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.

Flora White: In the Vanguard of Gender Equity draws on a collection of personal papers (only recently made available to scholars) to present the life of a colorful New England educator who lived from the Civil War to the Cold War. Throughout her career, White worked to promote the physical and intellectual growth of girls and young women beyond the narrow gender stereotypes of the day. Although White's name is not a household word, this book represents a newer form of biography in which the life of a lesser-known individual serves as a lens for understanding larger social and cultural developments. In Flora White's case, this newer biographical approach produced findings to inform research in both educational history and gender studies. For example, White's papers correct some longstanding misconceptions about the origins of the progressive education movement and the role women played in it. White's sources also shed light on the complicated relationships of educated (but marginalized) U.S. women and the prominent men who mentored them. In addition, White's papers show that--in order to protect herself from those who might find her words objectionable-she used coded language (such as poetry) to counter sexist stereotypes and advance her desire for a fuller life for her students and herself. Although, upon her death, a newspaper obituary praised White for being recognized by "men of note" in educational circles, her efforts to promote the physical and intellectual development of girls and women helped to create opportunity that is still unfolding today.

Is there any way to talk theologically about the Trinity and place? What might the 'placedness' of creation have to do with God's triunity? In The Place of the Spirit, Sarah Morice-Brubaker considers how anxieties about place have influenced Trinitarian theology - both what it is asked to do and the language in which it is expressed. When one is nervous about collapsing God into created horizons, she suggests, one is apt to come up with a model of Trinity that refuses place. Distance becomes a primary way of situating the divine persons in relations to each other. Conversely, theologians who wish to avoid a too-remote God likewise recruit Trinitarian language to suit that purpose. They, too, use language that encourages the importance of place, expressing triunity in terms of coinherence and mutual indwelling. And yet, suggests Morice- Brubaker, the question has received full-on attention in other areas of ethics, philosophy, and systematic theology. The Place of the Spirit calls for Trinitarian thought to avail itself of those insights and offers some ways in which it may do so.

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.

A comprehensive review of the scientific and clinical aspects of acute and chronic cough, this reference focuses on recent developments in our understanding of the molecular biology of putative cough receptors, the neural mechanisms involved in the afferent and efferent limbs, the central processing of the cough reflex, and peptides and other substances that may mediate or modulate the cough reflex. With chapters written by acknowledged authorities in the field, this handbook covers current and potential therapeutic agents, various methodologies to measure cough reflex sensitivity, and clinical approaches for the assessment of chronic cough in adults and children.

Coordinate Colleges for American Women: A Convergence of Interests, 1947-78 explores the history of the coordinate college-a separate school of higher learning for women connected to an older, all-male institution. This book places special emphasis on three (previously all-male) liberal arts colleges located in the Midwest and upstate New York. They established women's coordinate colleges in the years following World War II, but ended them by 1980, becoming fully coeducational. The author draws on new primary sources to show that, in each case, a coordinate college was created to meet the converging interests of the founding institution-not to improve the education of women. The work is set in the context of four major social movements during the mid-to-late twentieth century involving civil rights, student rights, antiwar protest, and women's liberation.

This book brings together 10 experiments which introduce historical perspectives into mathematics classrooms for 11 to 18-year-olds. The authors suggest that students should not only read ancient texts, but also should construct, draw and manipulate. The different chapters refer to ancient Greek, Indian, Chinese and Arabic mathematics as well as to contemporary mathematics. Students are introduced to well-known mathematicians-such as Gottfried Leibniz and Leonard Euler-as well as to less famous practitioners and engineers. Always, there is the attempt to associate the experiments with their scientific and cultural contexts. One of the main values of history is to show that the notions and concepts we teach were invented to solve problems. The different chapters of this collection all have, as their starting points, historic problems-mathematical or not. These are problems of exchanging and sharing, of dividing figures and volumes as well as engineers' problems, calculations, equations and congruence. The mathematical reasoning which accompanies these actions is illustrated by the use of drawings, folding, graphical constructions and the production of machines.

Coordinate Colleges for American Women: A Convergence of Interests, 1947-78 explores the history of the coordinate college-a separate school of higher learning for women connected to an older, all-male institution. This book places special emphasis on three (previously all-male) liberal arts colleges located in the Midwest and upstate New York. They established women's coordinate colleges in the years following World War II, but ended them by 1980, becoming fully coeducational. The author draws on new primary sources to show that, in each case, a coordinate college was created to meet the converging interests of the founding institution-not to improve the education of women. The work is set in the context of four major social movements during the mid-to-late twentieth century involving civil rights, student rights, antiwar protest, and women's liberation.

Jean Renoir directs this musical comedy drama set amidst the glittering nightlife of late 19th-century Paris. Jean Gabin stars as theatre impresario Henri Danglard, who plans to base his new club - the Moulin Rouge - around a modern reinvention of traditional cancan dancing. To this end, he hires pretty young washerwoman Nini (Francoise Arnoul) with a view to harnessing her natural talents and making her the star of the show. But Henri's attentions to Nini soon ignite the jealousy of his bellydancer lover Lola (Maria Felix).