Wiley
John Wiley & Sons, Inc. (Wiley)is a renowned, global publishing company focusing on academic publishing for professionals and researchers within the field of science and medicine.
View Rights PortalJohn Wiley & Sons, Inc. (Wiley)is a renowned, global publishing company focusing on academic publishing for professionals and researchers within the field of science and medicine.
View Rights PortalWilkinson Publishing is an independent Australian Publisher with over 40 years of experience. We are passionate about books and sharing great stories that entertain and inspire, and information that helps bring about change and creates opportunities to learn and belong.
View Rights Portal»Bosheit ist ein Mythos, den gute Menschen erfunden haben, um die seltsame Anziehungskraft der anderen zu erklären.« Oscar Wilde
»Bosheit ist ein Mythos, den gute Menschen erfunden haben, um die seltsame Anziehungskraft der anderen zu erklären.« Oscar Wilde
The secret life of romantic comedy offers a new approach to one of the most popular and resilient genres in the history of Hollywood. Steering away from the rigidity and ideological determinism of traditional accounts of the genre, this book advocates a more flexible theory, which allows the student to explore the presence of the genre in unexpected places, extending the concept to encompass films that are not usually considered romantic comedies. Combining theory with detailed analyses of a selection of films, including To Be or Not to Be (1942), Rear Window (1954), Kiss Me Stupid (1964), Crimes and Misdemeanors (1989) and Before Sunset (2004), the book aims to provide a practical framework for the exploration of a key area of contemporary experience - intimate matters - through one of its most powerful filmic representations: the genre of romantic comedy. Original and entertaining, The secret life of romantic comedy is perfect for students and academics of film and film genre.
Little Shilu loves to dance around naked. She wants to be like the animals; like Pirate, her cat. When her grandmother Nannu says she can’t because she is now a big girl, Shilu gets down to understanding why she can’t. Peppered with Nannu’s loving chiding, intimate grandma-granddaughter bonding over conversations, and a heart-to-heart between the mother and this little inquisitive daughter, this book is a reflection of the wild and free nature of childhood. Rhuchi Mhasane’s soft evocative illustrations rendered in pencil with watercolour, and put together digitally, create a dreamlike charm. Richa Jha’s gentle, affectionate and lyrical text takes the reader into the mind of the little girl who can’t wait to get the answers to her ‘Why can’t I?’
All books have either writing, pictures or both in it, but the book that Ellen got as a gift has neither. It does, however, have extraordinary recording powers. Like in so many of Sandro’s stories, in The Strange Book it is completely natural for dreams to merge with reality. Through the matter-of-fact occurrence of unlikely events, The Strange Book tells a story of growing up without abandoning the inner child.
Fun Coloring Sticker Book for Babies consists of stickers and coloring. It guides children to use hands and brains simultaneously, and stimulates children's unlimited potential with multidirectional play. It's specially designed for children aged 2-5. Children can not only play stickers, but also paint in the process of reading. The figures are cute and colorful, enabling children to easily recognize the common things around and improve the ability of visual discernment and concentration, making babies’ early education enlightenment more diversified and intelligent!
Gender-based violence (GBV) in travel and tourism is embedded within wider social structures of gender inequalities and discrimination. Even though it is pertinent to study GBV in all its forms, this book focuses on the multiple and interconnected manifestations of violence that women/girls encounter in tourism consumption and production (physical, sexual, emotional or socio-economic), while seeking to open the debate on violence against sexual minorities (LGBT) and discussing men/boys as victims and perpetrators of GBV. By engaging in a critical exploration of the theoretical landscape of GBV and case studies on GBV and sexual harassment, the book adopts a multidisciplinary perspective drawing on feminist, intersectional and post-colonial frameworks, bringing together contributions from academics and practitioners across the globe.
This story is a recreation of a fable originally written in “Kalila and Demna”, an ancient book with Indian roots. In the original story, an old egret tricks the fish into thinking that they are being taken to a safe lake, but they are in fact becoming the egret’s food. Until one day, the crab also asks the egret to take him to the lake and sees the remaining fish bones while riding on his back. He then returns and informs the others. “Believe Me, I’m not an Egret!” is a parody of the original fable, encouraging the children to think about and question what they hear.
People of two neighboring planets have been living together in peace until a scientist invents a device to look at the sky with. The trouble begins when the map of the sky is different for each planet, but whose map is the correct one? The book tries to help children towards thinking objectively despite their biases. It also aims to encourage critical thinking and seeing the differences while taking something into account.
Fully early pandemic “locked down” in an old age home, 70-year-old boomer, Maggie, ditches her bra, browses an old diary and reconnects with her artist self. While the world is happier with its oldies locked away, the lovable and maverick elders of Hazyview Mansions, galvanised by Maggie and her four close friends, have their own ideas. Romance, old loves; individual, local and global issues drive the story of this consequential movement with sustained and gentle humour. This book is both enormous fun and truly weighty.
The book offers a novel lens to situate Europeanisation as violence - through institutions and technologies of development, cultural heritage, and borders, among others - by bringing South and East within a relational frame. Through four inter-related sections, it foregrounds Europeanisation as infrastructural violence and colonial asymmetries, slow violence and the construction of stratified subalternities, epistemic dispossession, and border epistemologies.
Famed reporter Russell Blaze is dead. It may have been an accident, but then again, it may have been murder. Russ' son Cody finds Russ's unfinished memoir for clues as to what may have happened. The opening words are: On the night of October 16, 1968, I uttered a sentence that would haunt me for the rest of my life. The sentence was, "Someone should kill that motherf***er.As Cody delves into the memoir, a window opens into a tragic past and thrusts the still-burning embers of another time's radical violence into the political reality of the present. History that once seemed far away becomes a deeply personal immersion for Cody into the storied heyday of Haight-Ashbury: drugs, sex, war protesters, right-wing militias, ground-breaking journalism-and the mysterious Gloria, who wanders into Russ' pad one day just to "crash here for a while until things calm down."Cody discovers aspects of his father's life he never knew, and slowly begins to understand the significance of those words his father spoke in 1968.Words Kill is a story of loss, violence, and racism; love, hate, and discovery. It is a story of then . . . and now.
The documentary "Hexi Corridor China's Wild West", with its rich humanistic materials and unique aesthetic perspective, has become a classic of domestic documentary. Hexi Corridor, a documentary book of the same name published by Gansu Education Press, reproduces the film on paper in the form of pictures and illustrations, bringing readers a new reading experience and aesthetic enjoyment. The book's chapters are arranged in the same chronological order as the documentary, with each chapter focusing on a different theme -- from the equestrians of the empire to the quiet Buddhist faces of the grottoes; From the reading of Confucian scriptures to the ringing of merchants' camel bells. In different dimensions, he wrote an epic of the Hexi Corridor, a meeting place of civilizations.
This book aims to examine the nature of and resistance to gendered urban violence among Brazilian women in London and in the favelas of Maré, Rio de Janeiro. Drawing on the conceptualisation of translocational gendered urban violence framework, it highlights the importance of examining direct forms of gender-based violence across private, public and transnational spheres as interlinked with structural, symbolic and infrastructural violence. The book also explores the embodied and spatialised nature of gendered urban violence, explored through artistic engagements and arts-based methods. In developing a translocational feminist tracing methodological and epistemological approach across the social sciences and the arts, the book argues for the importance of a collaborative approach among academic, civil society organisations, artists and creative researchers with a view to engendering empathetic transformation to address gendered urban violence in the long-term.