Annika Parance Éditeur
Livres Canada Books
View Rights PortalEine Jugendbuchfantasy-Saga ab 10 Jahre: Der Spiegelwächter, Die Suche nach dem Schattendorf, Im Land der Nuria. Insgesamt wird es fünf Bände zu dieser Saga geben.
View Rights PortalCases of citation presents a history of artists who incorporated literary references into their work from the 1960s onwards. Through a series of object-focused chapters that each take up a singular 'case of citation', the collection considers how literary citation emerged as a viable and urgent strategy for artists during this period. It surveys eleven artworks by a diverse group of artists - including David Wojnarowicz, Lis Rhodes, Romare Bearden and Silvia Kolbowski - whose citations draw on works as varied as Karl Marx's Das Kapital and Mary Shelley's Frankenstein. The book also features an interview with pioneering feminist artist Elaine Reichek that discusses her career-long commitment to working with text. Together, the artworks and cited texts are approached from various critical angles, with each author questioning and complicating the ways in which we can 'read' textual citations in art.
You're nicked is the first comprehensive study of television police series in the UK. It reveals how British television's most popular genre has developed stylistically, politically and philosophically from 1955 to the present. Each chapter focuses on a particular decade, investigating how the most-watched series represent the inner workings of the police station, the civilian life of criminals and the private lives of police officers. This new approach unearths the complex ideology underpinning each series and discerns the key insights the genre can provide into the breakdown of the post-war settlement. Offering insightful readings of police series from Dixon of Dock Green to Happy Valley via The Sweeney, The Bill and Cracker, the book is a must-read for crime-drama enthusiasts worldwide. This new paperback edition features an extensive epilogue on Line of Duty and other Jed Mercurio creations.
"Mit der von Wittgenstein eingeleiteten Ablösung des mentalistischen Vorstellungsbegriffs durch den sprachlichen Zeichen- und Regelbegriff ist Kants Philosophie in ein Spannungsfeld geraten, das vielfältige Transformationen provozierte. So befruchtend sich dieses Spannungsfeld auf die analytisch orientierte Gegenwartsphilosophie auswirkt, so hartnäckig meldet sich der Verdacht eines entscheidenden Fragedefizits: die pragmatische Akzentuierung der Regeln in Funktion läßt deren qualitativen Ursprung im Dunkeln. Die Funktionsbeschreibung des Regelcharakters gibt noch keine Auskunft über die Regelqualität der Regeln. Sie könnten genausogut der empirisch eingespielten Regelpraxis selbst entnommen sein, für die sie nichtfaktizitäre Geltung beanspruchen. Nach welchen Regeln kann der Geltungsanspruch solcher funktionalanalytisch gewonnener Regeln seinerseits beurteilt und begründet werden? Schönrich zeigt, daß Kants theoretischer Ansatz mit seinen latent semiotischen Implikationen den sprachkritischen Transformationen nicht nur entgegenkommt, sondern darüber hinaus das entstandene Begründungsdefizit begleicht. Der in Frage stehende Regelbegriff einer Regel der Regelbeurteilung erweist sich als der operationalisierte Begriff der Vernunft, die »alle Entscheidungen aus den Grundregeln ihrer eigenen Einsetzung hernimmt«. Die Antwort auf die Frage nach dem Regelcharakter kann in der These zusammengefaßt werden: Die Urteilsfunktion und Kategorien gelten als die transzendentalsyntaktischen und -sematischen Regeln des Zeichengebrauchs überhaupt; sie ermöglichen erst dessen liguistisch je schon vorausgesetzte Allgemeinheits- und Bedeutungsfähigkeit. Die Frage nach der Regelqualität wird in der systematischen Entfaltung dieser »Grundregeln der eigenen Einsetzung« und ihrer Implikate zu drei differenzierbaren Argumentationsniveaus beantwortet, die die aufgebürdete Beweislast zu tragen vermögen. Auch hier bleibt die Zeichenvermitteltheit allen Denkens und Erkennens in Kraft. Vernunft äußert sich nicht selbst, sie wird von der reflektierenden Urteilskraft - dem Ort der transzendentalen Argumentation - methodisch als Letztinstanz in Anspruch genommen, eine Inanspruchnahme, die sich jedoch als vernünftig ausweisen läßt."
Air empire is a fresh study of civil aviation as a tool of late British imperialism. The first pioneering flights across the British empire in 1919-20 were flag-waving adventures that recreated an era of plucky British maritime exploration and conquest. Britain's development of international air routes and services was approved, organised and celebrated largely in London; there was some resistance in and beyond the subordinate colonies and dominions. Negotiating the financing and geopolitics of regular commercial air service delayed its inception until the 1930s. Technological, managerial and logistical problems also meant that Britain was slow into the air and slow in the air. Propaganda concealed underperformance and criticism. The study uses archival sources, biographies, industry magazines and newspapers to chronicle the disputed progress toward air empire. The rhetoric behind imperial air service offers a glimpse of late imperial hopes, fears, attitudes and style. Empire air service had emotional appeal and symbolic value, but disappointed in practice.
This interdisciplinary volume explores the role of images and narratives in different borderscapes. Written by experienced scholars in the field, Border images, border narratives provides fresh insight into how borders, borderscapes, and migration are imagined and narrated in public and private spheres. Offering new ways to approach the political aesthetics of the border and its ambiguities, this volume makes a valuable contribution to the methodological renewal of border studies and presents ways of discussing cultural representations of borders and related processes. Influenced by the thinking of philosopher Jacques Rancière, this timely volume argues that narrated and mediated images of borders and borderscapes are central to the political process, as they contribute to the public negotiation of borders and address issues such as the in/visiblity of migrants and the formation of alternative borderscapes. The contributions analyse narratives and images in literary texts, political and popular imagery, surveillance data, border art, and documentaries, as well as problems related to borderland identities, migration, and trauma. The case studies provide a highly comparative range of geographical contexts ranging from Northern Europe and Britain, via Mediterranean and Mexican-USA borderlands, to Chinese borderlands from the perspectives of critical theory, literary studies, social anthropology, media studies, and political geography.
The business of time presents a comprehensive history of the global watch industry from the mid-nineteenth century to the present. Watch production in the twenty-first century is concentrated in three countries: Switzerland, Japan and China. The industry is dominated by a dozen or so large companies, including the Swatch Group, Richemont, LVMH, Seiko and Fossil. But a hundred years ago the picture was dramatically different. Over the course of a century, Great Britain, France, the United States and Russia saw the manufacture of watches disappear from their territory. At the same time, Hong Kong went from being a subcontractor of watch components to an intermediary between Chinese factories and the world market. Revealing the conditions that drove the spread of watch production around the globe, The business of time explains how multinationals emerged to dominate the industry and highlights how Swiss companies were able to establish themselves as the undisputed leader in luxury watches.