Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Research Through, With and As Storying explores how Indigenous and non-Indigenous scholars can engage with storying as a tool that disassembles conventions of research. The authors explore the concept of storying across different cultures, times and places, and discuss principles of storying and storying research, considering Indigenous, feminist and critical theory standpoints. Through the book, Phillips and Bunda provide an invitation to locate storying as a valuable ontological, epistemological and methodological contribution to the academy across disciplines, arguing that storying research gives voice to the marginalised in the academy. Providing rich and interesting coverage of the approaches to the field of storying research from Aboriginal and white Australian perspectives, this text seeks to enable a profound understanding of the significance of stories and storying. This book will prove valuable for scholars, students and practitioners who seek to develop alternate and creative contributions to the production of knowledge.

This book focuses on the main constructions with infinitives in sports newspaper articles in three different languages. To achieve this, three corpora of sports newspaper articles are contrasted, one corpus in English, one in Spanish and another one in French. Each corpus is constituted by fifty sports newspaper articles. These infinitive constructions are characterized from a syntactic-textual approach. The main roles identified in the corpora are: a) infinitive phrases in a noun role, b) infinitive phrases in a verb role: verbal periphrases, c) infinitive clauses with a junction purpose, d) independent constructions, e) lexicalized and grammaticalized infinitives. Furthermore, the most relevant similarities and differences in the infinitive constructions in each corpus are determined.

The prolific theatrical activity that abounded on the stages of early modern Europe demonstrates that drama was a genre that transcended national borders. The transnational character of early modern theater reflects the rich admixture of various dramatic traditions, such as Spain's comedia and Italy's commedia dell'arte, but also the transformations across cultures of Spanish novellas to French plays and English interludes. Of particular import to this study is the role that women and gender played in this cross-pollination of theatrical sources and practices. Contributors to the volume not only investigate the gendered effect of Spanish texts and literary types on English and French drama, they address the actual journeys of Spanish actresses to French theaters and of Italian actresses to the Spanish stage, while several emphasize the movement of royal women to various courts and their impact on theatrical activity in Spain and abroad. In their innovative focus on women's participation and influence, the chapters in this volume illustrate the frequent yet little studied transnational and transcultural points of contact between Spanish theater and the national theaters of England, France, Austria, and Italy.

Named to Kirkus Reviews Best Books of 2014 Named to School Library Journal Best Books of 2014 Gabi Hernandez chronicles her last year in high school in her diary: college applications, Cindy's pregnancy, Sebastian's coming out, the cute boys, her father's meth habit, and the food she craves. And best of all, the poetry that helps forge her identity. July 24 My mother named me Gabriella, after my grandmother who, coincidentally, didn't want to meet me when I was born because my mother was unmarried, and therefore living in sin. My mom has told me the story many, many, MANY, times of how, when she confessed to my grandmother that she was pregnant with me, her mother beat her. BEAT HER! She was twenty-five. That story is the basis of my sexual education and has reiterated why it's important to wait until you're married to give it up. So now, every time I go out with a guy, my mom says, "Ojos abiertos, piernas cerradas." Eyes open, legs closed. That's as far as the birds and the bees talk has gone. And I don't mind it. I don't necessarily agree with that whole wait until you're married crap, though. I mean, this is America and the 21st century; not Mexico one hundred years ago. But, of course, I can't tell my mom that because she will think I'm bad. Or worse: trying to be White. Isabel Quintero is a library technician in the Inland Empire. She is also the events coordinator for Orange Monkey and helps edit the poetry journal Tin Cannon. Gabi is her debut novel.

The Baroque Spanish stage is populated with virile queens and feminized kings. This study examines the diverse ways in which seventeenth-century comedias engage with the discourse of power and rulership and how it relates to gender. A privileged place for ideological negotiation, the comedia provided negative and positive reflections of kingship at a time when there was a perceived crisis of monarchical authority in the Habsburg court. Author MarA a Cristina Quintero explores how playwrights such as Pedro CalderA(3)n de la Barca, Tirso de Molina, Antonio Coello, and Francisco Bances Candamo--taking inspiration from legend, myth, and history--repeatedly staged fantasies of feminine rule, at a time when there was a concerted effort to contain women's visibility and agency in the public sphere. The comedia's preoccupation with kingship together with its obsession with the representation of women (and women's bodies) renders the question of royal subjectivity inseparable from issues surrounding masculinity and femininity. Taking into account theories of performance and performativity within a historical context, this study investigates how the themes, imagery, and language in plays by CalderA(3)n and his contemporaries reveal a richly paradoxical presentation of gendered monarchical power.

The prolific theatrical activity that abounded on the stages of early modern Europe demonstrates that drama was a genre that transcended national borders. The transnational character of early modern theater reflects the rich admixture of various dramatic traditions, such as Spain's comedia and Italy's commedia dell'arte, but also the transformations across cultures of Spanish novellas to French plays and English interludes. Of particular import to this study is the role that women and gender played in this cross-pollination of theatrical sources and practices. Contributors to the volume not only investigate the gendered effect of Spanish texts and literary types on English and French drama, they address the actual journeys of Spanish actresses to French theaters and of Italian actresses to the Spanish stage, while several emphasize the movement of royal women to various courts and their impact on theatrical activity in Spain and abroad. In their innovative focus on women's participation and influence, the chapters in this volume illustrate the frequent yet little studied transnational and transcultural points of contact between Spanish theater and the national theaters of England, France, Austria, and Italy.

The methods for teaching mathematics usually follow the structure of mathematics. The problem with this is that the structure of mathematics took centuries of elaboration to develop and is not the same as how one originally experiences mathematics. Based on research of how mathematics is actually learned, this book presents an innovative approach for teaching mathematics that will engage pupils and can have lifelong benefits for how they take on board more advanced mathematical topics.Math Makes Sense! makes use of the realistic mathematics education (RME) philosophy, which bridges the gap between informal mathematics learning (such as in day-to-day life) and more formal teaching in school. Many real-life situations as examples for learning are included, as well as different mathematical and logic puzzles that will stimulate learning and foster understanding.The ideas presented are not confined to one national curriculum and so can be helpful worldwide to teachers/ instructors (both in practice and those still in training), private tutors, homeschooling parents, and educational researchers.

The methods for teaching mathematics usually follow the structure of mathematics. The problem with this is that the structure of mathematics took centuries of elaboration to develop and is not the same as how one originally experiences mathematics. Based on research of how mathematics is actually learned, this book presents an innovative approach for teaching mathematics that will engage pupils and can have lifelong benefits for how they take on board more advanced mathematical topics.Math Makes Sense! makes use of the realistic mathematics education (RME) philosophy, which bridges the gap between informal mathematics learning (such as in day-to-day life) and more formal teaching in school. Many real-life situations as examples for learning are included, as well as different mathematical and logic puzzles that will stimulate learning and foster understanding.The ideas presented are not confined to one national curriculum and so can be helpful worldwide to teachers/ instructors (both in practice and those still in training), private tutors, homeschooling parents, and educational researchers.

Storying Learning in Early Childhood documents philosophical, research, and critical questions about notions of childrens' experiences and learning potential that heavily influence the profession. Critically created, child-centered curriculum and assessment collaborations focus on contexts of homes, schools, and communities. This book brings into focus policy issues, economic issues, and political realities that affect us all as we engage in curriculum and assessment. Patterns of findings under the foci of critical, responsive curriculum and authentic assessment for all children have illustrated new questions, provoked new trajectories of informants, and reiterated connections to dynamic issues in early childhood internationally. The work involved in curriculum and assessment points to international discussions about what is "quality" in early care and education and who has the power to decide. These international dynamics highlight the inevitable connections among programs for young children, policies, and politics. Further consideration regarding multiple histories, strengths, and needs of young children also illustrate little-discussed refugees and migrating people around the world - and their children - who are growing and experiencing life wherever they are living in a variety of situations with or without support.

This is a book about story, the human experience, teaching and learning, creativity and community. Story is so much more than decoding text and writing using academic language. It also includes literature and all forms of the arts; digital forms of story, from social media to documentation of history; and new forms of multilayered, multigenre research. Story is the backbone and the catalyst for personal connections, appropriation of knowledge, and synergy of knowledge for global citizens. Critical qualitative research is the methodology by which to document and analyze what is really going on in the complex, multidirectional interactions. The authors maintain that story in a broad and newly enlightened sense may help us to break out from the narrow concepts of literacy, content knowledge related to measureable standards, and random facts that are unrelated to dispositions for addressing human needs. Literacy as a conceptual synthesis of knowledge, skills, and dispositions has been giving us glimpses of synergistic ways to approach learning and teaching.

This is a book about story, the human experience, teaching and learning, creativity and community. Story is so much more than decoding text and writing using academic language. It also includes literature and all forms of the arts; digital forms of story, from social media to documentation of history; and new forms of multilayered, multigenre research. Story is the backbone and the catalyst for personal connections, appropriation of knowledge, and synergy of knowledge for global citizens. Critical qualitative research is the methodology by which to document and analyze what is really going on in the complex, multidirectional interactions. The authors maintain that story in a broad and newly enlightened sense may help us to break out from the narrow concepts of literacy, content knowledge related to measureable standards, and random facts that are unrelated to dispositions for addressing human needs. Literacy as a conceptual synthesis of knowledge, skills, and dispositions has been giving us glimpses of synergistic ways to approach learning and teaching.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.