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By Henrik Ibsen

The NHB Drama Classics sequence offers the world's maximum performs in reasonable, hugely readable variations for college students, actors and theatregoers. The hallmarks of the sequence are available introductions (focusing at the play's theatrical and ancient heritage, including an writer biography, key dates and recommendations for extra examining) and the full textual content, uncluttered with footnotes. The translations, by means of best specialists within the box, are exact and in particular actable. The variants of English-language performs comprise a word list of surprising phrases and words to assist understanding.

A Doll's House is Ibsen's innovative story of Nora's awakening to her want for a lifetime of her personal.

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Digital cross-sections of the Visible Male mean as much to a layperson as the anatomist’s explications in Latin meant to the spectator in the Renaissance anatomy theatre. For one thing, the data set itself is nothing but a series of bits and bytes, and it takes competent medical software specialists as well as large computer storage space in order to translate and recompile those data into usable fly-throughs. Moreover, the interpretation of cross-sections requires substantial viewing experience; the less-than-a-millimetre slices mean little or nothing if the viewer cannot relate these slices to actual three-dimensional organs.

It is with him, the victim, not the Guild that gave Rembrandt his commission, that the painter identifies. His gaze alone is free of Cartesian rigidity. He alone sees that greenish annihilated body, and he alone sees the shadow in the half-open mouth and over the dead man’s eyes. (Sebald, 2002, p. 17) Here, in Rembrandt ’s famous painting, the very acme of the anatomical theatre as visual-aesthetic spectacle, Sebald is suggesting that something else is going on ... something perhaps that eludes the surety of vision ...

Data into Flesh, Flesh into Data’. In: J. Marchessault and K. Sawchuk (eds), Wild Science: Feminist Readings of Science, Medicine and the Media. pp. 24-38. London and New York, 2000. Waldrop, M. ’ In: Science, 269, p. 1358. 1995. Williams, S. , ‘Modern Medicine and the Uncertain Body: From Corporeality to Hyperreality’. In: Social Science & Medicine, 45. 1997. , ‘William Harvey ’s “Prelectiones”: The Performance of the Body in the Renaissance Theatre of Anatomy’. In: Representations, 17, pp. 62-95.

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