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Als erste Pilotin der Weltgeschichte flog Amelia Earhart allein über den Atlantik. Mit einem felsenfesten Willen und dem Glauben an sich selbst überwand sie jegliche Vorurteile und technischen Probleme, die sich ihr in den Weg stellten. Little People, Big Dreams erzählt von den beeindruckenden Lebensgeschichten großer Persönlichkeiten: Jede dieser Frauen, ob Künstlerin, Pilotin oder Wissenschaftlerin, hat Unvorstellbares erreicht. Dabei begann alles, als sie noch klein waren: mit großen Träumen. Für welches Alter sind diese Bücher gedacht? Für Babys das perfekte Geschenk zur Begrüßung in eine Welt voller Träume! Und Eltern werden in schlaflosen Nächten von diesen Büchern dazu ermutigt, das Vorlesen zu einem selbstverständlichen Teil des Lebens zu machen. Kleinkinder werden von den Illustrationen verzaubert sein – sie werden zahlreiche Dinge entdecken. Auch sind die Bücher großartige „Vokabeltrainer“! 3- bis 5-Jährige werden alles, Illustrationen und Texte, geradezu in sich aufsaugen! 6-, 8- und 10-Jährige haben ein ausgeprägteres Verständnis für die Illustrationen und die Bedeutung der Geschichte – es geht nicht nur darum, sich selbst zu akzeptieren und die eigenen Zukunftsträume zu verwirklichen, sondern auch darum, andere so zu akzeptieren, wie sie sind. Später: Die Bücher sind gute Geschenke zu jedem Anlass, denn die Träume der Kindheit können das ganze Leben lang Wirklichkeit werden.
In Straight Nation, Pavan Mano reveals the logic of straightness that sits at the heart of postcolonial nationalism in Singapore. Mano rejects the romantic notion of the nation as a haven of belonging, showing it to be a relentless force that is allied with heteronormativity to create a host of minoritized and xenologized figures. Through meticulous exploration and close reading of a swathe of texts, Mano unveils the instrumental role of sexuality in structuring the national imaginary. The book adroitly demonstrates how queerness is rendered foreign in postcolonial Singapore and functions alongside technologies of "race", gender, and class. A provocative critique of narrow contemporary identity politics and its concomitant stymying of a more ambitious political critique, Straight Nation sets out an argument that moves beyond the negativity of traditional critique into a space of (re)thinking, (re)building and (re)imagining.
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Child, nation, race and empire is an innovative, inter-disciplinary, cross cultural study that contributes to understandings of both contemporary child welfare practices and the complex dynamics of empire. It analyses the construction and transmission of nineteenth-century British child rescue ideology. Locating the origins of contemporary practice in the publications of the prominent English Child rescuers, Dr Barnardo, Thomas Bowman Stephenson, Benjamin Waugh, Edward de Montjoie Rudolf and their colonial disciples and literature written for children, it shows how the vulnerable body of the child at risk came to be reconstituted as central to the survival of nation, race and empire. Yet, as the shocking testimony before the many official enquiries into the past treatment of children in out-of-home 'care' held in Britain, Ireland, Australia and Canada make clear, there was no guarantee that the rescued child would be protected from further harm.
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"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
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Komm in meine Arme, du bist die Welt für mich!Der große Bär hat sein kleines Bärchen so unglaublich lieb – und das möchte er ihm sagen und zeigen. Gemeinsam erleben die beiden viele tolle Dinge, spielen und haben Spaß. Aber das Wichtigste ist, dass sie zusammen sind.Dieses zärtliche und warmherzige Pappbilderbuch feiert die besondere Beziehung zwischen Eltern und ihren Kindern und die Liebe, die sie miteinander verbindet. Ein liebevolles Pappbilderbuch für Babys und Kleinkinder ab 18 Monaten Wunderschöne malerische Illustrationen und sanfte Reime laden zum Träumen ein Passt in jedes Gute-Nacht-Ritual Zum gemeinsamen Kuscheln, Schmusen und Zusammensein Für geborgene und entspannende Vorlesemomente Die schönste Art, einander zu sagen, wie gern man sich hat Perfekt zur Taufe, zum Muttertag, zum Vatertag, zum Valentinstag oder zur Geburt Das ideale Geschenk für Kinder und Eltern: Enthält Platz für eine persönliche Widmung Der Nummer 1 Bestseller aus Großbritannien Stabile Pappseiten und abgerundete Ecken - ideal für kleine Hände
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This is the first in-depth study of the science fiction television devised and written by Terry Nation. Terry Nation was the inventor of the Daleks and wrote other serials for 'Doctor Who'; he also wrote the BBC's 1970s post-apocalyptic drama 'Survivors' and created the space adventure series 'Blake's 7'. Previously television science fiction in Britain has received little critical attention. This book fills that gap and places Nation's work in the context of its production. Using Terry Nation's science fiction work as a case study, the boundaries around the authorship and authority of the television writer are explored in detail. The authors make use of BBC's archival research and specially conducted interviews with television producers and other production staff, to discuss how the programmes that Terry Nation created and wrote were commissioned, produced and brought to the screen. The book makes an important contribution to the study of British television history and will be of interest to enthusiasts of Terry Nation's landmark drama series as well as students of Television Studies.
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This volume brings together scholars from different disciplinary backgrounds to discuss how women contributed to the making, pedagogy, institutionalisation and communication of scientific knowledge in the twentieth century, and to reflect on the theoretical and methodological challenges of documenting such hidden contributions. Featuring examples from China, former Czechoslovakia, Greece, Hungary, India, Japan, Romania, the United Kingdom and the United States, the contributors discuss women's engagement with science across different institutional and non-institutional sites, ranging from the laboratory and the school to the clinic, the home and the media. The volume moves beyond the professional scientist model to enlarge our understanding of women's participation in twentieth-century science and document the complex combination of factors that rendered such contributions (in)visible to contemporaries and future generations.
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Child, nation, race and empire is an innovative, inter-disciplinary, cross cultural study that contributes to understandings of both contemporary child welfare practices and the complex dynamics of empire. It analyses the construction and transmission of nineteenth-century British child rescue ideology. Locating the origins of contemporary practice in the publications of the prominent English Child rescuers, Dr Barnardo, Thomas Bowman Stephenson, Benjamin Waugh, Edward de Montjoie Rudolf and their colonial disciples and literature written for children, it shows how the vulnerable body of the child at risk came to be reconstituted as central to the survival of nation, race and empire. Yet, as the shocking testimony before the many official enquiries into the past treatment of children in out-of-home 'care' held in Britain, Ireland, Australia and Canada make clear, there was no guarantee that the rescued child would be protected from further harm. ;
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Citizenship, nation, empire investigates the extent to which popular imperialism influenced the teaching of history between 1870 and 1930. It is the first book-length study to trace the substantial impact of educational psychology on the teaching of history, probing its impact on textbooks, literacy primers and teacher-training manuals. Educationists identified 'enlightened patriotism' to be the core objective of historical education. This was neither tub-thumping jingoism, nor state-prescribed national-identity teaching, but rather a carefully crafted curriculum for all children which fused civic as well as imperial ambitions. The book will be of interest to those studying or researching aspects of English domestic imperial culture, especially those concerned with questions of childhood and schooling, citizenship, educational publishing and anglo-British relations. Given that vitriolic debates about the politics of history teaching have endured into the twenty-first century, Citizenship, nation, empire is a timely study of the formative influences that shaped the history curriculum in English schools
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Following the dissolution of the Ottoman Empire in the early 1920s, an emerging nation state built a particular relationship with the Ottoman past. In its simultaneous disavowal and inheritance of it, this was the new Republic of Turkey, founded in 1923. Nation-states are areas of ideological contestation. However, they are equally visible and tangible. This is thanks to the making of a new world of artefacts in build or print that represent and commemorate them in many, often contradicting ways through design practices. This book offers a thorough account of this new Turkish material world through the trajectories of commemoration; from public monuments, print media, and festive illumination to temporary and permanent architecture from the onset of the 1908 Young Turk revolution to the demise of Turkey's founding single-party regime in the late 1950s. If objects are silent actors of history, their confessions await.
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