Wolfgang Amadeus Mozart [what a mouthful for a little dog] or Motezy, as we called him, was a beautiful buff Cocker Spaniel. He was given to me by my daughter, Kathy. He was about eight months old, an adorable ball of fluff, with the biggest brown eyes and big floppy ears. We just couldnt help showering him with hugs and kisses. In 1987, my husband, Ray, and I moved to Utah. Motezy was almost a year old. I was writing letters to my son who lived in California, but soon they became very boring. What was there to write about? Fall is in the air. The leaves are turning to beautiful hues of gold, orange and brown. The frost is on the pumpkin. Nothing I wrote sounded interesting to me. I looked at Motezy and asked, Why dont you write to your old buddy Pat? He looked at me with that quizzical expression, the look I have seen so often.

Cluster was one of the two missions - the other being the Solar and Heliospheric Observatory (SOHO) - constituting the Solar Terrestrial Science Programme (STSP), the first `cornerstone' of ESA's Horizon 2000 Programme. After the catastrophic Ariane-5 accident on 4 June 1996 which destroyed the four Cluster spacecraft, the European Space Agency Science Programme Committee gave approval to refurbish the spare Cluster spacecraft and make it ready for flight. This new spacecraft, considered to be the first of a new fleet, is called Phoenix. In the meantime various options to repeat the Cluster four-point measurements are being studied. Since Phoenix, as the fifth Cluster spacecraft, will be equipped with the spare Cluster experiments, the instrumentation articles in this book are still appropriate to the new mission. Furthermore, the objectives of the recovery mission, the ground systems, the ground observation program and the theory and modelling efforts all remain unchanged. Thus this series of articles will continue to be essential to the Cluster community and to the general scientific community as the recovery mission is implemented.

Materials with layered structures remain an extensively investigated subject in current physics and chemistry. Most of the promising technological applications however deal with intercalation compounds of layered materials. Graphite intercalation compounds have now been known for a long time. Intercalation in transition metal dichalcogenides, on the other hand, has been investigated only recently. The amount of information on intercalated layered materials has increased far beyond the original concept for this volume in the series Physics and Chemistry of Materials with Layered Structures. The large size of this volume also indicates how important this field of research will be, not only in basic science, but also in industrial and energy applications. In this volume, two classes of materials are included, generally investigated by different scientists. Graphite intercalates and intercalates of other inorganic com pounds actually constitute separate classes of materials. However, the similarity between the intercalation techniques and some intercalation processes does not justify this separation, and accounts for the inclusion of both classes in this volume. The first part of the volume deals with intercalation processes and intercalates of transition metal dichalcogenides. Several chapters include connected topics necessary to give a good introduction or comprehensive review of these types of materials. Organic as well as inorganic intercalation compounds are treated. The second part includes contributions concerning graphite intercalates. It should be noted that graphite intercalation compounds have already been mentioned in Volumes I and V.

The Acts of Robert I (1306-1329)

The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book illustrates not only the sheer variety of research strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notation, the contexts within which he worked, and the nature of his legacy. The appendix contains a transcription of the inventory of Charpentier's manuscripts prepared when their sale to the Royal Library was negotiated in 1726 - an invaluable research tool, as numerous chapters in the book demonstrate. The wide variety of topics covered here will appeal both to readers interested in Charpentier's music and to those with a broader interest in the music and culture of the French Baroque, including aspects of patronage, church and theatre. Far from treating his output in isolation, this book places it in the wider context alongside such composers as Lully, Lalande, Marais, François Couperin and Rameau; it also views the composer in relation to his Italian training. In the process, the under-examined question of influence - who influenced Charpentier? whom did he influence? - repeatedly comes to the fore.

During the 1950s and early 1960s Flannery O'Connor wrote more than a hundred book reviews for two Catholic diocesan newspapers in Georgia. This full collection of these reviews nearly doubles the number that have appeared in print elsewhere and represents a significant body of primary materials from the O'Connor canon. We find in the reviews the same personality so vividly apparent in her fiction and her lectures--the unique voice of the artist that is one clear sign of genius. Her spare precision, her humor, her extraordinary ability to permit readers to see deeply into complex and obscure truths-all are present in these reviews and letters.

This audacious book examines 15 Truths to inspire engaged colleagues, fashion customer excitement, produce exponential results, and leave a distinct footprint.