National Academies Press
The National Academies Press (NAP)publish the reports of the National Academies of Sciences, Engineering and Medicine. They published more than 200 books a year on a wide range of topics.
View Rights PortalThe National Academies Press (NAP)publish the reports of the National Academies of Sciences, Engineering and Medicine. They published more than 200 books a year on a wide range of topics.
View Rights PortalIn Yakutia, every winter day is a quest! Putting 10 layers of clothing on, before you go outside, says a lot. Well, that is the tip of the iceberg! The most difficult thing is to wait until a bus arrives when it is -50°C outdoors. Therefore, it is never boring here. Adults and children of the planet would be interested in such warm books from the Pole of Cold with funny facts about life in Yakutia, traditions, history, amazing people and their incredible adventures in the coldest place of the World. Every year, we publish more than 300 titles of various children’s, fiction, study and guidance, reference books, as well as digital and multimedia publications. Over the past 5 years, we won more than 20 international and Russian prizes wherein 14 are for children's book.
View Rights PortalHero, von den Eltern zur Priesterin bestimmt, lebt allein in Sestos am nördlichen Ufer der Dardanellen. Im gegenüberliegenden Abydos stürzt sich auf der asiatischen Seite Leander allnächtlich in die Fluten, um, geleitet von der Öllampe, die Hero ins Fenster ihres Wohnturms stellt, zu ihr zu gelangen – bis eines Nachts im Sturm die Flamme verlischt. Die Sage von den zwei Königskindern, die zusammen nicht kommen können, weil das Wasser viel zu tief ist, hat schon Ovid gestaltet, ihre vollendete Fassung, auf die sich auch Bearbeiter wie Schiller und Grillparzer beziehen, findet sich aber in dem Versepos des Musaios, der um 500 nach Christus lebte. In der neuen, eleganten Prosaübertragung von Marion Giebel wird dieser anrührende Text, mit bildnerischen Darstellungen des Mythos aus verschiedenen Zeiten sowie einem die geschichtlichen Zusammenhänge erläuternden Nachwort versehen, wieder auf deutsch zugänglich gemacht.
This book opens the doors to the homes of the forgotten poor and traces the goods they owned before, during and after the industrial revolution (c. 1650-1850). Using a vast and diverse range of sources, it gets to the very heart of what it meant to be 'poor' by examining the homes of the impoverished and mapping how numerous household goods became more widespread. As the book argues, poverty did not necessarily equate to owning very little and living in squalor. In fact, its novel findings show that most of the poor strove to improve their domestic spheres and that their demand for goods was so great that it was a driving force of the industrial revolution.
This is a ground-breaking edition of three seventeenth-century plays that all engage in diverse and exciting ways with questions of gender and performance. The collection, edited by three pioneering scholars of elite female culture and early modern drama, makes the texts of three much-discussed plays - John Fletcher's The Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret Cavendish's The Convent of Pleasure - available together in a full scholarly edition for the first time. The Wild Goose Chase (1621) and The Bird in a Cage (1633) were both performed in the commercial London theatres in the Jacobean and Caroline periods respectively. The Convent of Pleasure (1668) is a so-called 'closet' drama, designed primarily for reading but drawing on a tradition of aristocratic theatricals. In a wide-ranging co-authored introduction to the volume, the editors explore the concerns of these playtexts in relation to contemporary debates surrounding popular festivity and anti-theatricalism, as well as the agency of elite female culture in the Stuart period and the emergence of the professional female actor in the Restoration. The volume will be an invaluable teaching and research tool for students and scholars of early modern drama, women's writing and performance studies more generally, as well as providing a rich sourcebook for the reader interested in seventeenth-century theatrical culture. ;
»Wir riefen Gastarbeiter, und es kamen Menschen.« Mit Sätzen wie diesem griff Max Frisch immer wieder in das öffentliche Leben der Schweiz ein. Als politischer Intellektueller war er auch in anderen Ländern ein gefragter Gesprächspartner: Er diskutierte mit Henry Kissinger über den Krieg in Vietnam, war 1977 in der Nacht, in der die »Landshut« gestürmt wurde, bei Helmut Schmidt in Bonn. Dem Citoyen, dem engagierten Bürger Max Frisch hat Matthias von Gunten sein Porträt gewidmet. Zu Wort kommt, neben Kissinger und Schmidt sowie Schriftstellerkollegen wie Christa Wolf, Günter Grass und Peter Bichsel, auch der Autor Max Frisch selbst – seine Tagebucheinträge und Reden werden gelesen von Reto Hänny. »Solche Stimmen fehlen heute in der Schweiz«, sagte von Gunten dazu der Neuen Zürcher Zeitung. Man möchte ergänzen: und anderswo.
Zu Max Frischs 100. Geburtstag versammelt eine DVD-Box in der filmedition suhrkamp auf fünf DVDs die wichtigsten Filme von, mit und über den großen Schweizer Schriftsteller: ein Porträt des öffentlichen Intellektuellen Frisch (Matthias von Guntens Dokumentation "Max Frisch. Citoyen"), die vielfach ausgezeichnete Verfilmung "Holozän" von Heinz Bütler und Manfred Eicher, Richard Dindos "Journal I-III" (eine filmische Lektüre der Erzählung Montauk) sowie die Gespräche im Alter, die Philippe Pilliod in den Jahren 1985/1986 geführt hat. Vervollständigt wird das Paket durch ein besonderes Extra: Volker Schlöndorffs "Homo faber"-Adaption. Die Verfilmung mit internationaler Starbesetzung macht die Box zu einem Ereignis. Ein einzigartiger Zugang zu Leben und Werk des großen Autors.
This book is a study of mobility, image and identity in colonial India and imperial Britain in the late nineteenth and early twentieth centuries. It is a model for studies of migrant figures like K.S. Ranjitsinhji who emerged during the imperial period. Ranjitsinhji is an important figure in the history of modern India and the British empire because he was recognized as a great athlete and described as such. The book focuses on four aspects of Ranjitsinhji's life as a colonial subject: race, money, loyalty and gender. It touches upon Ranjitsinhji's career as a cricketer in the race section. The issue of money gave Indian critics of Ranjitsinhji's regime the language they needed to condemn his personal and administrative priorities, and to portray him as self-indulgent. Ranjitsinhji lived his life as a player of multiple gender roles: sometimes serially, and on occasion simultaneously. His status as a "prince" - while not entirely fake - was fragile enough to be unreliable, and he worked hard to reinforce it even as he constructed his Englishness. Any Indian attempt to transcend race, culture, climate and political place by imitating an English institution and its product must be an unnatural act of insurgency. The disdain for colonial politics that was manifest in the "small rebellions" at the end of the world war converged with the colonized/Indian identity that was evident at the League of Nations. Between the war and his death, it is clear, Ranjitsinhji moved to maximize his autonomy in Nawanagar.
Aus dem weitschweifigen Text von Stephen Hero wurde die komprimierte, komplexe Textur des Portrait of the Artist as a Young Man. Die für den Ulysses später so zentrale Leitmotivtechnik wurde hier zum ersten Mal erprobt.
Saying goodbye to a loved one is always hard. Jon, the little hero of this story, serves as an example of how children can deal with the pain of loss. When Jon’s grandfather dies, he becomes a star. Jon decides to look for his grandfather’s star to say goodbye, and begins a journey through space and through his own grief. He soon realises that this is no easy search. His feelings alternates between disappointment, euphoria, anger, and sadness. Fortunately, the man on the moon explains to the little astronaut the special nature and uniqueness of the stars for the relatives on earth. Only there do the stars twinkle and shine for grandchildren, children, and everyone else who misses the deceased. Jon finally understands that his grandfather is dead, but is not simply gone, because in his memory, in his thoughts, and in the starry sky his grandfather is still there and makes his star shine for everyone who thinks of him. For: • children (ages 6–12) who suffer from the fear of losing a close family member or who have lost a family member• parents, relatives• therapists
A city burns, and a queen burns for love: Dido, Queen of Carthage re-imagines one of the great legendary stories. The encounter between a wandering hero and an African queen engenders love and loss, eroticism and absurdity, childish simplicity and compelling eloquence. Written for children to perform in the 1580s, Dido is nonetheless a remarkable play, revolutionary in its approach to character, blank verse, and audiences. This volume is the first single-text scholarly edition in English. It is an indispensable resource for scholars, students, and theatre practitioners. The edition features an accessible text, lightly punctuated for ease of reading and speaking. It incorporates new research into authorship (which indicates that Marlowe wrote the play), a detailed analysis of Dido's sources, and a survey of criticism; it assesses the evidence for early performances and provides extensive information about modern productions.
In der Rotterdamer Kneipe "Zora’s Place", einem Treffpunkt der ortsansässigen Fußballhooligans, wird hitzig diskutiert. Über Wilmer, der bei einer Hooliganschlacht von seinem Bruder mit einem Baseballschläger erschlagen worden ist. Über den Onkel der beiden, Hero Witlox, der anordnet, die Leiche auf einer Müllkippe abzulegen, weil Wilmer zur gegnerischen Truppe übergelaufen war und als Abtrünniger einer ordentlichen Bestattung nicht würdig ist. Und über Jolente, Wilmers Schwester, die sich mit aller Entschiedenheit gegen den Beschluß ihres Onkels auflehnt. Es ist das Antigone-Drama des Sophokles, das A. F. Th. van der Heijden aufnimmt, um vor den Augen des Lesers eine zeitgenössische Tragödie von archaischer Wucht ablaufen zu lassen. Kraftvoll, drastisch erzählt seine Novelle von einer Familie, die ihrem Verhängnis nicht entkommt, von einem Mann, der sein Leben auf Treibsand gebaut hat.
Imperialist discourse interacted with regional and class discourses. Imperialism's incorporation of Welsh, Scots and Irish identities, was both necessary to its own success and one of its most powerful functions in terms of the control of British society. Most cultures have a place for the concept of heroism, and for the heroic figure in narrative fiction; stage heroes are part of the drama's definition of self, the exploration and understanding of personal identity. Theatrical and quasi-theatrical presentations, whether in music hall, clubroom, Shakespeare Memorial Theatre or the streets and ceremonial spaces of the capital, contributed to that much-discussed national mood. This book examines the theatre as the locus for nineteenth century discourses of power and the use of stereotype in productions of the Shakespearean history canon. It discusses the development of the working class and naval hero myth of Jack Tar, the portrayal of Ireland and the Irish, and the portrayal of British India on the spectacular exhibition stage. The racial implications of the ubiquitous black-face minstrelsy are focused upon. The ideology cluster which made up the imperial mindset had the capacity to re-arrange and re-interpret history and to influence the portrayal of the tragic or comic potential of personal dilemmas. Though the British may have prided themselves on having preceded America in the abolition of slavery and thus outpacing Brother Jonathan in humanitarian philanthropy, abnegation of hierarchisation and the acceptance of equality of status between black and white ethnic groups was not part of that achievement.