Five feature-length action adventures based on the Marvel comic.

In 'X-Men' (2000), mutants Professor Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) are former friends, but look set to become mortal enemies when fascist US senator Robert Frank Kelly calls for the registration of all humans with abnormal powers. While telepath Xavier, who runs an altruistic academy for superhuman 'X-Men', wishes to enlighten non-mutants and break down the prejudices which divide them, Magneto believes that the only solution is for the mutants to take over. Wolverine (Hugh Jackman) - an aggressive loner with an admantium skeleton and the ability to heal his body of any wound - and teenager Rogue (Anna Paquin), who can absorb the life force of others simply by touching them, are selected by Xavier to join his academy, but it isn't long before Magneto's followers are attempting to capture them so that they can assist in his plan for world domination.

In the sequel, 'X-Men 2' (2003), Xavier, Wolverine and the X-Men find themselves in the firing line after a failed assassination attempt on the president points the finger at the school. It was in fact the mysterious teleporter Nightwalker (Alan Cumming) who ordered it, and, in an attempt to clear their names, the X-Men are led into a trap set by the evil William Stryker (Brian Cox), a mysterious scientist apparently working for the government. As it soon becomes evident that Stryker's agenda is to destroy all mutants, the X-Men need to call in the help of many of their old friends and foes, including Magneto, if they are to stop him.

In the third film, 'X-Men: The Last Stand' (2006), the mutants are given the option of giving up their powers and becoming human after a private laboratory supported by the government finds a way to use the DNA of a powerful boy to correct the mutants. However, Magneto opposes and decides to join a force to fight against the government and kill the mutant boy. Meanwhile, Jean Grey (Famke Janssen) resurrects, uncontrolled by Xavier, and with the personality of the powerful Dark Phoenix. She destroys Cyclops (James Marsden) and Xavier and allies herself to the evil forces of Magneto, making them almost invincible.

The fourth film in the franchise, 'X-Men: Origins - Wolverine' (2009) is a prequel to the other three films. Hugh Jackman reprises his role as Wolverine, who, some 20 years before the action of the original movie, is seeking revenge on his half-brother Victor Creed (Liev Schreiber) for the death of his girlfriend, and eventually signs up to the ominous Weapon X programme.

Finally, 'X-Men: First Class' (2011) charts the beginning of the saga, following Professor X (James McAvoy) and Magneto (Michael Fassbender) through their formative years in the 1960s as they come to terms with their newfound superpowers. Initially close friends who work together to fight against evil, the two men are driven apart by a conflict of opinion that ultimately leads to the eternal war between Magneto's Brotherhood and Professor X's X-Men.

Superhero action prequel to the first three 'X-Men' movies. The film charts the beginning of the saga, following Professor X (James McAvoy) and Magneto (Michael Fassbender) through their formative years in the 1960s as they come to terms with their newfound superpowers. Initially close friends who work together to fight against evil, the two men are driven apart by a conflict of opinion that ultimately leads to the eternal war between Magneto's Brotherhood and Professor X's X-Men. Kevin Bacon, January Jones and Rose Byrne co-star.

Superhero action prequel to the first three 'X-Men' movies. The film charts the beginning of the saga, following Professor X (James McAvoy) and Magneto (Michael Fassbender) through their formative years in the 1960s as they come to terms with their newfound superpowers. Initially close friends who work together to fight against evil, the two men are driven apart by a conflict of opinion that ultimately leads to the eternal war between Magneto's Brotherhood and Professor X's X-Men. Kevin Bacon, January Jones and Rose Byrne co-star.

From the Romantic fascination with hallucinatory poetics to the turn-of-the-century mania for automatic writing, poetry in nineteenth-century Britain appears at crucial times to be oddly involuntary, out of the control of its producers and receivers alike. This elegant study addresses the question of how people understood those forms of written creativity that seem to occur independently of the writer's will. Through the study of the century's media revolutions, evolving theories of physiology, and close readings of the works of nineteenth-century poets including Wordsworth, Coleridge and Tennyson, Ashley Miller articulates how poetry was imagined to promote involuntary bodily responses in both authors and readers, and how these responses enlist the body as a medium that does not produce poetry but rather reproduces it. This is a poetics that draws attention to, rather than effaces, the mediacy of the body in the processes of composition and reception.

Thor spans the Marvel Universe from present day Earth to the realm of Asgard. At the center of the story is the mighty Thor, a powerful but arrogant warrior whose reckless actions reignite an ancient war.

Thor is cast down to Earth by his father Odin and is forced to live among humans. A beautiful, young scientist, Jane Foster, has a profound effect on Thor, as she ultimately becomes his first love.

It's while here on Earth that Thor learns what it takes to be a true hero when the most dangerous villain of his world sends the darkest forces of Asgard to invade Earth.

From the Romantic fascination with hallucinatory poetics to the turn-of-the-century mania for automatic writing, poetry in nineteenth-century Britain appears at crucial times to be oddly involuntary, out of the control of its producers and receivers alike. This elegant study addresses the question of how people understood those forms of written creativity that seem to occur independently of the writer's will. Through the study of the century's media revolutions, evolving theories of physiology, and close readings of the works of nineteenth-century poets including Wordsworth, Coleridge and Tennyson, Ashley Miller articulates how poetry was imagined to promote involuntary bodily responses in both authors and readers, and how these responses enlist the body as a medium that does not produce poetry but rather reproduces it. This is a poetics that draws attention to, rather than effaces, the mediacy of the body in the processes of composition and reception.

This book provides a practically applicable guide to the use of ultrasound in the care of acutely and critically ill patients. It is laid out in two sections. The first section attempts to take a comprehensive approach to specific systems of examination taking an organ focused approach covering techniques including Focussed Assessment with Sonography for Trauma (FAST) scanning and venous sonography. The second section presents a range of specific cases enabling the reader to develop an understanding of how to apply these methodologies effectively into their day-to-day clinical practice. Ultrasound in the Critically Ill: A Practical Guide describes how to use ultrasound technologies in day-to-day clinical practice. Therefore, it is an ideal resource for all trainee and practicing physicians who utilize these technologies on a day-to-day basis.