. I use this to give a simple algebraisation criterion. I also reformulate the traditional notions of separated and proper morphism in a manner amenable to the context of relative formal geometry, and give characterisations in terms of the topology of cone complexes.

The History of King Lear is an adaptation by Nahum Tate of William Shakespeare's King Lear. It first appeared in 1681, some seventy-five years after Shakespeare's version, and is believed to have replaced Shakespeare's version on the English stage in whole or in part until 1838. Unlike Shakespeare's tragedy, Tate's play has a happy ending, with Lear regaining his throne, Cordelia marrying Edgar, and Edgar joyfully declaring that "truth and virtue shall at last succeed." Regarded as a tragicomedy, the play has five acts, as does Shakespeare's, although the number of scenes is different, and the text is about eight hundred lines shorter than Shakespeare's. Many of Shakespeare's original lines are retained, or modified only slightly, but a significant portion of the text is entirely new, and much is omitted. The character of the Fool, for example, is absent. Although many critics — including Joseph Addison, August Wilhelm Schlegel, Charles Lamb, William Hazlitt, and Anna Jameson — condemned Tate's adaptation for what they saw as its cheap sentimentality, it was popular with theatregoers, and was approved by Samuel Johnson, who regarded Cordelia's death in Shakespeare's play as unbearable. Shakespeare's version continued to appear in printed editions of his works, but, according to numerous scholars, including A.C. Bradley and Stanley Wells, did not appear on the English stage for over a hundred and fifty years from the date of the first performance of Tate's play Actors such as Thomas Betterton, David Garrick, and John Philip Kemble, who were famous for the role of Lear, were portraying Tate's Lear, not Shakespeare's. (Summary by Wikipedia) <br/><br/><strong>Cast</strong><br>King Lear: <a href="http://librivox.org/reader/6446">Bob Gonzalez</a><br>Gloster: <a href="http://librivox.org/reader/3595">Martin Geeson</a><br>Kent: <a href="http://librivox.org/reader/3536">Arielle Lipshaw</a><br>Edgar: <a href="http://librivox.org/reader/6553">Dublin Gothic</a><br>Edmund, the Bastard: <a href="http://librivox.org/reader/1259">Elizabeth Klett</a><br>Cornwall: <a href="http://librivox.org/reader/5141">David Goldfarb</a><br>Cornwall's Servant/Old Man/Gentleman/Servant: <a href="http://librivox.org/reader/4705">Algy Pug</a><br>Albany: <a href="http://librivox.org/reader/6965">Noel Badrian</a><br>Burgundy/Physician: <a href="http://librivox.org/reader/7010">VikingJames</a><br>Goneril's gentleman: <a href="http://librivox.org/reader/6548">Kristingj</a><br>Attendant/Messenger: <a href="http://librivox.org/reader/7233">CJacobA</a><br>Arante/Herald: <a href="http://librivox.org/reader/6689">Tiffany Halla Colonna</a><br>First Ruffian/Officer: <a href="http://librivox.org/reader/7122">Nathaniel W. C. Higgins</a><br>Second Ruffian/Captain: <a href="http://librivox.org/reader/7247">Robert Hoffman</a><br>Gonerill: <a href="http://librivox.org/reader/3816">Bev J. Stevens</a><br>Regan: <a href="http://librivox.org/reader/6147">Liberty Stump</a><br>Cordelia: <a href="http://librivox.org/reader/5017">Miss Avarice</a><br>Narrator: <a href="http://librivox.org/reader/4705">Algy Pug</a><br>Introduction/Prologue/Dramatis Personae: <a href="http://librivox.org/reader/3595">Martin Geeson</a><br><br><strong>Audio edited by Phil Chenevert</strong>

Nahum Tate wrote this libretto to be set to music by Henry Purcell. It was first performed in 1689 and has become one of the most popular works in the Early Opera repertoire. For this recording the Prologue is read by a single narrator while the 3 Acts of the opera are dramatised in a spoken-word version. <br><br> The story is taken from Book IV of Virgil's Aeneid and relates the intense but ultimately tragic love affair between Dido, Queen of Carthage, and Aeneas, a survivor of the destruction of Troy who has been charged by the Gods with the task of travelling to Italy to found Rome. <br><br> (Summary by Alan Mapstone) <br><br> Cast of Characters: <br> Dido, Queen of Carthage: <a href="https://librivox.org/reader/17662">Inkell</a><br> Aeneas, a Trojan: <a href="https://librivox.org/reader/18171">Mathias Thorndal</a><br> Belinda: <a href="https://librivox.org/reader/3157">TriciaG</a><br> Woman attendant on Queen Dido: <a href="https://librivox.org/reader/6924">Rapunzelina</a><br> Sorceress: <a href="https://librivox.org/reader/10248">Estefanía Vidal</a><br> Inchantress: <a href="https://librivox.org/reader/10179">Sonia</a><br> Chorus: <a href="https://librivox.org/reader/17576">Beeswaxcandle</a><br> Narration: <a href="https://librivox.org/reader/7170">Alan Mapstone</a><br>