これが売れてる【洋書】
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bestselling Harry Potter series of seven books, published between 1997 and 2007, which have sold over 450 million copies worldwide, are distributed in more than 200 territories and translated into 79 languages, and have been turned into eight blockbuster films by Warner Bros. She has written three companion volumes to the series in aid of charity: Quidditch Through the Ages and Fantastic Beasts and Where to Find Them in aid of Comic Relief; and The Tales of Beedle the Bard in aid of her children's charity Lumos. Her website and e-publisher Pottermore is the digital hub of the Wizarding World. She has recently collaborated with writer Jack Thorne and director John Tiffany on the stage play Harry Potter and the Cursed Child Parts Parts One and Two, which is now running at The Palace Theatre in London s West End. J.K. Rowling is also the author of a novel for adult readers, The Casual Vacancy, and, under the pseudonym Robert Galbraith, is the author of three crime novels featuring private detective Cormoran Strike, which are to be adapted for BBC television. Fantastic Beasts and Where to Find Them marks J.K. Rowling's screenwriting debut. 【商品情報】 ■ 発売日 : 2014/10/9 ■ ISBN-10 : 1408856778 ■ ISBN-13 : 9781408856772 ■ 出版社 : Bloomsbury Childrens ■ ページ : 3422ページ

y performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim.＜br /＞ The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted.＜br /＞ Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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y performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim.＜br /＞ The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted.＜br /＞ Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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y performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim.＜br /＞ The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted.＜br /＞ Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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y performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim.＜br /＞ The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted.＜br /＞ Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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y performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim.＜br /＞ The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted.＜br /＞ Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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y performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim.＜br /＞ The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted.＜br /＞ Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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ty of changes in early, middle, and late adulthood. Within its framework of scientific literacy, the text charts four key themes to guide learners: a focus on aging as development; a global perspective on contexts; a vibrant, integrated approach to diverse coverage; and psychological science that translates into real-life experiences. A final chapter focuses on ways to improve the experience of aging for all adults.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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orld and its inhabitants in ways that must be vigilantly monitored so that aging research remains relevant and accurate, this completely revised edition not only includes the foundational, classic themes of aging research, but also a rich array of emerging topics and perspectives that advance the field in exciting ways. New topics include families, immigration, social factors, and cognition, caregiving, neighborhoods, and built environments, natural disasters, religion and health, and sexual behavior, amongst others. - Covers the key areas in sociological gerontology research in one volume, with an 80% update of the material - Headed up by returning editor Linda K. George, and new editor Kenneth Ferraro, highly respected voices and researchers within the sociology of aging discipline - Assists basic researchers in keeping abreast of research and clinical findings - Includes theory and methods, aging and social structure, social factors and social institutions, and aging and society - Serves as a useful resourceーan inspiration to those searching for ways to contribute to the aging enterprise, and a tribute to the rich bodies of scholarship that comprise aging research in the social sciences＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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actice, learning and leadership can help us reinvent and reinvigorate mental health care. This, combined with a clearer understanding of the complex concept of wellbeing, can enable practitioners to adopt fresh perspectives and roles that can enrich their work.＜/p＞ ＜p＞Creativity and wellbeing are fundamental to reducing occupational stress and promoting professional satisfaction. Introducing a new model of creative mental health care combined with recommendations for wellbeing, ＜em＞Creativity, Wellbeing and Mental Health Practice＜/em＞ is a practical, evidence-based book for students, practitioners and researchers in mental health nursing and related disciplines.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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l autonomy valorises economic self-sufficiency, caregiving responsibilities constrain choice and conflict with paid work. This book explores this tension to consider how, given changing social trends, family law and policy should take account of caregiving responsibilities on parental separation. Crucially, it suggests that we need to rethink family law by placing care at its centre.＜/p＞ ＜p＞This book draws on original empirical data to explore the experiences of parents in England and Wales, where the division of paid work and care is considered a choice, and Sweden, where parents are encouraged to work full-time, supported by wellfunded state childcare. This comparative perspective sheds light on whether the clash between the ideas of autonomy and care could be reconciled in a more gender equal society.＜/p＞ ＜p＞The book argues that caregiving is hidden from, and undervalued by, law and policy in both jurisdictions, underscoring the need for the proposed new approach. The law needs to think more deeply about what it means to care, and how the care provided by parents differs. Anna Heenan outlines how family law might look different if the proposed framework, based on placing care at the heart of family law, is adopted.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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ed on algebra and number theory. This textbook covers background topics in arithmetic, polynomials, groups, fields, and elliptic curves required for real-life applications like cryptography, secret sharing, error-correcting, fingerprinting, and compression of information.＜/p＞ ＜p＞The book illustrates the work of these applications using the free GAP computational package. It uses this package to help readers understand computationally hard problems and provide insights into protecting data integrity. This textbook covers a wide range of applications including recent developments, primarily intended for use as a textbook, with numerous worked examples and solved exercises suitable for self-study.＜/p＞ ＜p＞This edition has been thoroughly revised with new topics and exercises, introducing hash functions for properly describing digital signatures, blockchains, and digital currencies in the latest version.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。
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aterpillar（ はらぺこあおむし）」は、1969年にアメリカの作家であるEric Carle（エリック・カール）によって書かれ、絵が描かれた絵本です。
この絵本は、子供たちに食べ物、数字、曜日などの基本的な概念を楽しみながら学ぶ機会を提供することを目的としています。
出版社に関しては、最初の出版はThe World Publishing Companyが行いましたが、その後はPenguin Random Houseの一部であるPhilomel Booksが出版権を持っています。
この絵本は、世界中で多くの子供たちに愛され、受賞歴も豊富です。
エリック・カールの独特でカラフルなイラストと、親しみやすい物語が特徴であり、長年にわたって世代を超えて親しまれてきました。