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 PortalThis volume proposes new insights into the uses of classical mythology by Shakespeare and his contemporaries, focusing on interweaving processes in early modern appropriations of myth. Its 11 essays show how early modern writing intertwines diverse myths and plays with variant versions of individual myths that derive from multiple classical sources, as well as medieval, Tudor and early modern retellings and translations. Works discussed include poems and plays by William Shakespeare, Christopher Marlowe and others. Essays concentrate on specific plays including The Merchant of Venice and Dido Queen of Carthage, tracing interactions between myths, chronicles, the Bible and contemporary genres. Mythological figures are considered to demonstrate how the weaving together of sources deconstructs gendered representations. New meanings emerge from these readings, which open up methodological perspectives on multi-textuality, artistic appropriation and cultural hybridity.
Despite the intense processes of deindustrialisation around the world, the working class continues to play an important role in post-industrial societies. However, working-class people are often stigmatised, morally judged and depicted negatively in dominant discourses. This book challenges stereotypical representations of workers, building on research into the everyday worlds of working-class and ordinary people in Russia's post-industrial cities. The urban life of workers in post-Soviet Russia is centred on the stories of local communities engaged in the everyday struggles that occur in deindustrialising settings under neoliberal neo-authoritarianism. The book suggests a novel approach to everyday life in post-industrial cities. Drawing on an ethnographic study with elements of arts-based research, the book presents a new genre of writing about workers influenced by the avant-garde documentary tradition and working-class literature.
Carlos Ruiz Zafón, Autor des Welterfolgs Der Schatten des Windes, führt uns durch Barcelona – zu den realen Schauplätzen seines Romans und zu den Orten, die ihn zu seinem Buch inspiriert haben. Kompetent und unterhaltend zeigt uns der Reiseführer das Barcelona von heute und gestern, lotst uns über die Ramblas, durch das Gotische Viertel, in die Häuser Gaudís, auf Plätze und Friedhöfe, in Kirchen und Parks, auf Märkte und in Cafés und Restaurants. Und natürlich auch in solche Gegenden, die sich nur mit der Hilfe Daniels und anderer Romanfiguren finden lassen… Mit vielen nützlichen allgemeinen Informationen für Barcelona- Touristen sowie praktischen Tips zu Bars, Banken, Hotels, Museen und Verkehrsmitteln. Mit dabei ist eine Übersicht interessanter Barcelona-Websites.
William Carlos Williams gehört zu den Dichtern, die his heute faszinieren. In seiner Dichtung spielt Liebe eine, wenn nicht die zentrale Rolle - und er zeigt uns, was Liebe zu Menschen und Dingen sein könnte: eine oftmals geradezu kindliche Werbung für die gewaltige Aufgabe des Herzens.
This book offers an accessible critical introduction to the work of Graham Swift, one of Britain's most significant contemporary authors. Through detailed readings of his novels and short stories from 'The Sweet Shop Owner' (1980) to 'The Light of Day' (2003), Daniel Lea lucidly addresses the key themes of history, loss, masculinity and ethical redemption, to present a fresh approach to Swift. This study proposes that one of the side-effects of modernity has been the destruction of traditional pathways of self and collective belief, leading to a loss of understanding between individuals about their duties to each other and to society. Swift's writing returns repeatedly to the question of what we can believe in when all the established markers of identity - family, community, gender, profession, history - have become destabilised. Lea suggests that Swift increasingly moves towards a notion of redemption through a lived ethical practice as the only means of finding solace in a world lacking a central symbolic authority. ;
Postmodern, postcolonial and post-truth are broadly used terms. But where do they come from? When and why did the habit of interpreting the world in post-terms emerge? And who exactly were the 'post boys' responsible for this? Post-everything examines why post-Christian, post-industrial and post-bourgeois were terms that resonated, not only among academics, but also in the popular press. It delves into the historical roots of postmodern and poststructuralist, while also subjecting more recent post-constructions (posthumanist, postfeminist) to critical scrutiny. This study is the first to offer a comprehensive history of post-concepts. In tracing how these concepts found their way into a broad range of genres and disciplines, Post-everything contributes to a rapprochement between the history of the humanities and the history of the social sciences.
The Middle is a story of a journey within a journey. A voracious reader, Azma, whose mind is full of questions as she reads, finds that the more books she consumes, the more the whys and hows in them consume her. One night, a torn scrap of paper floats into her room, carrying an incomplete line within its crinkles. She desperately searches for any missing words to complete the lonely phrase but failing at each attempt, she finally turns to writing her own beginning and end. The pages of The Middle are filled with surreal creatures - formidable, terrifying, looming – and these represent the fears and doubts of a mind struggling to make sense of the worlds captured within those books that only partially satisfy her as a reader. Azma embarks on an incomplete journey, ready to create its origin and end, finally realising the answers to all her impossible questions can only come to her when she writes her own version of the story. It is only then that the haunting creatures begin to soften and harmlessly melt away into themselves. Richa Jha’s lyrical prose and Eva Sanchez Gomez’s breathtaking visual poetry come together to narrate a tale that is both stunning and thought-provoking. For all the restless creative souls out there, The Middle presents an all-familiar trajectory of creating something new.