Since 2010, Amicus has published books for children that educate and inspire young readers. Our library imprints—Spot, Amicus High Interest, Amicus Illustrated, and Sequence—offer informational books in a variety of formats that make reading to learn fun and encourage life-long learning. Our retail imprint, Amicus Ink, features original picture books and board books, each sharing a child’s-eye view of the world.
View Rights Portal
Kesaint Blanc Publishing is the leading foreign language-learning publisher in Indonesia, teaching Indonesian foreign languages since 1988. Kesaint Blanc Publishing has published other book genres as well, such as Children's Book. Our children's book showcases wonderful and fun stories accompanied by colorful and beautiful illustrations. We offer variety of stories for various age groups. All the titles are selected by their high educational and morale value.
View Rights Portal
Developing the concept of 'disobedient knowledge', this book provides new perspectives on activism and everyday struggles against racism and bordering. Drawing on empirical material from distinct contexts in Northern, Western and Southern Europe, the chapters explore how different kinds of (b)orders are challenged and possibly also maintained in everyday antiracism, activism and struggles against borders. The book examines resistance and disobedience in relation to borders, social orders, conventional practices and hegemonic discourses. It underscores the importance of studying racism and bordering as intertwined phenomena. With a focus on the historical layers of resistance, disobedient practices and ways of building shared struggles, the book provides invaluable knowledge about postcolonial Europe and its future possibilities.
Trusted Partner
Trusted Partner
Trusted Partner
Trusted Partner
Text und Kommentar in einem Band. In der Suhrkamp BasisBibliothek erscheinen literarische Hauptwerke aller Epochen und Gattungen als Arbeitstexte für Schule und Studium. Der vollständige Text wird ergänzt durch anschaulich geschriebene Kommentare.
Trusted Partner
Richard Wagner revolutioniert nicht nur das Musikdrama; eine Naturgewalt ist er auch im Lieben wie im Leiden und, so nennt er sich selbst, »ein Verherrlicher der Frauen«. Eine Frau weist dem Sechzehnjährigen den künstlerischen Weg, eine Frau hält die Totenwache und festigt sein künstlerisches Erbe. Zweimal heiratet er; mit 23 Jahren als vagabundierender, verschuldeter Musikdirektor die hübsche Schauspielerin Minna Planer, mit 57 Jahren als berühmt gewordener Komponist die seinetwegen geschiedene Cosima von Bülow, mit der er zuvor drei Kinder gezeugt hat. Die Ehen gefährden stürmische Affären: mit der reichen Mäzenin Mathilde Wesendonck, die die Geduld ihres Ehemanns strapaziert, mit der Engländerin Jessie Laussot oder der schönen, 33 Jahre jüngeren begeisterten Wagnerianerin Judith Gautier. Die Lebensstürme dienen der Inspiration, die Ruhephasen der beharrlichen Arbeit.
Trusted Partner
Trusted Partner
Trusted Partner
Trusted Partner
Trusted Partner
Trusted Partner
There have been rapid advances in the field of plant biotechnology in recent years, increasing the potential for medical application. Covering the latest advances in the use of plants to produce medicinal drugs and vaccines, this volume examines topics including plant tissue culture, secondary metabolite production, metabolomics and metabolic engineering, bioinformatics, molecular farming and future biotechnological directions, with contributors from key researchers in the field. Medicinal Plant Biotechnology is an essential text for researchers in plant biology and biotechnology, medical sciences and pharmacology.
White Raven 2020Paul the fifth grader oversleeps for the first time in his life and doesn’t make it to school. Yet when he goes out to get a breath of fresh air, it turns out that the day’s extraordinary events aren’t over yet. A series of escapades unfolds, starring the world’s most beautiful saleswoman Yekaterina, the artistic Arthur, and Arthur’s spunky daughter Minna. The leading role in all these events, however, belongs to a strange man who buys a brand-new pair of size-39 shoes every day without trying them on first. Why would anyone do that? Will Paul manage to figure out the shoe-man’s secret?
This report draws on a series of workshops entitled “Anticipating a Political Process in Afghanistan: How Should the International Community Respond?” These workshops brought together some thirty analysts, both Afghans and foreigners, who have spent many years in Kabul, Kandahar, and other parts of Afghanistan. Participants considered a range of possible scenarios for Afghanistan over the next five years and the drivers of events in Afghanistan, then developed scenarios based on a five-year perspective and constructed along two main axes: the degree of political inclusion and the degree of state capacity and control. The workshops were held in Kabul, London, and Washington, D.C. in June 2010, supported by the Royal Norwegian Ministry of Foreign Affairs and the United States Institute of Peace (USIP) and facilitated by the European Council on Foreign Relations (ECFR). This report also incorporates comments to an earlier version that was circulated as a nonpaper to senior policymakers ahead of the July Kabul conference. The report focuses on examining the role of the international community and the key challenges to a sustainable peace process, creating an inclusive peace process, gauging the interests of parties, identifying actual participants in peace talks, and structuring an agenda for sustainable stability.
The German/Jewish grandparents of the author sent 32 postcards from Hamburg to their son Walter Wächter in Sweden between 1940 and 1941 – the last one was written imminently before their transportation to a concentration camp near Riga. The original documents collected here tell the dramatic story of a family from Hamburg. It is shown how the grandparents, Minna and Gustav Wächter, experienced the National Socialist seizure of power and what consequences this had for them and their three sons. They were denunciated, arrested and tortured. The sons were able to escape, but no one ever heard from the grandparents again after their deportation. Only two stumbling blocks in Eimsbüttel commemorate them. The author Torkel S. Wächter found the postcards in his father’s estate. He learnt German, spent time in archives and met people who were able to tell him the things he never asked his father about. He met relatives who he had never heard of and he realized that things, which were lost, do not have to stay lost forever. The 32 postcards are evidence for this and moreover a legacy for all of us.
Kärt feels that she doesn’t really belong anywhere. Her relationship with her classmates is not a happy one- either she is being bullied for the way she looks or taunted because she knows the answers to teacher’s questions. It’s not going much better at home either- her father is not exactly happy about Kärt preferring books and reading to maths and computers. Her support from her mum is nonexistent as well as she just starts to cry and despair hearing about Kärt’s problems.Alas, after a particularly bad day at school, Kärt meets a spunky Croatian girl Lucija who slowly helps Kärt to realise that exactly her kind of girl is needed and cherished in different situations.
Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeer’s grands opéras, and his final work. By 1860 long-imposed labor had started to tell upon the composer’s health: he knew that he must concentrate on the “navigator project” which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and César-Victor Perrin, the director of the Opéra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph Fétis, while the libretto was revised by Mélesville. The original title of L’Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story.While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. L’Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.
Paula lives in a little village that has a glass factory, a post office, and a shop. The village lies on the shore of a pretty lake; everything there is familiar and feels like home. Paula doesn’t live alone, of course – she has a mother, a father, a little brother named Patrick, a dog named Rex, and a cat named Kitty. She’s turning seven soon, which means she won’t go to kindergarten anymore next autumn. Instead, Paul will go to school – first grade! But before that happens, she has to finish kindergarten. After their graduation party, it turns out that Paula and her friends will be going to different schools. The glass factory has been shut down and Paula’s dad needs to find another job, so their family is moving to the city. Thus, Paula becomes a city girl who starts attending a city school.
Akin to Emma Cline’s The Girls and classic Thelma & Louise, I DON’T LIKE MONDAYS is an emotionally-charged whirlwind of a debut novel, loosely based on the infamous ‘I don’t like Mondays’ 1979 school shooter Brenda Ann Spencer, focusing on the months leading up to the event. ‘Her name was Elisabeth Sumner, but I called her B. She made my life an adventure when I thought nothing was ever going to happen. I have to tell the story of her and everything we experienced, because in all other stories, she was just the girl behind that shooting. And I need to write about my own guilt in what was to come.’ San Diego 1978. Fifteen-year-old Julie leads a lonely, closeted life in a white picket fence suburb, when her neighbour B suddenly knocks on her door. B brings with her adventure, danger and kisses tasting of cinnamon and whisky—along with the scent of dead birds, gunpowder and rage. What was to follow sent shock waves throughout the USA and the world, reverberating still today. Forty years later, when B escapes from prison where she’s been jailed for the 1979 shooting, Julie’s memories of their wild, impossible summer come back to haunt her; the summer B took her on an unbridled road-trip where danger and desperation were their constant companions. But what happened that summer to cause B to commit the heinous act, and what was Julie’s role in it? In this absolutely remarkable debut novel, Clara Clementine Eliasson pens a deft and passionate tale about the obsession of first love, the utter despair of feeling doomed from the start, and of the freedom of running wild in the hot, feverish nights among the flowering citrus trees of southern California. Hurtling at an impossible speed toward a dreadful end, I DON’T LIKE MONDAYS reminds the reader of the tragic yet life-affirming Thelma & Louise, the hope of innocence in the face of evil in Emma Cline’s The Girls, as well as the blinding fury toward an unfair world in Joyce Carol Oates’ Foxfire. * The term ‘I Don’t Like Mondays’ was coined by Brenda Ann Spencer in an on-air radio interview minutes after the shooting. Spencer’s bizarre response to the question why she opened fire on the elementary school across the road inspired Bob Geldof to pen the unforgettable hit song of the same name. The character B in Eliasson’s book is inspired by the real life Brenda Ann Spencer.
