Caramel specializes in the creation and packaging of children’s books destined for the mass-market. We are based in Brussels and have been serving as an international book packager since 1993. Caramel continues to innovate with new concepts, while also expanding its editorial program. We possess a wide range of eductional products from board books to activity books, that can easily be translated into more than 60 languages!
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A publishing house that only select books that are useful, fun to read, and make a difference in society.
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This is the first in-depth study of post-war female religious life. It draws on archival materials and a remarkable set of eighty interviews to place Catholic sisters and nuns at the heart of the turbulent 1960s, integrating their story of social change into a larger British and international one. Shedding new light on how religious bodies engaged in modernisation, it addresses themes such as the Modern Girl and youth culture, '1968', generational discourse, post-war modernity, the voluntary sector and the women's movement. Women religious were at the forefront of the Roman Catholic Church's movement of adaptation and renewal towards the world. This volume tells their stories in their own words.
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Die Begegnung der stolzen und leidenschaftlichen Zigeunerin Carmen mit Don José, der ihr rettungslos verfällt und sie schließlich tötet: das ist einer der bekanntesten Stoffe der Weltliteratur und zugleich Vorlage für die erfolgreichste Oper aller Zeiten, »Carmen« von Georges Bizet. Zahlreiche Verfilmungen machten die Figur endgültig zum Mythos. Die meisterhafte Erzählung von Prosper Mérimée ist auch für den, der die Geschichte zu kennen glaubt, eine Entdeckung. In der schnörkellosen, modernen Übersetzung von Kristof Wachinger erstrahlt die widersprüchliche Figur der Carmen, ihre unbändige Freiheitsliebe, ihre Unerschrockenheit und ihr respektloser Witz, in einem neuen faszinierenden Licht. Die bekannte Illustratorin Larissa Bertonasco setzt die besten Szenen einfallsreich ins Bild.
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Carmen Boullosa wurde 1954 in Mexiko Stadt geboren. Ihr erster Gedichtband erschien 1976. Vier Jahre später schrieb sie mit Vacío ihr erstes Theaterstück, auf das weitere Theaterarbeiten folgten. 1987 wurde ihr erster Roman, Mejor Desaparece, veröffentlicht, mit dem sich Carmen Boullosa einen Namen als junge literarische Stimme Lateinamerikas machte. Mit ihrem zweiten Roman Son vacas, somos puercos hatte sie 1992 in Mexiko einen durchschlagenden Erfolg. 1993 erschien die deutsche Fassung Sie sind Kühe, wir sind Schweine im Suhrkamp Verlag. 1996 folgte die Übersetzung Die Wundertäterin des 1993 erschienenen Romans La Milagrosa. Ihr Roman Duerme erschien 1998 unter dem Titel Der fremde Tod in deutscher Übersetzung. Insgesamt hat sie über zehn Romane veröffentlicht und gilt als eine der bedeutendsten Schriftstellerinnen Mexikos. Carmen Boullosa erhielt 1992 das Guggenheim-Stipendium und hielt sich zwischen 1995 und 1996 als Stipendiatin des Künstlerprogramms des DAAD in Berlin auf. 1997 wurde sie mit dem Anna-Seghers-Preis ausgezeichnet.
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This book examines the distinctive aspects that insiders and outsiders perceived as characteristic of Irish and Scottish ethnic identities in New Zealand. When, how, and why did Irish and Scots identify themselves and others in ethnic terms? What characteristics did the Irish and the Scots attribute to themselves and what traits did others assign to them? Did these traits change over time and if so how? Contemporary interest surrounding issues of ethnic identities is vibrant. In countries such as New Zealand, descendants of European settlers are seeking their ethnic origins, spurred on in part by factors such as an ongoing interest in indigenous genealogies, the burgeoning appeal of family history societies, and the booming financial benefits of marketing ethnicities abroad. This fascinating book will appeal to scholars and students of the history of empire and the construction of identity in settler communities, as well as those interested in the history of New Zealand.
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Alone of his contemporaries, J.M.W. Turner is commonly held to have prefigured modern painting, as signalled in the existence of The Turner Prize for contemporary art. Our celebration of his achievement is very different to what Victorian critics made of his art. This book shows how Turner was reinvented to become the artist we recognise today. On Turner's death in 1851 he was already known as an adventurous, even baffling, painter. But when the Court of Chancery decreed that the contents of his studio should be given to the nation, another side of his art was revealed that effected a wholescale change in his reputation. This book acts as a guide to the reactions of art writers and curators from the 1850s to the 1960s as they attempted to come to terms with his work. It documents how Turner was interpreted and how his work was displayed in Britain, in Europe and in North America, concentrating on the ways in which his artistic identity was manipulated by art writers, by curators at the Tate and by designers of exhibitions for the British Council and other bodies. ;
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