Guilford Publications, Inc.
Founded in 1973, Guilford has built an international reputation as a publisher of books in mental health; psychology, psychiatry, mindfulness, CBT, DBT, and more.
View Rights PortalFounded in 1973, Guilford has built an international reputation as a publisher of books in mental health; psychology, psychiatry, mindfulness, CBT, DBT, and more.
View Rights PortalGuild of Master Craftsman (GMC) Publications publish a diverse range of craft & lifestyle books aimed at all skill levels, from the absolute beginner to the professional crafts person. Beautifully produced with full-colour photographs and step-by-step illustrations throughout, often with patterns included, these books are as appealing as they are hardworking. Written by expert authors, these publications offer a wealth of information and inspiration on a broad range of specialist subjects, ranging from basic ‘how-to’ and children’s craft books, to technical guides and books on creative projects. In addition to its own publishing, GMC is the publisher of design-led and uniquely finished children’s books which combine innovative ideas with stunning illustrations, through its Button Books imprint. GMC’s Ammonite Press imprint produces illustrated reference, guide and gift books on photography, history and pop culture.
View Rights PortalA guilty conscience can be a real nuisance. There is simply no rest and you can’t just turn it off through rational thought. Psychologically, in psychotherapy, advising and coaching, a guilty conscience is one of the most persistent and difficult symptoms to pin down. Maja Storch and Gerhard Roth ask the questions: why feelings of guilt are so prolonged and how to deal with them. Gerhard Roth explains which components of the human brain, over the course of its development, give rise to a phenomenon as complex as a guilty conscience. Using three practical and easily understandable examples, Maja Storch presents a system for everyday use which can be used to get to the root of your own guilty conscience and to develop a plan for dealing with it. For:• wide audience• therapists• coaches
Many early modern plays use poison, most famously Hamlet, where the murder of Old Hamlet showcases the range of issues poison mobilises. Its orchard setting is one of a number of sinister uses of plants which comment on both the loss of horticultural knowledge resulting from the Dissolution of the Monasteries and also the many new arrivals in English gardens through travel, trade, and attempts at colonisation. The fact that Old Hamlet was asleep reflects unease about soporifics troubling the distinction between sleep and death; pouring poison into the ear smuggles in the contemporary fear of informers; and it is difficult to prove. This book explores poisoning in early modern plays, the legal and epistemological issues it raises, and the cultural work it performs, which includes questions related to race, religion, nationality, gender, and humans' relationship to the environment.
In "Bist du meine Mama?" begibt sich ein frisch geschlüpftes Küken auf die Suche nach seiner Mutter und trifft dabei auf verschiedene Tiere des Bauernhofs, die ihm bei der Suche helfen. Durch das Öffnen von Klappen entdecken die kleinen Leserinnen und Leser gemeinsam mit dem Küken, welche Tiere sich dahinter verbergen, und lernen deren Laute kennen. Diese liebevoll gereimte Geschichte fördert nicht nur die Sprachentwicklung, sondern auch die Feinmotorik durch das interaktive Element der Klappen. Die Suche endet schließlich erfolgreich, und das Küken findet seine Mama. "Bist du meine Mama?" ist ein entzückendes Buch für Kinder ab 18 Monaten, das zum Mitsprechen, Mitraten und Entdecken einlädt. Interaktives Erlebnis: Dank zahlreicher Klappen zum Öffnen wird die Neugier der Kinder geweckt und die Feinmotorik spielerisch gefördert. Tierlaute lernen: Das Buch bietet eine wunderbare Möglichkeit, Kindern die Laute verschiedener Bauernhoftiere näherzubringen und somit ihr Verständnis für die Tierwelt zu erweitern. Sprachförderung: Die gereimte Erzählweise und das wiederholende Element "Bist du meine Mama?" unterstützen das Sprachverständnis und regen zum Mitsprechen an. Liebevolle Illustrationen: Die detailreichen und kindgerechten Bilder laden zum Betrachten und Entdecken ein und machen das Buch zu einem visuellen Vergnügen. Emotionaler Mehrwert: Die Geschichte vermittelt Werte wie Hilfsbereitschaft und Zusammenhalt und stärkt das Verständnis für familiäre Bindungen. Gelistet bei Antolin.
Ein Dino-Liebling für die Kleinsten. Krick, krack. Der kleine Brachiosaurus schlüpft aus seinem Ei. Nanu, wo ist denn nur seine Mama? Sie ist nirgendwo zu sehen. Der kleine Dino folgt ihren Fußspuren und begegnet auf seinem Weg vielen anderen Dinos, doch keiner davon ist seine Mama. Da ertönt ein Rufen aus dem Wald und ein langer Hals erhebt sich aus den Blättern – Mama?
"Klar, dass Mama Anna/Ole lieber hat" von Kirsten Boie beleuchtet humorvoll und einfühlsam die alltäglichen Streitigkeiten und Rivalitäten zwischen Geschwistern aus beiden Perspektiven. Anna, fast sieben Jahre alt und Erstklässlerin, ist genervt von ihrem kleinen Bruder Ole, der noch nicht einmal vier ist und gerade erst in den Kindergarten gekommen ist. Sie empfindet ihn als ständige Quelle der Irritation, sei es durch das Essen ihrer Schokolade aus dem Adventskalender oder sein Drängen, bei ihren Spielen mitmachen zu dürfen, wobei sie glaubt, dass ihre Mutter stets Oles Seite ergreift. Ole hingegen fühlt sich von Anna ausgeschlossen, bekommt nie etwas von ihren Süßigkeiten ab und wird von der Mutter geschimpft, wenn er aus Frustration handgreiflich wird, sodass er überzeugt ist, dass seine Mutter Anna bevorzugt. Trotz dieser Konflikte zeigt Boie, dass Geschwister in Momenten der Angst und Unsicherheit auch Trost und Sicherheit im Beisammensein finden können, etwa wenn in der Dunkelheit "gefährliche Räuber" lauern, was die komplexe und letztlich liebevolle Beziehung zwischen Geschwistern unterstreicht. Fängt die realistischen Spannungen und Rivalitäten zwischen Geschwistern ein, wodurch es sich besonders für Familien mit mehreren Kindern eignet. Kirsten Boie beschreibt mit Humor und Verständnis die täglichen Herausforderungen im Geschwisteralltag, was das Buch sowohl amüsant als auch lehrreich macht. Beleuchtet die Geschichte aus beiden Blickwinkeln der Geschwister, wodurch Kinder lernen, Empathie für die Gefühle und Sichtweisen anderer zu entwickeln. Ideal für Geschwisterkinder, um Eifersucht zu thematisieren und den Liebesverlust der Eltern aus verschiedenen Perspektiven zu verstehen. Auch nach mehrmaligem Vorlesen bleibt die Geschichte interessant für Kinder und Erwachsene, dank der lebhaften Sprache und der detailreichen Handlungen. Für Kinder ab 4 Jahren ansprechend illustriert von Silke Brix.
Colonial war played a vital part in transforming the reputation of the military and placing it on a standing equal to that of the navy. The book is concerned with the interactive culture of colonial warfare, with the representation of the military in popular media at home, and how these images affected attitudes towards war itself and wider intellectual and institutional forces. It sets out to relate the changing image of the military to these fundamental facts. For the dominant people they were an atavistic form of war, shorn of guilt by Social Darwinian and racial ideas, and rendered less dangerous by the increasing technological gap between Europe and the world. Attempts to justify and understand war were naturally important to dominant people, for the extension of imperial power was seldom a peaceful process. The entertainment value of war in the British imperial experience does seem to have taken new and more intensive forms from roughly the middle of the nineteenth century. Themes such as the delusive seduction of martial music, the sketch of the music hall song, powerful mythic texts of popular imperialism, and heroic myths of empire are discussed extensively. The first important British war correspondent was William Howard Russell (1820-1907) of The Times, in the Crimea. The 1870s saw a dramatic change in the representation of the officer in British battle painting. Up to that point it was the officer's courage, tactical wisdom and social prestige that were put on display.
Death lurks in the shadows Who are you? Hamburg Criminal Psychologist Dr. Evelin Wolf wonders as she examines the severely disturbed homeless man with the conspicuous scar across his face. The extremely aggressive man with no memory or identity is alleged to have committed a brutal murder. But Evelin and Assistant District Attorney Alex Gutenberg doubt his guilt and suspect there is something more behind the supposedly crystal-clear case. Shortly thereafter, Hamburg is shaken by a series of murders unparalleled in cruelty and sadism. The perverted killer draws a bloody trail across the Hanseatic city and links it with a clear message to Alex and Evelin: Revenge. Alex and Evelin work feverishly to solve both cases. In the process, they make a fatal mistake. And the killer exploits it mercilessly…
This book offers a unique and timely reading of the early Frankfurt School in response to the recent 'affective turn' within the arts and humanities. Resisting the overly rationalist tendencies of political philosophy, it argues that critical theory actively cultivates a powerful connection between thinking and feeling, and rediscovers a range of often neglected concepts that were of vital importance to the first generation of critical theorists, including melancholia, hope, (un)happiness, objects and mimesis. In doing so, it brings the dynamic work of Walter Benjamin, Theodor Adorno, Ernst Bloch and Siegfried Kracauer into conversation with more recent debates around politics and affect. An important intervention in the fields of affect studies and social and political thought, Critical theory and feeling shows that sensuous experience is at the heart of the Frankfurt School's affective politics.
Some deserve to live. Others deserve to die. A lunar eclipse hovers above Hamburg and bathes houses and streets in an unearthly light. In the exclusive district of Blankenese, four men are brutally murdered in the basement of a villa. Only the granddaughter of the owner survives the bloody massacre. Severely traumatized and completely listless, she is found sitting in the middle of the corpses. She cannot remember anything. Assistant District Attorney Alex Gutenberg, who has to struggle with a number of personal issues himself, asks the criminal psychologist Dr. Evelin Wolf for support. When Evelin succeeds in penetrating the buried memories of the key witness piece by piece, she and Alex begin to disclose not only the motives for the massacre, but also the unimaginable extent of cruelty and depravity behind it. And Alex suddenly finds himself confronted with his own guilt-ridden past...
Chronically depressed patients are often considered difficult to treat because the illness is often closely related to severe traumatic experiences. This manual focuses on traumatized, chronically depressed patients: it outlines both the disorder as well as its diagnostic approach and explains the basic assumptions of the psychoanalytic understanding of depression. It explains the basic treatment steps in long-term psychoanalytic treatment of chronically depressed, early traumatized patients, and addresses specific challenges such as suicidality, aggression, and guilt. Basic therapeutic approaches and treatment principles are illustrated through specific case examples. The effectiveness of this manual has been demonstrated in a study of long-term therapies for chronic depression (the so-called LAC Depression Study). For:• psychoanalysts• psychotherapists working on the basis of depthpsychology• mental health professionals that provide psychotherapy• candidates for training in psychotherapy
Imagery rescripting is an experiential technique for the reduction of negative feelings, which are presumably related to biographical experiences. Based on the current problematic feeling, memory images are processed in such a way that the associated negative feelings are replaced by desired feelings. Thus, trauma-associated memory images, such as flashbacks, which are associated with memories of physical or sexual abuse and which occur for example in post-traumatic stress disorder and borderline personality disorders, can be processed. It can also help treat negative emotions such as shame, anger, guilt, or fear, which are presumably related to previous experiences. This book informs about the historical background and the theoretical assumptions on the mechanisms of action. Numerous examples illustrate the practical implementation and handling of typical problems when using imagery rescripting. For:• medical and psychologicalpsychotherapists• specialists in psychiatry andpsychotherapy• specialists in psychosomaticmedicine and psychotherapy• clinical psychologists,psychologicalcounselors• students and teachers inpsychotherapeutictrainingand continuing education
Alain Resnais, director of 'Hiroshima mon amour' (1959) and 'L'Annee derniere a Marienbad' (1961), has transformed the representation of memory, fantasy and desire in modern cinema. This illuminating introduction to his work, extending from his earliest documentaries to the musical films of the last decade, traces the evolving patterns of his filmmaking, its changing reflections on mortality, guilt, chance and human doubt. Exploring questions of the time-image, of trauma, of the senses, this volume sets Resnais' films in the context of important current debates in film theory, and provides a concise account of critical discussions of his work in France and beyond. Yet it also offers a highly personal and detailed engagement with individual images and scenes in Resnais' films. A passionate and partial defence of Resnais' work, old and new, this volume stands apart in its attention to the more tangible and moving pleasures of his films, their pathos, rigour and visual beauty. ;
Alain Resnais, director of 'Hiroshima mon amour' (1959) and 'L'Annee derniere a Marienbad' (1961), has transformed the representation of memory, fantasy and desire in modern cinema. This illuminating introduction to his work, extending from his earliest documentaries to the musical films of the last decade, traces the evolving patterns of his filmmaking, its changing reflections on mortality, guilt, chance and human doubt. Exploring questions of the time-image, of trauma, of the senses, this volume sets Resnais' films in the context of important current debates in film theory, and provides a concise account of critical discussions of his work in France and beyond. Yet it also offers a highly personal and detailed engagement with individual images and scenes in Resnais' films. A passionate and partial defence of Resnais' work, old and new, this volume stands apart in its attention to the more tangible and moving pleasures of his films, their pathos, rigour and visual beauty.
This book explores the emergence of a new architecture of corporate enforcement in Ireland. It is demonstrated that the State has transitioned from one contradictory model of corporate enforcement to another. Traditionally, the State invoked its most powerful weapon of state censure, the criminal law, but was remarkably lenient in practice because the law was not enforced. The contemporary model is much more reliant on cooperative measures and civil orders, but also contains remarkably punitive and instrumental measures to surmount the difficulties of proving guilt in criminal cases. Though corporate and financial regulation has become an area of significant interest for academics, researchers and those with an interest in corporate affairs, this sudden surge of interest lacks a tradition of scholarship or any deep empirical and contextual analysis in Ireland. This book provides that foundation. It is likely to stimulate an extensive conversation on corporate regulation and governance in Ireland. It is also likely to provide a platform for researchers further afield with an interest in comparative study with Ireland. ;
Maybe Never Gabriella, Joana and Karla share a flat. To finance their studies, they all work at a catering company. And the three not only realize their professional dreams, but also find the love of their lives. Since her older sister died in a fatal car accident, Joana does everything for a perfect life. She tries to follow her sister’s dream, out of guilt. In her life everything seems to be perfect: nice (but boring) boyfriend, successful biochemistry studies, a job at the catering company, affordable flat-sharing and wonderful friends. But everything changes when Kilian, the brother of her best friend Karla, shows up in Munich again. Kilian doesn’t fit into Joana‘s perfectly planned future at all. But he makes her feel what she has long supressed – the real Joana, who actually wanted to become a make-up artist. Ironically, since she has been wearing a mask herself since the death of her sister. • Feel-good page turner for New Adults• Original plots in heartfelt narrations, leaving out familiar clichés• Girl power: 3 self-confident protagonists and their strong friendship• Stories about first steps towards independence: Career choices, fear of the future, parental pressure, exploring roots to find your place
Golden Mummies of Egypt presents new insights and a rich perspective on beliefs about the afterlife during an era when Egypt was part of the Greek and Roman worlds (c. 300 BCE-200 CE). This beautifully illustrated book, featuring photography by Julia Thorne, accompanies Manchester Museum's first-ever international touring exhibition. Golden Mummies of Egypt is a visually spectacular exhibition that offers visitors unparalleled access to the museum's outstanding collection of Egyptian and Sudanese objects - one of the largest in the UK.
The macabre tale of an eighteenth-century woman immortalised in folklore as the 'Manchester Mummy'. In 1835, the Manchester Natural History Society opened the doors of its museum. Taking pride of place in its collection were three mummies: one was Egyptian, one was Peruvian and one was a woman from Cheetham Hill. This is the first time the true story of Hannah Beswick, the so-called 'Manchester Mummy', has been told. Over the years, explanations for the Manchester Mummy have ranged from the chilling - Hannah's fear of being buried alive - to the downright bizarre - the legend of her buried gold - but the truth is more complex. Exploring this fascinating episode from museum history, Unburied sheds light on the Victorian turn to the macabre and changing attitudes to the display of human remains. It debunks the legends and asks what Hannah Beswick can tell us about death and dying, mummies and museums.