Michele peters (16 Ergebnisse)

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,700grams, ISBN:9780521829014.

Zustand: Fine. Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France. 11x17x2cm. 1996. Poche. 288 pages. Fine.

Zustand: Fine. 1996. 288 pages. Traduit de Sénès Florence - Illustrations de Jankovics györgy. Fine.

Zustand: New. In English.

Zustand: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

Zustand: New. pp. 206 12 Illus.

Zustand: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

Zustand: New. In English.

Hardcover. Zustand: Brand New. 1st edition. 194 pages. 9.75x7.25x0.50 inches. In Stock.

Buch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Patient reported outcome measures are central to the evaluation of medical care and treatment regimes. Such measures depart from traditional clinical assessments as they are based on issues known to be of importance to patients. This book outlines the development and application of a variety of such measures in a wide range of neurological conditions. Introductory chapters outline issues in the application and validation of quality-of-life measures in neurology. Subsequent chapters survey the most widely used quality-of-life instruments in Parkinson's disease, motor neurone disease, multiple sclerosis, multiple system atrophy, progressive supranuclear palsy, and Alzheimer's/dementia. A chapter on cerebral palsy deals with the particular challenges to developing outcome measures for children. The book also addresses issues relating to the translation of measures for use in cross-cultural studies, handling missing data, carer experiences of long-term conditions, and methodological challenges. Essential reading for clinicians and researchers working in the field of neurology.…

Zustand: New. Outlines the development and application of a variety of patient-reported outcome measures in a wide range of neurological conditions. Editor(s): Jenkinson, Crispin; Peters, Michele, Ph.D.; Bromberg, Mark B. Num Pages: 206 pages, 12 b/w illus. 20 tables. BIC Classification: MJN. Category: (U) Tertiary Education (US: College). Dimension: 246 x 189 x 15. Weight in Grams: 620. . 2011. Illustrated. hardcover. . . . . Books ship from the US and Ireland. …

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | A Traditional Ladder is a story based on my childhood. It is a tradition that my father started with me when I was about four years old. As my sister and brother were born, they joined in the tradition. It is a story about family and tradition that has been passed down for generations.…

Zustand: Hervorragend. Zustand: Hervorragend | Sprache: Englisch | Produktart: Bücher | A Traditional Ladder is a story based on my childhood. It is a tradition that my father started with me when I was about four years old. As my sister and brother were born, they joined in the tradition. It is a story about family and tradition that has been passed down for generations.…

A Eight vintage still photographs from the 1959 film. Included are 4 stills from the US release, and 4 stills from the UK release under the title "Mr. Teas and His Playthings." From a cursory glance, one can immediately see the differences with regard to nudity paid by both US and UK publicists, the UK stills decidedly more liberal with regard to the "forbidden flesh." The US stills were taken directly from scenes of the film, and the UK stills appear to be from either a deleted scene or a mock setup designed for foreign publicity, with Mr. Teas seen in a bathhouse with the "Buxom Bath House Beauties" (Baby Dahl, Chicky Fricase, Frenchie Tost, Teri Clawthe) that were not seen in the final cut. The UK stills purport "Monstrous Murder!" and "Sizzling Suspense!" taglines, however the final cut features neither murder nor suspense. The story finds the shy Mr. Teas, played by William Ellis Teas, a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision, as in "seeing through women's clothes." He also overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy," with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and night club circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut, Russ Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film, with a "French" sensibility, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, a somewhat feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. All stills 8 x 10 inches, some differ slightly in size. Two US stills Very Good plus, others Near Fine. UK stills Near Fine.…

Original pressbooks (two variants) for 1961 re-releases of the 1959 film. Featured are the two most commonly seen layouts used for publicity: the full-color illustrated "hat" variant, and the other with Mr. Teas surrounded by a bevy of well-developed women, the female leads of the film (from left to right: Ann Peters, Michele Roberts, Dawn Danielle, and Marilyn Wesley). The story finds the shy Mr. Teas, played by William Ellis Teas, a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision, as in "seeing through women's clothes." He also overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy," with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and night club circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut, Russ Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film, with a "French" sensibility, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, a somewhat feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. Both pressbooks 11 x 17 inches, folded horizontally. "Hat" variant includes a 9 x 12 ad mat dated "Fri., Aug. 18, 1961." Light rubbing overall, rubber stamps from "Sack Amusement Enterprises" in Dallas, Texas, and a few light creases and tiny closed tears, else Near Fine.…

Vintage pressbook for the 1959 film. A door-to-door dental appliance salesman has a chemical reaction to an anesthetic which grants him X-ray vision, as in "seeing through women's clothes." He subsequently overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), the film that basically launched the lighthearted nudie pictures of the early 1960s. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and nightclub circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. For his debut, Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "Frenchy," "nudist" film, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, an arguably feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. One leaf, bi-fold. 11 x 17 inches. Very Good plus overall.…