A diverse slate of books that range from board books to literary fiction. We discover, develop, create and package original books and comics with the potential to build multimedia franchises around them. Ferly’s carefully curated catalog features a wide range of books and popular licensed brands from all over the world. We are seasoned storytellers who specialize in finding emerging voices with a rare and cultivated expertise in the Nordics.
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A small independent Publishing house, with branches in Tripoli, Cairo, and London. Established in 1950's in Libya.
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Im Licht der Wiederkehr des Religiösen und seiner weltweiten Konjunktur erfährt die Religion ihre philosophische Nobilitierung jenseits der tradierten Dichotomie von Mythos und Aufklärung. Die Beiträge von Jacques Derrida, Gianni Vattimo, Maurizio Ferraris, Hans-Georg Gadamer, Aldo Giorgio Gargani, Eugenio Trías und Vincenzo Vitiello dokumentieren eine kardinale Wende der zeitgenössischen Philosophie. Mit Beiträgen von Eugenio Trías, Aldo Giorgio Gargani, Vincenzo Vitielo, Maurizio Ferraris, Hans-Georg Gadamer.
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Contemporary and challenging, this thought-provoking book outlines a number of the key dilemmas in animal welfare for today's, and tomorrow's, world. The issues discussed range from the welfare of hunted animals, to debates around intensive farming versus sustainability, and the effects of climate and environmental change. The book explores the effects of fences on wild animals and human impacts on carrion animals; the impacts of tourism on animal welfare; philosophical questions about speciesism; and the quality and quantity of animal lives. The welfare impacts of human-animal interactions are explored, including human impacts on marine mammals, fish, wildlife, and companion and farm animals. Animal Welfare in a Changing World provides: Concise, opinion-based views on important issues in animal welfare by world experts and key opinion leaders. Pieces based on experience, which balance evidence-based approaches and the welfare impacts of direct engagement through training, campaigning and education. A wide-ranging collection of examples and descriptions of animal welfare topics which outline dilemmas in the real world, that are sometimes challenging, and not always comfortable reading. This is a 'must-read' book for animal and veterinary scientists, ethologists, policy and opinion leaders, NGOs, conservation biologists and anyone who feels passionately about the welfare of animals
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It is 1985 and, for two years, León Ferrari and his partner Alicia have begun a long return to the country. Exiled in Brazil due to the infamous civic-military dictatorship in Argentina, and with residence in São Paulo since 1976, they will live intermittently in the city of São Paulo and in Buenos Aires until 1991, the year of their final return. It's 1985 and Ferrari creates La Basílica; In this way, he takes up a type of work - literary collage - in which he had ventured in 1967 to elaborate Words of Others (there will be four that he will carry out throughout his entire production). The Basilica has a theatrical structure and is also amphibious: it is the only one in this series of texts in which the artist incorporates images. The characters in this drama –Jehovah, Jesus, Adam, Eve, exterminating angels and Ronald Reagan, among others– emit delusional speeches that are nothing more than the reproduction, through quotations, of the fundamental notions of Judeo-Christian culture. Housed in the black bibliographical sources of the West, the fragments extracted from their original context reveal the world of horror that the West promotes. Fortunately, the demiurge Ferrari adds a certain sour humor and proposes burning cats to ingratiate himself with a god, or confuse the public with confusing sentences and contradictory smells. It is 1985, passion and fierceness are intact, and Ferrari builds this basilica –this two-headed monster of images and words– demonstrating how the bloody letter enters and how all the great anguishrs of each era comply politically with their masters. This edition includes an introduction and a posface after an investigation with the sources consulted by the author.
What happened when America's richest car company, producing many thousands of cars per year, went head-to-head with Ferrari of Italy in the mid ‘60s? This is the story of an unstoppable force coming up against the stubbornness of an immovable object – that is, Ford against Ferrari. Enzo Ferrari, whose company produced fewer than four hundred cars per year in 1963, wasn’t going to bow to Ford after he had turned down its offer to buy his company. The only place left to duke it out was on the racetracks of the world … and one in particular: Le Mans ‘66.
On an empty stage, three of the most furious and relevant figures in the West carry on a conversation about violence, war, hell and God. We are witnessing not only the irate beginning of Judeo-Christian society, but also the invention of threat as a genre. León Ferrari dedicated, between 1999 and 2004, a portion of his enormous creative force to this work, the last of the series that he called "literary collages", defined by a theatrical structure and by the construction of the characters' speeches based on the copying and editing of excerpts taken from their original context. Unpublished until this publication, Conversations between Jesus, Jehovah and Hitler takes up and closes this procedure inaugurated with Words of Others (1967), which will be followed by La Basílica (1985; RIPIO, 2020) and Exegesis (1993). This work returns to one of the central hypotheses in the artist's production: the greatest historical phenomena of annihilation, the greatest massacres and human rights violations continue to occur because they obey a tradition of hatred and intolerance present at the base of our societies. The recurrence of these themes is key. In terms of Andrea Giunta: “Leon Ferrari was questioned that he always said the same thing. He claimed that he did it because the things he reported kept happening. To repeat is to resist ”. In these conversations, then, the assertion that it was destruction in the beginning and that, throughout history, Western art has contributed to it with an aura of solemnity and aesthetic sophistication is insisted, not coincidentally. This is a previously unpublished work. This edition includes an introduction and a posface after an investigation with the sources consulted by the author.
Ninni is a child of postwar Italy. His life traverses hardships recalling the industrial revolution in provincial Lombardy, the decline of rural civilization in Emilia, and the explosion of life of in a Milan undergoing reconstruction. Through it all, Ninni learns about the pitfalls of emotions, suffering, and the pain hidden even in the closest bonds. As a boy, thanks to his grandmother, he discovers he can leverage the immense continent of experiences and emotions that books open wide before his eyes. Having become aware of himself and his wearying autonomy, the boy carves out, in the name of curiosity and the will to know, what promises to be his place in the world. The story of Ragazzo italiano (Italian Boy) reflects the history of the whole country – the harshness, poverty, anxiety about the future – the story of a generation born of the war but determined to carry out projects and dreams beyond that tragedy. An Italy where school is the springboard for social advancement, and the future is crowded with expectations and promises. An Italy still alive in the deep memory of the country, in the familiar vicissitudes of many Italians. Ferrari gives it body and breath, without any self-indulgence, with a crystalline and austere style, often raw, and a timbre of courageous sincerity. Able to express the freshness of the protagonist and a multitude of flashing characters of the future. “Once the ties with the nest were cut – eliminating, in practice, obligations and duties – Ninni, to his intimate amazement, discovered that other things were left and they existed. Indeed, he existed.”
This book shows what winter and Christmas can be: Silence and reflection on family and friends. And how an enchanting story creates the mood for it. Albin and Valeria hiked with grandma Klara into the winter valley. They are guided by Lucius Silberpfote, a lynx that senses: the children will solve mysterious tasks and puzzles and find the »Bridge of Ice« on their adventure journey - into a world full of emotional warmth, closeness to nature and fantasy. Ideal as an introduction to Christmas.
Isolda Vandone debe enfrentarse con su propia historia y con el pasado que decide volver, una y otra vez, para decirle algo sobre su identidad. Solo que ahora se encuentra León, un amigo de la infancia que acompañará el camino de esta mujer con su amor y valentía. La Perla, centro clandestino de tortura y exterminio, donde hoy se alzan los monolitos que proclaman: Memoria, Verdad y Justicia, será el escenario donde la palabra IDENTIDAD resonará una y otra vez a lo largo de la novela. Isolda, periodista de Esclava Blanca, vivirá en estas páginas el mayor de sus aprendizajes.
