This book offers cutting edge thinking on effective leadership processes. It pulls together the thinking of 16 educators with diverse backgrounds and experiences, all of whom hold keen interests in harnessing the forces that can improve educational opportunity for students. The book is intended to stimulate the thinking of every educator who aspires to influence decision-making and to provide direction to their school, district or institution.

This collection focuses on a woman's point of view in love poetry, and juxtaposes poems by women and poems about women to raise questions about how femininity is constructed. Although most medieval "woman's songs" are either anonymous or male-authored lyrics in a popular style, the term can usefully be expanded to cover poetry composed by women, and poetry that is aristocratic or learned rather than popular. Poetry from ancient Greece and Rome that resonates with the medieval poems is also included here. Readers will find a range of voices, often echoing similar themes, as women rejoice or lament, praise or condemn, plead or curse, speak in jest or in earnest, to men and to each other, about love.

Judicial equity developed in England during the medieval period, providing an alternative access to justice for cases that the rigid structures of the common law could not accommodate. Where the common law was constrained by precedent and strict procedural and substantive rules, equity relied on principles of natural justice - or 'conscience' - to decide cases and right wrongs. Overseen by the Lord Chancellor, equity became one of the twin pillars of the English legal system with the Court of Chancery playing an ever greater role in the legal life of the nation. Yet, whilst the Chancery was commonly - and still sometimes is - referred to as a 'court of conscience', there is remarkably little consensus about what this actually means, or indeed whose conscience is under discussion. This study tackles the difficult subject of the place of conscience in the development of English equity during a crucial period of legal history. Addressing the notion of conscience as a juristic principle in the Court of Chancery during the sixteenth and seventeenth centuries, the book explores how the concept was understood and how it figured in legal judgment. Drawing upon both legal and broader cultural materials, it explains how that understanding differed from modern notions and how it might have been more consistent with criteria we commonly associate with objective legal judgement than the modern, more 'subjective', concept of conscience. The study culminates with an examination of the chancellorship of Lord Nottingham (1673-82), who, because of his efforts to transform equity from a jurisdiction associated with discretion into one based on rules, is conventionally regarded as the father of modern, 'systematic' equity. From a broader perspective, this study can be seen as a contribution to the enduring discussion of the relationship between 'formal' accounts of law, which see it as systems of rules, and less formal accounts, which try to make room for intuitive moral or prudential reasoning.

Saving lives through organ transplantation has become increasingly possible thanks to advances in research and care. Today, the complex field of transplantation continues to develop rapidly, fuelled by demographic change and further evolutions in scientific understanding. The Oxford Textbook of Transplant Anaesthesia and Critical Care has been written and edited by pioneers in the field of organ transplantation with an international team of authors, in order to equip anaesthetists and intensivists with the knowledge and training necessary to provide high quality and evidence-based care. The text addresses fundamentals aspects of scientific knowledge, care of the donor patient, transplant ethics and special considerations. Dedicated sections address each of the major organs; kidney, pancreas, liver, heart and lung, intestinal and multivisceral. Within each organ-based section, expert authors explore underlying disease, planning for transplantation, specialized procedures, perioperative and critical care management as well as post-transplant considerations. Focus points for future developments in transplant immunology are also set out, inspiring current practitioners to engage with current clinical research and help participate in the further advancement of the science of transplantation. The print edition of the Oxford Textbook of Transplant Anaesthesia and Critical Care comes with a year's access to the online version on Oxford Medicine Online. By activating your unique access code, you can read and annotate the full text online, follow links from the references to primary research materials, and view, enlarge and download all the figures and tables.

This collection focuses on a woman's point of view in love poetry, and juxtaposes poems by women and poems about women to raise questions about how femininity is constructed. Although most medieval "woman's songs" are either anonymous or male-authored lyrics in a popular style, the term can usefully be expanded to cover poetry composed by women, and poetry that is aristocratic or learned rather than popular. Poetry from ancient Greece and Rome that resonates with the medieval poems is also included here. Readers will find a range of voices, often echoing similar themes, as women rejoice or lament, praise or condemn, plead or curse, speak in jest or in earnest, to men and to each other, about love.

The number of surviving medieval secular poems attributed to named female authors is small, some of the best known being those of the trobairitz the female troubadours of southern France. However, there is a large body of poetry that constructs a particular textual femininity through the use of the female voice. Some of these poems are by men and a few by women (including the trobairitz); many are anonymous, and often the gender of the poet is unresolvable. A "woman's song" in this sense can be defined as a female-voice poem on the subject of love, typically characterized by simple language, sexual candor, and apparent artlessness.
The chapters in "Medieval Woman's Song" bring together scholars in a range of disciplines to examine how both men and women contributed to this art form. Without eschewing consideration of authorship, the collection deliberately overturns the long-standing scholarly practice of treating as separate and distinct entities female-voice lyrics composed by men and those composed by women. What is at stake here is less the voice of women themselves than its cultural and generic construction.

Politik, Gesetzgebung, Wissenschaft, aber auch die Rechtsanwender gehen bei ihrer Arbeit von einem bestimmten Verbraucherleitbild aus. Ziel der Tagung - und der daran anschliessenden Publikation der Tagungsbeitrage - ist es, auf interdisziplinarer und vergleichender Grundlage eine aktuelle Bestandsaufnahme zu liefern und den intra- und interdisziplinaren Dialog zu beleben."

Special avoidance in insolvency constitutes an intersection of the oppositional principles of distribution which govern civil law: the principle of priority, which entrusts the allocation of goods to personal autonomy - the market - and the principle of equal treatment, according to which creditors of an insolvent debtor each receive the same rate on their claims. This work comprehensively examines the individual facts of each principle on a uniform dogmatic basis."

This book offers cutting edge thinking on effective leadership processes. It pulls together the thinking of 16 educators with diverse backgrounds and experiences, all of whom hold keen interests in harnessing the forces that can improve educational opportunity for students. The book is intended to stimulate the thinking of every educator who aspires to influence decision-making and to provide direction to their school, district or institution.

What was the medieval English lyric? Moving beyond the received understanding of the genre, The Voices of Medieval English Lyric explores, through analysis, discussion, and demonstration, what the term "lyric" most meaningfully implies in a Middle English context. A critical edition of 131 poems that illustrate the range and rich variety of lyric poetry from the mid-twelfth century to the early sixteenth century, The Voices of Medieval English Lyric presents its texts - freshly edited from the manuscripts - in thirteen sections emphasizing contrasting and complementary voices and genres. As well as a selection of religious poetry, the collection includes a high proportion of secular lyrics, many on love and sexuality, both earnest and humorous. In general, major authors who have been covered thoroughly elsewhere are excluded from the edited texts, but some, especially Chaucer, are quoted or mentioned as illuminating comparisons. Charles d'Orléans and the Scots poets Robert Henryson and William Dunbar add an extra-national dimension to a single-language collection. Textual and thematic notes are provided, as well as versions of the poems in Latin or French when these exist. Adopting new perspectives, The Voices of Medieval English Lyric offers an up-to-date, accessible, and distinctive take on Middle English poetry.

This scarce antiquarian book is a selection from Kessinger PublishingA AcentsAcentsa A-Acentsa Acentss Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of intere

Through a balanced discussion of poetry as performance, relevant kinds and genres of poetry, the definition and scope of "woman's song" as a mode, partheneia (maidens' songs) and the girls' chorus, lyric in the drama, echoes and imitations of archaic woman's song in Hellenistic poetry, and inferences about the differences between male and female authors, Klinck demonstrates that woman's song is ultimately best understood as the product of a male-dominated culture but that feminine stereotypes, while refined by skilful male poets, are interrogated and shifted by female poets.
Arranged in more-or-less chronological order, the chapters contain three sections: an introduction to the author(s), poems or passages in the original Greek accompanied by line-for-line translations in free verse, and notes elucidating the text, its provenance, allusions, and textual difficulties. Beginning with Alcman, going on to Sappho, Corinna, Pindar, other lyric poets, lyric in the drama, and then the Hellenistic poets Nossis, Theocritus, and Bion, Woman's Songs in Ancient Greece traces the evolution of female-voice lyric from 600 to 100 BCE.
Also by the author
The Old English Elegies A Critical Edition and Genre Study Anne L. Klinck 978-0-7735-2241-1 CA $42.95 ] US $39.95 paper 978-0-7735-0836-1 CA $120.00 ] US $120.00 cloth