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.

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.

This book provides practical help and guidance for non-native English-speaking higher education lecturers faced with the need to deliver lectures and seminars in English. It builds on the authors' years of experience as researchers and teacher trainers in the area of English Medium Instruction (EMI), combining practical advice and research findings with useful case studies from different global settings, including Australia, China, Hong Kong, Slovakia, Spain, the UK and the USA, and a range of subject areas, such as philosophy, mathematics and genetics. The authors present an overview of what generally happens when university teachers make the transition to teaching in English. After dispelling some common myths and setting out priorities, Ruth Breeze and Carmen Sancho Guinda move on to explain how practitioners can prepare to give lectures and interact with both local and international students effectively in English, tackling difficult issues, such as encouraging participation, promoting creativity and critical thinking, and evaluating written student work. The final chapters address good practices in EMI, proposing ways to achieve excellence in global settings.

This interdisciplinary collection explores how cinema calls into question its own frame of reference and, at the same time, how its form becomes the matter of its thought. Building on the axiom (cherished by philosophers of cinema from Epstein to Deleuze) that cinema is a medium that thinks in conjunction with its spectators, this book examines how various forms of the cinematic rethink and redraw the terrain of traditional disciplines, thereby enabling different modes of thought and practice. Areas under consideration by a range of leading academics and practitioners include architecture, science, writing in a visual field, event-theory and historiography.

The Life Eclectic is a stunning interiors book that celebrates the individuality of eclectic decorating styles through 15 homes of creatives from around the world. Featuring homes of the world's most well-respected creatives, including Studio MacLean, Manfredi della Gherardesca and Martin Brudnizki, The Life Eclectic is a celebration of individuality, and embracing the joy that fluidity in taste can bring. How often have you leafed through an interiors book and wondered how you might be able to recreate the eclectic, joyful and chic style of famed designers, when your mis-match belongings seem to juxtapose in all the wrong ways? The Life Eclectic is an interiors book that through carefully selected case studies of homes from the UK, US, Australia, France and Denmark, shows how highly regarded designers, artists, gallerists and writers curate their treasured (and varied) possessions to glorious effect.

To do feminism and to be a feminist in higher education is to repeat oneself: to insist on gender equality as more than institutional incorporation and diversity auditing, to insert oneself into and against neoliberal measures, and to argue for nuanced intersectional feminist analysis and action. This book returns to established feminist strategies for taking up academic space, re-thinking how feminists inhabit the university and pushing back against institutional failures. The authors assert the academic career course as fundamental to understanding how feminist educational journeys, collaborations and cares and ways of knowing stretch across and reconstitute academic hierarchies, collectivising and politicising feminist career successes and failures. By prioritising interruptions, the book navigates through feminist methods of researcher reflexivity, autoethnography and collective biography: in doing so, moving from feminist identity to feminist practice and repeating the potential of queer feminist interruptions to the university and ourselves.

This book explores seriousness in practice in the unique sports context of contemporary women's flat track roller derby. The author presents a stimulating argument for a sociology of seriousness as a productive contribution to understandings of gender, organization and the mid-ranges of agency between dichotomies of voluntarism and determinism.