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.

Do you identify with dental phobia? Do you like people-watching? Do you have anxieties in hospital outpatient departments? Do you enjoy touches of anthropomorphism? Grey Silk is a collection of short stories written, according to the author, over far too many years. They have grown dust in the far reaches of a laptop and have, at last, shaken the mouldy bits off and surfaced, hopefully free of the smells of mustiness. It is a mixed bag of Cornish memories, mice and Latin, pig abduction, incontinence with a touch of Gilbert & Sullivan spoofishness, and alternative farming in a stately home. Add in some gruesome infection and a bit of garden sluggery, tinged with the loss of colour in a depressing world. Some tales give rise to nostalgia, some are ridiculously daft, one is a homage to Alfred Hitchcock, two made the author feel distinctly uncomfortable, and at least one has a cringe factor about it. There are some to make you think, some to try and stop you thinking, some to make you smile, and one that may leave you with a sense of sadness about an imaginary dystopian state that has a hopelessness about wishing for the "unwishable". It is perhaps up to the reader to guess which of any of these labels may fit the written words.

Drawing from early modern plays and treatises on the precepts and practices of the acting process, this study shows how the early modern Spanish actress subscribed to various somatic practices in an effort to prepare for a role. It provides today's reader not only another perspective to the performance aspect of early modern plays, but also a better understanding of how the woman of the theater succeeded in a highly scrutinized profession. Elizabeth Marie Cruz Petersen examines examples of comedias from playwrights such as Lope de Vega, Luis Velez de Guevara, Tirso de Molina, and Ana Caro, historical documents, and treatises to demonstrate that the women of the stage transformed their bodies and their social and cultural environment in order to succeed in early modern Spanish theater. Women's Somatic Training in Early Modern Spanish Theater is the first full-length, in-depth study of women actors in seventeenth-century Spain. Unique in the field of comedia studies, it approaches the topic from a performance perspective, using somaesthetics as a tool to explain how an artist's lived experiences and emotions unite in the interpretation of art, reconfiguring her "self" via the transformation of habit.

To explore literary silence is to explore the relationships between literary texts and the silence of the ineffable. It is to enquire what dynamics texts develop as they strive to 'say the unsayable', and it is to think literature as a silence that speaks itself. This study describes these literary and silent dynamics through readings of Pascal's Pensees, Rousseau's Reveries, and Beckett's trilogy Molloy, Malone meurt, and L'Innommable. It contributes to our understanding of three major writers and challenges our idea of what silence is. The subject of silence and of the ineffable has a long philosophical and critical tradition. A careful study of this tradition reveals the dominance of a limiting dualistic understanding of silence and its relationship to noise or language: silence becomes the negative other, the beyond, about which there remains nothing to say. The study of literary silence seeks rather to trace a language that becomes its own silence. It compromises the attempt to think a silence that moves within and through texts, that is inherent to the literary expression. Central to this theoretical endeavour are thinkers like Derrida, Deleuze, Gadamer, and Vattimo (among several others). The theoretical understanding of silence permits an effective methodology for reading literary silence. Notions of repetition, the aporia and the implosion, which are developed in reference to Kierkegaard and Bataille, describe textual strategies of literary silence and structure the readings. Finally, the reading of literary silence has its point of reference in writers like Mallarme, Blanchot, and Beckett. It is their texts that have taught us to become topological readers, to move in and out of texts' movements; they have shown us how the literary expression is irreducible to linear, meaning oriented language. As readers of such texts we have been prepared to read the dynamics of the unsayable, and finally to start discerning the silences of the literary.

Drawing from early modern plays and treatises on the precepts and practices of the acting process, this study shows how the early modern Spanish actress subscribed to various somatic practices in an effort to prepare for a role. It provides today's reader not only another perspective to the performance aspect of early modern plays, but also a better understanding of how the woman of the theater succeeded in a highly scrutinized profession. Elizabeth Marie Cruz Petersen examines examples of comedias from playwrights such as Lope de Vega, Luis Velez de Guevara, Tirso de Molina, and Ana Caro, historical documents, and treatises to demonstrate that the women of the stage transformed their bodies and their social and cultural environment in order to succeed in early modern Spanish theater. Women's Somatic Training in Early Modern Spanish Theater is the first full-length, in-depth study of women actors in seventeenth-century Spain. Unique in the field of comedia studies, it approaches the topic from a performance perspective, using somaesthetics as a tool to explain how an artist's lived experiences and emotions unite in the interpretation of art, reconfiguring her "self" via the transformation of habit.

Newly orphaned Peggy Grahame is caught off-guard when she first arrives at her family’s ancestral estate. Her eccentric uncle Enos drives away her only new acquaintance, Pat, a handsome British scholar, then leaves Peggy to fend for herself. But she is not alone. The house is full of mysteries—and ghosts. Soon Peggy becomes involved with the spirits of her own Colonial ancestors and witnesses the unfolding of a centuries-old romance against a backdrop of spies and intrigue and of battles plotted and foiled. History has never been so exciting—especially because the ghosts are leading Peggy to a romance of her own!

Der Band dokumentiert die Tagung "Digitale NAWIgation von Inklusion" und bindet Theorie an Praxis. Als eine erste nationale Konferenz stellten sich Veranstalter und Beitragende der Frage, wie mit digitalen Werkzeugen im Naturwissenschaftsunterricht inklusive Lernumgebungen geschaffen werden koennen. Entstanden ist ein UEberblick uber aktuelle Bestrebungen in Deutschland, der Schweiz und den USA mit Fokus auf der Verbindung von Theorie und Praxis sowie der Nutzbarmachung der erprobten Ansatze fur die Umsetzung in Schule und Unterricht.