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.

Jane Austen and Co. explores the ways in which classical novels -- particularly, but not exclusively, those of Jane Austen -- have been transformed into artifacts of contemporary popular culture. Examining recent films, television shows, Internet sites, and even historical tours, the book turns from the question of Austen's contemporary appeal to a broader consideration of other late-twentieth-century remakes, including Dangerous Liaisons, Dracula, Lolita, and even Buffy the Vampire Slayer. Taken together, the essays in Jane Austen and Co. offer a wide-ranging model for understanding how all of these texts -- visual, literary, touristic, British, American, French -- reshape the past in the new fashions, styles, media, and desires of the present.

This edited collection brings together essays presenting an interdisciplinary dialogue between theatre and performance and the fields of care ethics, care studies, health and social care. The book advances our understanding of performance as a mode of care, challenging existing debates in this area by re-thinking the caring encounter as a performed, embodied experience and interrogating the boundaries between care practice and performance. Through an examination of a wide range of different care performances drawn from interdisciplinary and international settings, the book interrogates how performance might be understood as caring or uncaring, careless or careful, and correlatively how care can be conceptualised as artful, aesthetic, authentic or even 'fake' and 'staged'. -- .

Sets out a clear argument for care and caregiving as an aesthetic experience and aesthetic act. Written for all advanced students of nursing and applied theatre, as well as professionals in care, nursing and dramatherapy. The first and only book to advance this concept, disturbing the boundaries of artistic and care practice.