POPLAR Publishing Co., Ltd., a leading independent publisher of children's books in Japan, has been in business for more than 70 years. As it started as a children's books publisher, it has always tried to provide children with enjoyable and exciting books. Today, the company's goals remain unchanged: everything it publishes should be enjoyable and enrich people's lives.
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The Bruno Dorn Verlag is publishing extraordinary and high quality art books and catalogues since 1996. In collaboration with artists*, museums or other art institutions, BDV is creating very special books that open up whole new creative worlds. Since 2007, the BDV is publishing the art magazine seen, a completely new and compact format to present new, emerging and interesting artists. Der Bruno Dorn Verlag zeichnet sich seit 1996 durch Künstlerbücher und Kataloge von höchster Qualität und Kreativität aus. In Zusammenarbeit mit Künstler*innen und oft in Kooperation mit Museen oder anderen Kunstinstitutionen entstehen im BDV Bücher, die den Zeitgeist einfangen und zum Verweilen einladen. Seit 2007 gibt es mit dem Kunstmagazin seen ein neues Format, zu dem der Verlag in unregelmäßigen Abständen Künstlerinnen und Künstler einlädt.
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De-centering queer theory seeks to reorient queer theory to a different conception of bodies and sexuality derived from Eastern European Marxism. The book articulates a contrast between the concept of the productive body, which draws its epistemology from Soviet and avant-garde theorists, and Cold War gender, which is defined as the social construction of the body. The first part of the book concentrates on the theoretical and visual production of Eastern European Marxism, which proposed an alternative version of sexuality to that of western liberalism. In doing so it offers a historical angle to understand the emergence not only of an alternative epistemology, but also of queer theory's vocabulary. The second part of the book provides a Marxist, anti-capitalist archive for queer studies, which often neglects to engage critically with its liberal and Cold War underpinnings.
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This is the extraordinary story of how one small girl stopped a planetary catastrophe. It’s a very timely book, written for the child in us all, with a forceful message about the power of young people to transform the world - a theme currently demonstrated by brave young heroes like Greta Thunberg. And with magical synchronicity, the very week Greta began her lone vigil outside the Swedish government last year, over 1,000 miles (1,897 km) away in the fictional world of books, Amelie Trott took to Parliament Square, London - on a mission to avert the End of the World. It’s a family drama with an international feel - set mainly in England but with episodes in Washington DC and around the world.
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"Tup!" - a cute exclamation that defines a jump or a fast unexpected movement. But this name goes beyon the positive personality of one of the most recognizible children's books characters in Romania. Reading the first volume you will find that the courage has nothing to do with the size of your body, but rather how big your soul is. That is exactly what all the animals of the forest realised when, to their surprise, their forest was saved by a tiny lark with no wings and tiny legs. The entire collection is beautifully illustrated by Stela Damaschin-Popa, who has received the IBBY Honorary Award and was also nominated for two consecutive years for the Astrid Lindgred Memorial Award.
“These ‘stone’ poems by Karen Craigo are reminiscent of W. S. Merwin’s deep image poems or Vasko Popa’s surrealist ‘pebble’ poems. But Craigo does Merwin and Popa one better. She manages to create and sustain a complex and shifting personal mythos without sacrificing the mystery and evocative force of the focusing image. Popa’s ‘pebbles’ chanted a mean, gutteral, one-syllable song, but Craigo’s ‘stones’ belt out whole operas. A brilliant debut.”—George Looney
At almost ninety, the old woman lives alone in Turin with her elderly cat Veleno, a human-friendly feline, and with the memories of a love affair that has ended (her partner, the beloved Nora, died many years ago); she has nothing to do but keep track of the new pains in her bones, listen to the radio news of violence and catastrophes - murders, bombs in airports, droughts - and chat with her friend and coetaneous Malvina, increasingly forgetful and lost on the crowded paths of dementia. The old woman is definitely tired of living, tired 'like an old cemetery earthworm', but luckily in her day there is Gabriela, a lump of hard-working youth from Eastern Europe who has survived a ramshackle family odyssey. And in Gabriela's life, besides a string of terrible relatives trying to extort as much money from her as possible, there is her cousin Dorin, a would-be terrorist actively engaged in terrorising her, Gabriela, who refuses to marry him. In a constant loving dialogue with death (she has even tried to die on command, like the Eastern sages, but failed), the old woman is still full of energy, and takes care of what love remains to her: the decrepit Veleno and her fading friend, who has meanwhile been deported by her snake-like relatives to a rest home. And when dark threats loom over Gabriela, the arthritic old lioness doesn't think twice about unleashing her claws to defend what is dear to her
This second volume of New History of Brazilian Cinema covers Brazilian cinema from the postwar period up to the present, discussing the Cinema Novo and Cinema Marginal movements, the state-owned producer Embrafilme, pornochanchada (soft-core sex comedies) and the crisis and revival of Brazilian film production from the late 1980s to the mid-1990s, ending with an overview of experimental filmmaking, documentary film and contemporary film fiction up to 2016. Ebook version brings additional texts: “Brazilian New Cinema (1960-1972)”, by Bertrand Ficamos, and the extensive filmography “Brazilian films released from 1969 to 2016”, by Luiz Felipe Miranda
A narrative full of time, memories on the shoulders, rusty bodies smelling of sea air, a testimony of uncertain memories of stories. The novel 'My old guerrilla' tells the story of a exiled writer abroad who returns to hometown (Olinda), mother's request, to try to dissuade the father of the idea of killing the president, who took power after a coup. Alvaro Filho teaches us that we must "silence to hear the wind," time to understand the affection of places and things, calmly swallowing discomfort, and wisdom to understand our ancestry. 'My old guerrilla' is like a reef solid melts into air, and the wind sweeping "flesh, bone, blood, paper and ink."
The night her mother died, Elora saw a flash of purple lightning from the window of the Saint-Étienne hospital. She instantly understood that the flash was her mother's flame, recently freed from the world. And, at the same time, she saw a figure draw itself on the glass fogged up by the winter cold: a heart. And the fact is that Elora, like her mother before her, like her grandmother, with whom she must move, possesses a gift that makes her special, intuitive, wise... Like so many women from other times and places, grandmother and granddaughter will have to survive together and be strong. And Elora will discover more than one secret in her new home, on the strange Île Cormoran, the island of the cormorants.
The tiny readers of the third book will be surprised to see their beloved characters in a quite unhappy situation, drawn into the mirrage of video games and junk food, their health at risk and their will diminished. Hoppy's desperate attempt at saving them is an excelent story about not only friendship, but also believing in both yourself and in others.
In this series, a compilation of texts by researchers and specialists seeks to sketch an updated and detailed panorama of Brazilian cinema. In this first volume, Brazilian cinema is analyzed from the 1910s onwards, addressing silent movies, the beginning of sound film, the chanchada (musical comedies) and the independent cinema of Rio de Janeiro in the 1930s-1950s, and the educational role of cinema in Getúlio Vargas’s government. The book concludes with an essay on Companhia Cinematográfica Vera Cruz, an important Brazilian film studio of the 1950s. Ebook version brings aditional texts: “Cinema in Rio Grande do Sul (1918-1934), by Glenio Povoas, and “Massaini, producer and distributor (1935-1992): a lesser known aspect of Brazilian cinema”, by Luciano Ramos.
In this second instalment of the series the tiny lark together with his friends, a snail as fast as lightning and a vegetarian owl, help bring winter to the forest. Beyon this enchanting story, there is an important lesson of friendshinp and tolerance. The world is represented through the eyes of these animals, and this helps children learn to emphathise with them and to see them as their equals.
