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Stage combat is a constantly evolving craft, responsive to the
growing demands of an ever changing industry and an ever more
perceptive audience. Experienced fight director, teacher and
examiner Philip d'Orleans shows how to respond to this challenge
through innovative techniques. Unarmed Stage Combat explores the
fundamental performance principles of violence on stage, before a
dedicated series of chapters focus on over forty specific unarmed
combat techniques, including non-contact slaps, punches, kicks and
chokes as well as controlled contact and the illusion of falling.
Each technique is beautifully illustrated with step-by-step photos
and detailed practical guidance through the preparation, action and
reaction to the movement, as well as the key safety principles,
common pitfalls and staging variables. Supported by stunning fight
photos from professional productions, this indispensable handbook
is equally as valuable for beginners at the start of their career
or preparing for their fight performance exam as it will be for
seasoned professionals seeking to refresh their knowledge.
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.
Cette uvre (edition relie) fait partie de la serie TREDITION
CLASSICS. La maison d'edition tredition, basee a Hambourg, a publie
dans la serie TREDITION CLASSICS des ouvrages anciens de plus de
deux millenaires. Ils etaient pour la plupart epuises ou uniquement
disponible chez les bouquinistes. La serie est destinee a preserver
la litterature et a promouvoir la culture. Avec sa serie TREDITION
CLASSICS, tredition a comme but de mettre a disposition des
milliers de classiques de la litterature mondiale dans differentes
langues et de les diffuser dans le monde entier.
Angiotensin converting enzyme inhibitors (ACEI) represent the first
class of antihypertensive agents that was designed and developed on
the basis of a well-defined physiopathological axis of arterial
hypertension, a vascular dis order that is now becoming one of the
major causes of morbidity/mortality, not only in developed
societies but also in the highly populated developing coun tries
[1]. CAPTOPRIL, the prototype of the "PRIL" family, which now
comprises more than 40 molecule-species, was quite hazardous and
the clinical develop ment almost failed when serious side-effects
were reported in an alarmist fash ion in reputable scientific
journals, such as the New England Journal of Medicine and Lancet.
Squibb & Sons came very close to withdrawing CAPTOPRIL from
clinical investigation [2]. However, after re-examination of the
data obtained from different categories of patients and appropriate
dose-adjustments, the clinical use of CAPTOPRIL turned out to be
revolutionary. The prototype, as well as other members of the
"PRIL" family became the starting point for numerous basic and
clinical research programs, focusing on the interactions of ACEI
with the kinin, endothelin, and nitric oxide systems, and the
contribution of the receptors for AT I, AT 2, bradykinin Bland B ,
ETA and ET B to the pharmacological actions 2 of the respective
peptides. This research activity led to the development of new
pharmacological agents, such as the angiotensin receptor
antagonists and, more recently, the neutral endopeptidase
inhibitors. In the near future, bradykinin receptor antagonists
also will be available to modulate ACEI phar macological actions.
In seventeenth-century France, aristocratic women were valued by
their families as commodities to be married off in exchange for
money, social advantage, or military alliance. Once married, they
became legally subservient to their husbands. The duchesse de
Montpensier--a first cousin of Louis XIV--was one of very few
exceptions, thanks to the vast wealth she inherited from her
mother, who died shortly after Montpensier was born. She was also
one of the few politically powerful women in France at the time to
have been an accomplished writer.
In the daring letters presented in this bilingual edition,
Montpensier condemns the alliance system of marriage, proposing
instead to found a republic that she would govern, "a corner of the
world in which . . . women are their own mistresses," and where
marriage and even courtship would be outlawed. Her pastoral utopia
would provide medical care and vocational training for the poor,
and all the homes would have libraries and studies, so that each
woman would have a "room of her own" in which to write books.
Joan DeJean's lively introduction and accessible translation of
Montpensier's letters--four previously unpublished--allow us
unprecedented access to the courageous voice of this extraordinary
woman.
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