Titlebook: Recent Advances in Thrombosis and Hemostasis; Kenzo Tanaka (Professor Emeritus),Earl W. Davie (P Book 2008 Springer-Verlag Tokyo 2008 Card

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Foolproof

, but different terrorisms’ (Laqueur 1987: 9). Stefan Wolff adds: ‘No act of violence in itself carries the quality of terrorism, only its interpretation does’ (Wolff 2000: 129). These and other authors (for example Whittaker 2004) point to different ideologies, leading to terrorist attacks, differe

拔出

Ethics

Darrel W. Stafford,Christine M. Heblingand community to community’ (Puttnam 1994: 357). These words by David Puttnam point to why TV drama and film matters. Through stories and images we experience and reflect on both contemporary reality and the past. Audiovisual narratives are powerful means to influence and develop our social imaginar

匍匐前進(jìn)

Michael U. Callaghan,Randal J. Kaufmanhange. Contingent on changing technological, economic, political and cultural factors, it is a relationship that is fragmented, episodic and in constant flux. Ireland’s situation as a small country in a big community is not unique, but a combination of features, including but not limited to, English

ATRIA

Kazuo Fujikawaopean movies on television? In this chapter, I begin to answer these questions through a case study of a German focus group, and by developing an appropriate theoretical and methodological framework. I should stress that the case study itself is a very modest and exploratory piece of work. It is not

補(bǔ)充

James A. Huntingtonhange. Contingent on changing technological, economic, political and cultural factors, it is a relationship that is fragmented, episodic and in constant flux. Ireland’s situation as a small country in a big community is not unique, but a combination of features, including but not limited to, English

媽媽不開心

Onerous

Hiroyuki Takeya,Koji Suzukiopean movies on television? In this chapter, I begin to answer these questions through a case study of a German focus group, and by developing an appropriate theoretical and methodological framework. I should stress that the case study itself is a very modest and exploratory piece of work. It is not

躲債

Hisao Kato/or diasporas in Europe. It has been prompted by the prominence of references to films, film-making and the cinema in a number of European productions created by both migrant and non-migrant, diasporic and non- diasporic writers and directors. Using a sample of such productions from Britain, France,