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.

When the world stopped, all hopes rested on finding a vaccine. An unlikely team answered the call. Before Covid-19 was even given its name, a select group of scientists in Germany, assembled by married couple and decades-long research partners Uğur Şahin and Özlem Türeci, began building 20 potential vaccines. As the deadly disease spread from country to country, what followed was a desperate race against time to conduct rigorous tests and clinical trials, whilst navigating political interference and seeking the support of the pharmaceutical industry. Shedding a light on the science behind the breakthrough, The Vaccine tells the story of the trailblazers who led the fightback against Covid-19, whose discoveries could now help the world tackle cancer, along with many other pervasive diseases. It draws back the curtain on one of the most important medical achievements of our age, containing contributions from the fascinating couple themselves, as well as more than 60 scientists, politicians, public health officials, and BioNTech staff. More suspenseful than a novel, this is a real-life story of an extraordinary race against time to save the world.

U. A. Fanthorpe was that rarest of literary beings, a poet who was hugely popular with the general public and at the same time very seriously regarded by fellow poets and literary critics for her originality, wit and humanity. Since her death, much of her work has been out of print. Selected Poems, chosen from over thirty years of Fanthorpe's distinctive and accessible writing by her partner R V Bailey, will delight all her existing fans as well as those who come to her poems for the first time.

Berowne's Book was written by U. A. Fanthorpe before she began to write the poetry that was to make her reputation as one of England's most popular contemporary poets. 'In 1974, having found that the way to get a job was to conceal my qualifications,' she wrote, 'I contrived to be taken on as a clerk/receptionist in a small hospital.' As a patient at the Radcliffe when she was a student at Oxford, she'd formed a cheerful view of life in a hospital, but a neuro-psychiatric hospital provided very different experiences. It was the shock of discovering this that tipped her over into poetry. 'Poetry' she said, 'struck during my first month behind the desk'. With Berowne's Book she had already written a witty commentary on what she saw around her as she typed. Her observations are accompanied here by some of her very earliest poems. Hilarious, tender, profound and deeply humane, this series of snapshots of hospital life in the 1970s shocks partly because so much is immediately familiar today.

U.A. Fanthorpe's Christmas Poems gathers together the poems she wrote and sent to friends as Christmas cards from 1974 to 2002. Now readers can enjoy Fanthorpe's yearly output in its entirety. Her subject matter covers a broad range of seasonal characters, from angels to personified Christmas trees, and a variety of styles to match, from moments of beautiful lyricism to the comically touching Gloucestershire foxes begging baby Jesus to visit: 'Come live wi we under Westridge / Where the huntin folk be few'. Fanthorpe is witty and highly original, rethinking the Christmas story from quirky angles, to create her own alternative Christmas legend from the cat and the sheep-dog left out of the stable, to the wicked fairy's gifts for Jesus. Above all, these poems are celebrations of Christmas joy and love."

The Myth of the Year reveals the astronomy underlying Celtic and Greek mythology using the calendar of the Druids discovered in Coligny, France and the Sacred Calendar of Eleusis of ancient Greece. The myths of the ancients follow the seasons through the constellations illuminating the path of knowledge our ancestors lived throughout their year. To fully explain the meaning of these seasonal myths, the origin of the goddesses and the gods are traced to their Neolithic roots using Marija Gimbutas' archetypes of the Neolithic Pantheon. Indo-European adaptations made to some of the major deities are also discussed providing a profile of the evolution of the ancient goddesses and gods from Neolithic times to their present representations in the night sky. Besides linking astronomy to mythology, The Myth of the Year presents an effective and carefully researched path of ancient knowledge viable as a source of patterns of the sky, the earth, the moon, and the sun, meticulously plotted through eons of ancient knowledge.

Over twenty years the ground-breaking anthology This Bridge Called my Back challenged feminists to envision new forms of communities and practices, Gloria E. Anzaldua and AnaLouise Keating have brought together an ambitions new collection of over eighty original contributions offering a bold new vision of women-of-colour consciousness for the twenty-first century. Through personal narratives, theoretical essays, textual collage, poetry, letters, artwork and fiction, This Bridge we Call Home examines and extends the discussion of issues at the centre of the first Bridge such as classism, homophobia, racism, identity politics, and community building, while exploring the additional issues of third world wave feminism, native sovereignty and lesbian pregnancy and mothering, transgendered issues, Arab-American stereotyping, Jewish identities, spiritual activism, and surviving academe. Written by women and men - both of colour and 'white', located inside and outside the United States - and motivated by a desire for social justice, This Bridge We Call Home invites feminists of all colours and genders to develop new forms of transcultural dialogues, practices, and alliances. Building on and pushing forward the revolutionary call for transformation announced over two decades ago, This Bridge We Call Home, will challenge readers to rethink existing categories and invent new individual and collective identities.

Denmark has long since written international design history. Today, Danish furniture, textiles, and home appliances and utensils from the sixties and seventies are more popular than ever. The beautiful pieces are meanwhile for sale at design galleries and have become a rarity at flea markets. In short, Nordic items for everyday use have become internationally sought-after trophies for sophisticates. This publication provides an extensive overview of those everyday objects that have to this day written design history both in Denmark as well as worldwide. Along with thirty-two leading scholars and journalists, the head of the library and research at the Designmuseum Danmark in Copenhagen, Lars Dybdahl, advances into the fascinating history of the individual objects. Playfully presented and situated in their historical context, the catalogue sheds new light on this unique world of objects.

The author explores the thought of one of the most important contemporary philosophers, Axel Honneth, in his attempt to develop a critical theory of society and to develop a third way between liberalism and republicanism. At the heart of this attempt is the concept of recognition, which is explored in all its multiple dimensions in order to develop a new image of subject, society, and freedom.

Contents References 11 II. A short historical survey 13 References 16 III. Ribosomes within the cell 20 1. Proportion of ribosomes in tissues 21 2. Free and membrane-bound ribo- mes 22 3. Ribosomes in nucleoli 26 4. Structure of polysomes in the cell 26 5. Ribosomal crystals 33 6. References 33 IV. Some general properties of ribosomes 41 1. Physical characteristics 41 2. Chemical characteristics 43 3. References 44 V. Morphology of ribosomes and poly- somes 47 1. Electron microscopy 47 a) The small ribosomal subunit 48 b) The large ribosomal subunit 48 c) The monomeric ribosome 52 d) Three-dimensional models 54 e) Polysomes 55 2. Small-angle X-ray scattering 55 a) The monomeric ribosome 56 b) Polysomes 57 3. References 57 VI. Chemical components 61 1. Ribosomal proteins 61 a) Electrophoretic separation and num- ber 61 b) Preparation of single ribosomal pro- teins 67 c) Molecular weights 68 d) Amino acid composition and amino acid sequences 71 e) Stoichiometry 71 f) Posttranslational modifications 72 g) Comparison of ribosomal proteins of different tissues 73 h) Species specificities and evolution 74 i) Ribosomal proteins of mitochondria and chloroplasts 75 k) Ribosomal mutants with altered pro- teins 75 5 3. Formation of preribosomal 2. Phosphorylation of ribosomal prote- particles 139 ins 76 4. References 141 a) In vitro phosphorylation and de- phosphorylation 76 VIII. Dissociation - reassociation processes b) In vivo phosphorylation 77 of ribosomal particles 151 c) Phosphorylation of ribosomal pro- tein S 6 78 1.

Written during the last decade of her life, Light in the Dark represents the culmination of Gloria E. Anzaldua's mature thought and the most comprehensive presentation of her philosophy. Throughout, Anzaldua weaves personal narratives into deeply engaging theoretical readings to comment on numerous contemporary issues-including the September 11 attacks, neocolonial practices in the art world, and coalitional politics. She valorizes subaltern forms and methods of knowing, being, and creating that have been marginalized by Western thought, and theorizes her writing process as a fully embodied artistic and political practice. Resituating Anzaldua's work within Continental philosophy and new materialism, Light in the Dark takes Anzalduan scholarship in new directions.

It is 1984 and a small town somewhere in the east of the Czechoslovak Socialist Republic is in the firm grip of totalitarianism. Unruly and sickly Karolína is growing up in an all-female household including her hot-blooded, knife-wielding grandmother. Repelled by her mum’s serial love affairs Karolína runs away and stumbles upon a riding school on the edge of town. There, she befriends Romana, a girl with one leg shorter than the other and Matilda, a rider and trainer who helps the two girls overcome their physical limitations. Together they found a successful trick-riding team and soon it seems that half flags, mills and scales are not the only tricks flashing like blades up her sequinned sleeve as Karolína explores Pink Floyd and smoking, and discovers her knack for seeing deep into others’ souls. The fall of the Iron Curtain in 1989 and the subsequent arrival of capitalism threatens to destroy the riding school. The team has to turn professional. But in a sport of perfect scores is there still room for Romana and Karolína...? The Equestrienne is a poetic, caustic coming-of-age novel about the desire of one young girl to realise her dreams before and after Velvet Revolution; it is a celebration of friendship between women and also a bitter acknowledgement that greed and the desire for power can destroy any relationship.

Born in the Rio Grande Valley of south Texas, independent scholar and creative writer Gloria Anzaldua was an internationally acclaimed cultural theorist. As the author of "Borderlands / La Frontera: The New Mestiza," Anzaldua played a major role in shaping contemporary Chicano/a and lesbian/queer theories and identities. As an editor of three anthologies, including the groundbreaking "This Bridge Called My Back: Writings by Radical Women of Color," she played an equally vital role in developing an inclusionary, multicultural feminist movement. A versatile author, Anzaldua published poetry, theoretical essays, short stories, autobiographical narratives, interviews, and children's books. Her work, which has been included in more than 100 anthologies to date, has helped to transform academic fields including American, Chicano/a, composition, ethnic, literary, and women's studies.

This reader--which provides a representative sample of the poetry, prose, fiction, and experimental autobiographical writing that Anzaldua produced during her thirty-year career--demonstrates the breadth and philosophical depth of her work. While the reader contains much of Anzaldua's published writing (including several pieces now out of print), more than half the material has never before been published. This newly available work offers fresh insights into crucial aspects of Anzaldua's life and career, including her upbringing, education, teaching experiences, writing practice and aesthetics, lifelong health struggles, and interest in visual art, as well as her theories of disability, multiculturalism, pedagogy, and spiritual activism. The pieces are arranged chronologically; each one is preceded by a brief introduction. The collection includes a glossary of Anzaldua's key terms and concepts, a timeline of her life, primary and secondary bibliographies, and a detailed index.

Over twenty years the ground-breaking anthology This Bridge Called my Back challenged feminists to envision new forms of communities and practices, Gloria E. Anzaldua and AnaLouise Keating have brought together an ambitions new collection of over eighty original contributions offering a bold new vision of women-of-colour consciousness for the twenty-first century. Through personal narratives, theoretical essays, textual collage, poetry, letters, artwork and fiction, This Bridge we Call Home examines and extends the discussion of issues at the centre of the first Bridge such as classism, homophobia, racism, identity politics, and community building, while exploring the additional issues of third world wave feminism, native sovereignty and lesbian pregnancy and mothering, transgendered issues, Arab-American stereotyping, Jewish identities, spiritual activism, and surviving academe. Written by women and men - both of colour and 'white', located inside and outside the United States - and motivated by a desire for social justice, This Bridge We Call Home invites feminists of all colours and genders to develop new forms of transcultural dialogues, practices, and alliances. Building on and pushing forward the revolutionary call for transformation announced over two decades ago, ^TThis Bridge We Call Home, will challenge readers to rethink existing categories and invent new individual and collective identities.

This book presents applicable guidance into sensor system hardware and software design, extensions, and integration aimed at utilization of 1-wire networks. The content is structured from the design of the sensor system architecture—hardware and software—through the implementation and optimization of the solution to the practical verification. The hardware part consists of the design of specific solutions for sensor data collection and the design and integration of standard and special sensors into these solutions. The development of the hardware solutions is focused on integration with 32-bit microcontrollers with ARM Cortex M0 to Cortex M4 cores. For the sensor solutions, the focus is on design versatility and miniaturization of dimensions with respect to the availability of the technology in the physical design. The focus is on minimizing power consumption to the design of power independent modules. The presented solution includes the design and implementation of the software layer, which includes control software for direct communication with the sensor modules as well as an information system for continuous data storage and remote access. The book presents an extensive case study that describes the design and development of a 1-wire bus controller hardware module solution with proprietary modifications that achieve improvements to the maximum 1-wire bus length. The study also includes the design and implementation of a universal and power independent 1-wire bus device. Using this module, almost any sensor can be connected to the 1-wire bus.

When she died, in 2009, Anthony Thwaite described U.A. Fanthorpe as a 'smiling subversive with a voice like bird-song'. An encouraging example to all late developers, this particular bird's voice took its time: she didn't become a poet until she was 45. But these examples of her very earliest work show the latent mastery and the rapid development of the craft that would bring her wide critical acclaim and an affectionate general readership. The mysteries of the trade gradually reveal themselves as rooted in a wide and uncensored range of subject-matter, a life-time's love of words, and an intuitive grasp of the mechanics of form and voice. Recognising her role so late, she was a woman in a hurry; there wasn't time for self-consciousness or grandiose notions of 'vocation'. 'A poet,' she said, 'is a smuggler. He imports things clandestinely which are not supposed to have got through the customs.' Poetry 'happened to me', she would say. Her job? To listen, to pass it on.