Facultas Verlag
Das facultas Verlagsprogramm umfasst Lehr- und Studienbücher wie auch Forschungs- und Fachliteratur
View Rights PortalDas facultas Verlagsprogramm umfasst Lehr- und Studienbücher wie auch Forschungs- und Fachliteratur
View Rights PortalHanser Publishers represents a wide range of products and concentrates at the same time on clearly defined target groups: Engineers and Technicians in training and at work in the following fields: Metalworking, Plastics Technology, Electrical engineering and Electronics, Computers, Economy and Management. Our portfolio has a range from Journals, Books, Training Books and electronic media up to seminars and conferences in German and in English language. Additionally Hanser provides information for different branches in the World Wide Web. Hanser Publishers also provides 25 Journals and about 200 new books each year. The whole backlist of books counts up to about 2,000 titles. With this amount of Books and Journals Hanser Publishers is one of the leading Publishing Houses in Germany. Our success mainly derives from the high quality of our products and content, from the expertise of our staff and their ability to identify new trends and products. Our strong and close ties to the industry and leading research institutes are the basis for a close cooperation with our authors. Supported by synergies of our books, journals, seminars and the World Wide Web we are accompanying our authors from their first discover of new technologies in form of an article in one of our journals till the maturity of a technology in form of an uptodate handbook. Characteristic for Hanser Publishers are its numerous cooperations with partners in Germany and other countries. The Journal “Kunststoffe” for example is the official Publication of the VDI-Society, the leading society of engineers in Germany. Our Journal “Qualität und Zuverlässigkeit” is the official publication of the “Deutsche Gesellschaft für Qualität (DGQ)”. Also the Books are made in close cooperation with leading companies, associations and Universities.
View Rights PortalLisa Downing's comprehensive study of the films of Patrice Leconte traces lines of continuity and revision through a body of apparently disparate films whose "messages" often appear both contradictory and controversial. Pursuing a close reading of the recurrent themes, styles, intertexts and techniques which structure Leconte's filmmaking, Downing re-evaluates Leconte's status as an enigmatic artist offering complex and paradoxical commentary on contemporary questions of sexuality, ethics and identity. This book is the first full-length critical work in English on Leconte's cinema. It provides essential reading for both enthusiasts of French cinema and for those fascinated by the relationship between popular culture and theory.
This is a very realistic original picture book. The author turns his attention to the northwest of China, where strong winds and sands dominate the sky, and tells a touching story that depicts the scene that "when the sand advances, humans retreat; when humans advance, the sand retreats." The hero of the book is a boy called Shawa, who is good friends with the magpies on a white poplar. He has been curious about the magpies' nest and wanted to know what it looks like inside, but he has never had a chance. Finally, his curiosity is satisfied after the white poplar is destroyed by a sandstorm and then falls. Surprisingly, there is water, the source of life, inside the nest where magpies fly away and their eggs are broken. Nature gives Shawa a life lesson with its double face of tenderness and grimness. The book, with its concise and powerful narrative and liberal painting style, integrates paintings with texts, in which the scenery of the northwest, the mighty power of nature, and the simplicity and warmth of personal relationships have all been vividly expressed. It makes readers consider the relationship between humanity and nature from a small but large perspective: humans are both small and great in a harsh natural environment. Only by respecting nature and learning to live in harmony with nature can we have a peaceful and happy life. This book is a beautiful hymn to nature and humanity.
“Your biggest problem,” shouts a sadistic instructor at a confused group of writers, “is that you’re too mass-market!” The first story in Bighead Horse’s How to Write a Worstseller tells of an unusual workshop whose participants learn how to curb their sales appeal. This book generates from this story and fictionalises a writing contest with prize of 30 million RMB. The stories touch upon a rich range of topics and display a diverse spectrum of styles, while the author is concealed in the elaborated stories and hidden behind the different writer identities. This collection of stories demonstrates the author's command of writing novels in different styles and themes.
Gadis spends all her time trying to look beautiful. One day while shopping at the market she sees an old book with ideas on how to look even more beautiful. She follows all the instructions, but it's the complete opposite. She then learns that realy beauty comes from within, just like what the book taught her.
This collection draws together original scholarship from international contributors on a range of aspects of professional and semi-professional medical work and its relations to British culture. It combines a diverse spectrum of scholarly approaches, from medical history to book history, exploring literary and scientific texts, such as satiric poetry, essays, anatomies, advertisements, and the novel, to shed light on the mythologisation and transmission of medical (mis)information through literature and popular culture. It analyses the persuasive and sometimes deceptive means by which myths, as well as information and beliefs, about medicine and the medical professions proliferated in English literary culture of this period, from early eighteenth-century household remedies to the late nineteenth-century concerns with vaccination that are still relevant today.
A smart, incisive toolkit for understanding how the framing of information influences the way we think about it. In today's chaotic media landscape, working out who and what to believe is a daunting task. Lies and misinformation are only part of the problem - often the way a story is presented has just as much effect on us as what the story is. In Framing, sociologist Mikael Klintman offers a cutting-edge toolkit for exposing and analysing the rhetoric that saturates our everyday lives. Combining insights from the social sciences, economics and evolutionary biology, he lays out a four-part approach to understanding how information is 'framed' for us, built around the key elements of texture, temperature, position and size. Demonstrating this approach through an array of real-world examples, from climate change denial to the subtle messaging of caviar ads, Klintman reveals how canny communicators mislead us without relying on overt deception. At the same time, he probes the deeper evolutionary and cultural roots of our susceptibility to frames.
Cinesonica: sounding film and video explores previously neglected and under-theorised aspects of film and video sound, drawing on detailed case study analyses of Hollywood cinema, art cinema, animated cartoons, and avant-garde film and video. Adopting an interdisciplinary approach to the study of the soundtrack, and breaking away from the focus on narrative and signification that has tended to dominate the study of film sound, the book examines the way in which sound's materiality figures within audiovisual experience. Through a close examination of sound-image relations in a range of film and video forms and genres - including Warner Bros. cartoons, scratch video, and artist's film and video - Cinesonica recasts the film and video text as the meeting point of audio and visual materialities, cultural practices and perceptual activity. The interdisciplinary approach adopted by the book makes its discussion of sound of interest to those studying and working in a range of subject disciplines, including film studies, sound studies, sonic arts, cultural studies, music and art history.
It’s possible not to know what a “mondegreen” is, but it’s unlikely that one can completely defend against it. He who is blessed to live is also doomed to make mistakes. For example, to perceive select sayings in a distorted manner, and consequently - to misinterpret them, sometimes to absurdity. But is it possible, having moved as an adult from the Russian-speaking Donetsk to the hardly Ukrainian-speaking Kyiv, to quickly learn the Ukrainian language? Yes, possible. What’s more: one can even be someone like Volodymyr Rafeyenko, a Russian-speaking writer of significant age and renown, and then, having ended up in Kyiv, master Ukrainian to such a degree so as to write an amazing novel in it. In particular, a novel about the immersion of a Russian-speaking migrant into the joyous and sorrowful element of the Ukrainian language. And also, a novel about his not wanting to remain a passive object of Russia’s “protection”. But above all, it’s a novel about how poorly the different parts of our multilingual Ukraine heard each other, thus turning one another into an utter “mondegreen”. Is there still a chance to solve this misunderstanding? Unknown. But first we have to try, at the very least, to listen carefully to one another: maybe then we’ll manage to decipher all this distorted noise.
In the modern Chinese painting circle, Chang Yu is a leader, once alternately refreshing the Chinese oil painting auction record. Painter Chang Yu has had ups and downs throughout her life, and insists on going her own way in art. He is recognized in the West as a world-class painter, a Chinese Modigliani, a painter who creates freely for his artistic beliefs and makes remarkable achievements. Chang Yu turned from the most familiar Chinese art to another brand new western art field, and constantly explored and pursued on the basis of Chinese painting, finally achieving Chang Yu's special painting style of simplicity and fluency. Chang Yu is an indelible Oriental pearl. Few books of Chang Yu are published in China. We popularize such art and publicize Chang Yu's achievements in the history of Chinese art in the 20th century.The series consists of 3 books. This book is a collection of Chang Yu's figure painting works, which contains more than 60 of his important and iconic figure works. Chang Yu's female body works are different from the expression Angle of nude paintings, and he uses the whole body outline of a naked woman to express the scenery in his mind. There are not many slim naked women in Chang Yu's works, but mostly plump and fat women. Quite the author "do not talk to people, alone in the dark" self-pity mode.
"Rat-a-tat, a little drum turns like a windmill faster and faster. Puff-a-puff, an old man blows a sugar figure harder and harder." As soon as Little Douzi’s grandpa shouts out, the lane is alive with kids coming out. With the passage of time, Litte Douzi grows up, while Grandpa gets old and sick. Little Douzi and Dad carries Grandpa's sugar load, and blows, kneads, pulls and cuts the sugar syrup. Then a sweet sugar figure warms the bleak autumn, cold winter and the sick Grandpa. Love will finally overcome all difficulties.
In postwar Britain, journalists and politicians prophesised that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved entirely wrong. In good taste charts how class culture, rather than being destroyed by mass consumption, was remade from flat-pack furniture, Mediterranean cuisine and lifestyle magazines. Novelists, cartoonists and playwrights satirised the tastes of the emerging middle classes, and sociologists claimed that an entire population was suffering from status anxiety, but underneath it all, a world was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous well-scrubbed, second-hand pine kitchen tables. This was less a world of symbolic goods and more an intimate environment alive with new feelings and attitudes.
This book selects 32 pieces of prose written by Liang Heng from 1996 to 2011, and the main content is the comment and reflection on historical figures including Mao Zedong, Zhou Enlai, Peng Dehuai, Zhang Wentian, Qu Qiubai, Fang Zhimin, Deng Xiaoping, Zhuge Liang, Tao Yuanming, Han Yu, Fan Zhongyan, Wen Tianxiang, Liu Yong, Li Qingzhao , Lin Zexu, Wang Luobin, Ji Xianlin, Zhao Puchu, Wu Wenji and other celebrities.
Despite its popularity when it first appeared in print in 1600, Every Man out of His Humour has never appeared as a single modern critical edition until now. The volume's introduction and annotations convey early modern obsessions with wealth and self-display by providing historical contexts and pointing out the continuity of those obsessions into modern life. The play is of interest because of its influence on the course of city comedy and its wealth of information about social relationships and colloquial language at the end of Elizabeth's reign. Jonson's experiments in generating theatrical meaning continued throughout his career, but Every Man out of His Humour - with its youthful vigour and extraordinary visualizations of the urban capacity for self-deceit - is a text that enriches the understanding of all the plays that come after it. ;
This interdisciplinary volume explores the role of images and narratives in different borderscapes. Written by experienced scholars in the field, Border images, border narratives provides fresh insight into how borders, borderscapes, and migration are imagined and narrated in public and private spheres. Offering new ways to approach the political aesthetics of the border and its ambiguities, this volume makes a valuable contribution to the methodological renewal of border studies and presents ways of discussing cultural representations of borders and related processes. Influenced by the thinking of philosopher Jacques Rancière, this timely volume argues that narrated and mediated images of borders and borderscapes are central to the political process, as they contribute to the public negotiation of borders and address issues such as the in/visiblity of migrants and the formation of alternative borderscapes. The contributions analyse narratives and images in literary texts, political and popular imagery, surveillance data, border art, and documentaries, as well as problems related to borderland identities, migration, and trauma. The case studies provide a highly comparative range of geographical contexts ranging from Northern Europe and Britain, via Mediterranean and Mexican-USA borderlands, to Chinese borderlands from the perspectives of critical theory, literary studies, social anthropology, media studies, and political geography.
Passage Works is the first book-length English language critical analysis of the transdisciplinary work of the Austrian film-maker, writer, and artist Ruth Beckermann (b. 1952, Vienna). Beckermann's works interrogate identity and geography as formations of the intersections between the past and the contemporary. Taking as her central topics Austria and its history and politics, her own identity as a Jewish woman, and the contemporary global geopolitics of migration and displacement, Beckermann develops wider meditations in film, art, and writing on the persistence of European memory, and the meanings of Europe itself; on borders, migrations, and identities; on memories, traumas, and traditions; on the image as marker of presence and absence, repository of the traces of historical violence; and on the passage as metaphor for a range of physical, psychological, and ideological movements defining the complexities of contemporary cosmopolitan identities.
The debate about the Empire dealt in idealism and morality, and both sides employed the language of feeling, and frequently argued their case in dramatic terms. This book opposes two sides of the Empire, first, as it was presented to the public in Britain, and second, as it was experienced or imagined by its subjects abroad. British imperialism was nurtured by such upper middle-class institutions as the public schools, the wardrooms and officers' messes, and the conservative press. The attitudes of 1916 can best be recovered through a reconstruction of a poetics of popular imperialism. The case-study of Rhodesia demonstrates the almost instant application of myth and sign to a contemporary imperial crisis. Rudyard Kipling was acknowledged throughout the English-speaking world not only as a wonderful teller of stories but as the 'singer of Greater Britain', or, as 'the Laureate of Empire'. In the last two decades of the nineteenth century, the Empire gained a beachhead in the classroom, particularly in the coupling of geography and history. The Island Story underlined that stories of heroic soldiers and 'fights for the flag' were easier for teachers to present to children than lessons in morality, or abstractions about liberty and responsible government. The Education Act of 1870 had created a need for standard readers in schools; readers designed to teach boys and girls to be useful citizens. The Indian Mutiny was the supreme test of the imperial conscience, a measure of the morality of the 'master-nation'.