Jacoby & Stuart is a publishing house of richly illustrated and well-written children’s books, picture books, fiction and non-fiction. For adults we publish graphic novels, lovingly designed gift books, richly illustrated and informative non-fiction as well as inventive and exquisite cookbooks.
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Guy Helmingers Erzählungen sind für vieles gelobt worden: den nachtschwarzen, grandios trockenen Humor, die Raffinesse, die so brutale wie komische Abgründigkeit und nicht zuletzt die Tatsache, daß hier endlich einmal jemand eine stichhaltige Erklärung dafür gibt, warum manche Männer vom Zigarettenholen nicht mehr zurückkommen.
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In Das Selbst und die Welt der Objekte gibt Edith Jacobson eine umfassende Darstellung der normalen psychischen Entwicklungsvorgänge in Kindheit und Adoleszenz. Sie erörtert die wichtigsten neueren Ansätze, die auf eine theoretische Durchdringung der grundlegenden Vorgänge bei der Bildung psychischer Strukturen abzielen. Im Mittelpunkt der Untersuchung stehen die Frage der individuellen persönlichen Identität und das Problem der psychoanalytischen Konzeptualisierung des Prozesses ihrer Herausbildung im Laufe der menschlichen Entwicklung. Sorgfältige Begriffsbestimmungen und zahlreiche Beispiele aus der psychoanalytischen Empirie, der direkten Kinderbeobachtung, der Neurosenbehandlung und der Psychopathologie der Psychosen verleihen der Darstellung Klarheit und Plastizität.
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"Im Gespräch mit dem Philosophen Guy Lardreau gibt Duby hier Auskunft über seine Vorstellungen von Geschichte und über die theoretischen und methodischen Grundlagen der Geschichtswissenschaft; er umreißt seine Sicht der Entwicklungen in der historischen Wissenschaft dieses Jahrhunderts, erläutert die Motive und Grundgedanken seiner wichtigsten Studien und benennt die persönlichen Motive, die seine Arbeit geleitet haben."
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Guy de Maupassant (1850-1893) ist einer der großen Romanciers Frankreichs. Existentielle Konflikte, Milieuschilderungen und psychologische Analyse machen seine seine Romane und Novellen zur auch heute noch fesselnden Lektüre.
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This collection brings together scholars from disciplines including Children's Literature, Classics, and History to develop fresh approaches to children's culture and the uses of the past. It charts the significance of historical episodes and characters during the long nineteenth-century (1750-1914), a critical period in children's culture. Boys and girls across social classes often experienced different pasts simultaneously, for purposes of amusement and instruction. The book highlights an active and shifting market in history for children, and reveals how children were actively involved in consuming and repackaging the past: from playing with historically themed toys and games to performing in plays and pageants. Each chapter reconstructs encounters across different media, uncovering the cultural work done by particular pasts and exposing the key role of playfulness in the British historical imagination.
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Forbidden poems and other poems are a book designed with a series of words that say without lure all cause people fear to speak daylight. It gathers all the sweet words that make life thrive at night. Every poem in this book is a ochan so life can be plagued even when at night bare the sun at the tip of the dawn. It's a song the poet's hopes bring, a veve he draws for love spread without measure like the hay pid of Christmas.
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Depression is one of the most common mental disorders, and it therefore also affects many people in committed relationships. Although on the one hand relationships represent a degree of protection, they are also affected by the depression, which is a huge challenge for the couple. This book aims to establish sound understanding of the disorder and its different forms, of the causes of depression and its effects on couple relationships, and to demonstrate how couples can regard depression as a shared challenge and overcome it together. For:• those affected and their partners• psychologists• psychiatrists• psychotherapists• advice centers
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike. ;
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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This topical and innovative study is the first book on Algerian cinema to be published in English since the 1970s. At a time when North African and Islamic cultures are of increasing political significance, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented this often misunderstood nation. Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria, including films of anti-colonial struggle, representations of gender, Berber cinema, and filming the 'black decade' of the 1990s. This thoughtful and timely book will appeal to all interested in world cinemas, in North African and Islamic cultures, and in the role of cinema as a vehicle for the expression of contested identities. By the author of the critically-acclaimed Contemporary French Cinema.
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This topical and innovative study is the first book on Algerian cinema to be published in English since the 1970s. At a time when North African and Islamic cultures are of increasing political significance, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented this often misunderstood nation. Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria, including films of anti-colonial struggle, representations of gender, Berber cinema, and filming the 'black decade' of the 1990s. This thoughtful and timely book will appeal to all interested in world cinemas, in North African and Islamic cultures, and in the role of cinema as a vehicle for the expression of contested identities. By the author of the critically-acclaimed Contemporary French Cinema.
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A significant amount of the world's economy is based upon the international trade of agricultural produce. For the producing countries, a growing concern is the potential economic and ecological damage that invasive species could cause. While threats can be decreased through the regulation of items potentially carrying invasive species, the effect of such restrictions on international trade also needs to be considered. A balance must therefore be met that permits the transfer of produce while filtering out unwanted pests.Drawing on the author's extensive experience, the social and financial implications of phytosanitary trade barriers are reviewed. This book offers valuable and comprehensive coverage of pest related barriers and strategies for their implementation.
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Die langsame Louise träumt auf dem Sofa von einer Reise nach Neuseeland; für ihren Mann Feltzer, den Taxi fahrenden Choleriker, sind die angenehmsten Fahrgäste fünf ausgemergelte Stoffgiraffen. Man könnte es eine einigermaßen glückliche Ehe nennen. Sehnsüchte schweifen in die Ferne, der Alltag klebt hartnäckig am Hier und Heute, und ein leises Unbehagen durchzieht das Zusammenleben. Ein fremder Mann sitzt allzu traulich mit Louise auf dem Sofa. Und bleibt nach einer Fahrt in Feltzers Taxi verschwunden.
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Dieses Buch soll dazu beitragen, die philosophischen Wurzeln von Webers Methodologie freizulegen und insbesondere den Zusammenhang seiner Position mit der Wertlehre Rickerts aufzuklären. Dabei bildet die Frage nach dem Verhältnis zwischen der Begründung der kulturwissenschaftlichen Objektivität bei Weber auf der einen und Rickerts Lösung des Problems der Wertobjektivität auf der anderen Seite den Kernpunkt der Untersuchung. Anhand der Bestimmung dieses Verhältnisses soll nicht nur gezeigt werden, daß Webers Begriff der kulturwissenschaftlichen Objektivität von Voraussetzungen ausgeht, die in Rickerts Werttheorie angelegt sind, sondern auch, daß es eben diese Voraussetzungen sind, die eine plausible Lösung des Objektivitätsproblems unmöglich machen.
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