Hello I am in charge of foreign rights at Le Cherche midi éditeur and Belfond. Le Cherche midi is a mainstream publisher presenting literature, women's fiction, thrillers, self help, documents... with always accurate topics. Belfond is a historical fiction publisher which has two series: Literary fiction (Belfond Pointillés) and Commercial Fiction (novels and thrillers). I would be pleased to introduce our Fall rights list with you. :)
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MidnightSun Publishing has grown out of a disenchantment with the established publishing houses in Australia. We know there are plenty of fabulous manuscripts about unusual topics floating around, but publishing new and unknown writers poses a big risk. MidnightSun is prepared to take that risk. We want our readers to be entertained. We want to challenge, excite, enrage and overwhelm. Therefore, we publish books in any genre that have touched us in some way. Because we are a new publishing company, striving to become established, we expect our writers to be enthusiastic about their own work and able to promote it in the wider community.
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This series contains 31 titles of picture books. It is a collection of traditional Chinese classic tales, including fables, myths, idioms and folk legends. It’s playful and readable with attractive illustrations and concise text.
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Digital ccologies draws together leading social science and humanities scholars to examine how digital media are reshaping the futures of conservation, environmentalism, and ecological politics. The book offers an overview of the emerging field of interdisciplinary digital ecologies research by mapping key debates and issues in the field, with original empirical chapters exploring how livestreams, sensors, mobile technologies, social media platforms, and software are reconfiguring life in profound ways. The collection traverses contexts ranging from animal exercise apps, to surveillance systems on the high seas, and is organised around the themes of encounters, governance, and assemblages. Digital ecologies also includes an agenda-setting intervention by the book's editors, and three closing chapter-length provocations by leading scholars in digital geographies, the environmental humanities, and media theory that set out trajectories for future research.
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Forest ecosystems exist at the interface between the land and the atmosphere. Understanding the properties of this planetary boundary layer is very important for a number of related disciplines. This book presents an overview of topics that are of significance at this interface, starting at the scale of intra-leaf organelles, ranging to higher levels of organisation such as communities and ecosystems. It covers topics such as stomatal functioning, large scale processes, radiation modelling, forest meteorology and carbon sequestration. Based on proceedings of a conference to mark the retirement of Professor Paul Jarvis from the University of Edinburgh, the book contains contributions from leading international scientists. It will be of significant interest to researchers in forestry, ecology, environmental sciences and natural resources.
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Carol Reed is one of the truly outstanding directors of British cinema, and one whose work is long overdue for reconsideration. This major study ranges over Reed's entire career, combining observation of general trends and patterns with detailed analysis of twenty films, both acknowledged masterpieces and lesser-known works. Evans avoids a simplistic auteurist approach, placing the films in their autobiographical, socio-political and cultural contexts and relating these to the analysis of Reed's art. The critical approach combines psychoanalysis, gender theory, and the analysis of form. Archival research is also relied on to clarify Reed's relations with his creative team, financial backers and others. Films examined include Bank Holiday, A Girl Must Live, Odd Man Out, The Fallen Idol, The Third Man, Night Train to Munich, The Way Ahead, Outcast of the Islands, Trapeze and Oliver!.
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Today's global capitalism runs through digital networks. Its leaders are internet giants such as Google, Apple, Amazon and Tencent. Their technologies are ubiquitous: we carry high-performance computers around in our pockets, manage our lives in the cloud and display them on social media. They have also literally privatised the market, transforming capitalism in the process. Philipp Staab takes us on a virtual tour of modern digital capitalism. He shows how digital surveillance and evaluation practices have proliferated throughout the economy, exacerbating social inequality in the process. What is specific to digital capitalism, Staab argues, is the emergence of 'proprietary markets'. In the past the focus was on producing things and selling them at a profit. Today the meta-platforms extract their profits by owning the market itself.
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— Ways out of the digital disaster — For healthcare professionals and informed patients Modern information technologies can and should contribute to improving the quality and transparency of medical care and making healthcare more economical – and all for the benefit and well-being of patients. Well, that would be the noble approach. All the talk about health insurance cards, telematics infrastructure and electronic patient files stirs up emotions. Peter Schaar, long-standing Federal Data Protection Commissioner, brings light to the dark data and health thicket. Why are innovations in the healthcare sector met with great scepticism by many stakeholders? How can we speed up the development and implementation of meaningful ITsupported solutions? What role does the narrow, small-scale regulatory framework play – not only, but also in data protection?
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Small animal veterinarians are increasingly taking on caseloads that include farm animals, with cases being presented by local hobby farmers, smallholders, and 'novelty pet' owners. With the increase in veterinary telemedicine, they now also receive requests for advice electronically from owners further afield. Recognising this trend, this book provides a quick reference for small-animal orientated veterinarians in the basics of surgery and treatment of farm animals. Popular animals such as cattle, sheep, goats, pigs, camelids and backyard poultry are covered, and basic techniques such as anaesthesia, clinical examination techniques, breeding, surgery and euthanasia are discussed. This new edition: - Expands on recent developments in all areas of medicine and surgery, covering advances such as the increased use of ultrasound across species and adding a new section on anthelmintics. - Provides updates on current major disease threats, as well as providing a One Health perspective. - Includes full colour images to help bring the subject to life. Ideal for looking up information during a consult, or for use as a refresher guide and continuing professional development resource, this book is an important tool for veterinarians in small and mixed practices.
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Max Tarnavskii is a young writer once recognized by the young audience for his debut novel about young counterculture but then scathingly criticized for his third novel "Where the Wind Is", — a philosophical parable about a hermit living in a lighthouse by the sea. Having fallen off the readers’ radar, he suffers through his inability to create any further. It’s the second half of the 2010s, Kyiv. On the New Year’s Eve Max gets an offer from Alisa, a first-year student, to go on a tour with a young rock band as a gonzo journalist to revive his counterculture icon status. Max balks at first, but an unexpected brawl on Facebook in which Max is reminded about his passivity during the Maidan and his uncertain ideological views in the days of the ATO and the war, and a critical review of Max’s new novel outline from his literary agent urge Tarnavskii to accept the offer after all. The rock band he joins for a tour from Western to Eastern Ukraine has turned up to be an inept group trip planner, so the protagonist has to take up the role of a leader capable of saving the band from a total fiasco. Traveling with the teenage freshmen becomes the young writer’s road to adulthood, forgiveness, and an attempt to forgive his own mistakes of youth in particular. Just to earn his living, Max agrees to perform with the rockers while on tour, flies in the face of his creative fears, and is forced to redefine himself as a writer once again. He faces the dangers of concert disruptions, the band split up, public disapproval, and threats of physical violence. Ability to write on the road becomes his only way to save and revive his own self, stand up to his hidden weaknesses, reconsider his role in a society that undergoes a war. A post-tour trip with Alisa to her grandmother who lives in a village on the liberated from the occupation territories becomes Tarnavskii’s hope for a renewal. On this trip Max gets a chance to full recovery, because in Tarnavskii’s mind these are the parts, where he will find the sand bar with the lighthouse where the hermit from his novel "Where the Wind Is" lives.
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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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The Chinese Traditional Culture Game Book series is designed for 4-8 year-old children, and integrates Chinese traditional culture into fun and interesting games. The themes of the series cover ancient costumes, classical architecture, traditional crafts, folk festivals, and games including maze, matching, coloring, and identifying variations. The items are carefully arranged and the games are smartly designed to allow children to deepen their understanding of Chinese traditional cultural knowledge in the game.
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The book mainly explores Chinese classical opera in terms of the existence, cutural essence and functions, artistic features, and the position in Chinese traditional culture. The author conducts study based on theories of popular culture and folk culture, historical resources of Chinese classical opera, along with various survival tactics for opera like opera adptation and opera prohibition.
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Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.
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This volume has two parts: the first part introduces 55 kinds of Chinese toys; the second introduces 23 kinds of folk arts.
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