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Wie kann ein anderer Theaterunterricht aussehen? Welche neuen Möglichkeitsräume eröffnen sich, wenn die Sicht der Akteur*innen mit in den Unterricht einfließt? Alina Paula Gregor stellt die Theaterpädagogik als eine Handlungswissenschaft vor und setzt sich spielerisch-experimentell mit Performancekunst und der Bedeutung von Irritationsmomenten auseinander. Durch ein künstlerisch orientiertes Vermittlungskonzept und praxeologische Forschung legt sie dar, wie zeitgenössische Theater- und Performancearbeit als Impulsgeber über vielfältige Irritationsmomente wirken kann - und somit zur Gestaltung alternativer Unterrichtsmodelle anregt.
Sharp and tender at once, a humourous take on family dysfunction and human weakness seen through a young boy's eyes. Max lives with his grandparents in a residential home for refugees in Germany. When his grandmother—a terrifying, stubborn matriarch and a former Russian primadonna—moved them from the Motherland, it was in search of a better life. But she is not at all pleased with how things are run in Germany. His grandmother has been telling Max that he is an incompetent, clueless weakling since he was a child. While he may be dolt in his grandmother's eyes, Max is bright enough to notice that his stoic and taciturn grandfather has fallen hopelessly in love with their neighbour, Nina. When a child is born to Nina that is the spitting image of Max's grandfather, things come to a hilarious if dramatic head. Everybody will have to learn to defend themselves from Max's all-powerful grandmother.
It is 1939. Eva Delectorskaya is a beautiful 28-year-old Russian émigrée living in Paris. As war breaks out she is recruited for the British Secret Service by Lucas Romer, a mysterious Englishman, and under his tutelage she learns to become the perfect spy, to mask her emotions and trust no one, including those she loves most. Since the war, Eva has carefully rebuilt her life as a typically English wife and mother. But once a spy, always a spy. Now she must complete one final assignment, and this time Eva can't do it alone: she needs her daughter's help.
From the Costa Award winning, bestselling author of THIS MUST BE THE PLACE and I AM, I AM, I AM, comes an intense, breathtakingly accomplished story of a woman's life stolen, and reclaimed. 'Unputdownable' Ali Smith Edinburgh in the 1930s. The Lennox family is having trouble with its youngest daughter. Esme is outspoken, unconventional, and repeatedly embarrasses them in polite society. Something will have to be done. Years later, a young woman named Iris Lockhart receives a letter informing her that she has a great-aunt in a psychiatric unit who is about to be released. Iris has never heard of Esme Lennox and the one person who should know more, her grandmother Kitty, seems unable to answer Iris's questions. What could Esme have done to warrant a lifetime in an institution? And how is it possible for a person to be so completely erased from a family's history?
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The very significant advances in computer vision and pattern recognition and their applications in the last few years reflect the strong and growing interest in the field as well as the many opportunities and challenges it offers. The second edition of this handbook represents both the latest progress and updated knowledge in this dynamic field. The applications and technological issues are particularly emphasized in this edition to reflect the wide applicability of the field in many practical problems. To keep the book in a single volume, it is not possible to retain all chapters of the first edition. However, the chapters of both editions are well written for permanent reference. This indispensable handbook will continue to serve as an authoritative and comprehensive guide in the field.
'Rose Tremain does not disappoint. As always her writing has a delicious, crunchy precision.' Observer A wise and witty look at the contemporary migrant experience. Lev is on his way from Eastern Europe to Britain, seeking work. Behind him loom the figures of his dead wife, his beloved young daughter and his outrageous friend Rudi who - dreaming of the wealthy West - lives largely for his battered Chevrolet. Ahead of Lev lies the deep strangeness of the British: their hostile streets, their clannish pubs, their obsession with celebrity. London holds out the alluring possibility of friendship, sex, money and a new career and, if Lev is lucky, a new sense of belonging... 'A novel of urgent humanity' Sunday Telegraph Praise for Rose Tremain: 'One of my favourite writers' Nina Stibbe 'Tremain is one of the best novelists writing today' Sara Collins 'Pulsatingly alive . . . no one can break your heart quite like this' Neel Mukherjee
Dieses Buch beleuchtet die wichtigsten Aspekte der Verarbeitung und Charakterisierung von Ferroelektrika und Multiferroika auf Nanoebene, präsentiert eine umfassende Beschreibung der jeweiligen Eigenschaften und legt dabei den Schwerpunkt auf die Unterscheidung von Größeneffekten bei extrinsischen Eigenschaften wie Rand- oder Interface-Effekte. Eingegangen wird auch auf neuartige Nanoebene. Das Fachbuch ist in drei Abschnitte unterteilt und beschreibt die Verarbeitung (Nanostrukturierung), Charakterisierung (nanostrukturierter Materialien) und Nanoeffekte. Unter Rückgriff auf die Synergien zwischen Nano-Ferroelektrika und -Multiferroika werden Materialien behandelt, die auf allen Ebenen ...
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
Appearing together in English for the first time, two masterpieces that take on the jazz age, the Nuremburg trials, postwar commercialism, and the feat of writing a book, presented in one brilliant volume The Death of My Brother Abel and its delirious sequel, Cain, constitute the magnum opus of Gregor von Rezzori’s prodigious career, the most ambitious, extravagant, outrageous, and deeply considered achievement of this wildly original and never less than provocative master of the novel. In Abel and Cain, the original book, long out of print, is reissued in a fully revised translation; Cain appears for the first time in English. The Death of My Brother Abel zigzags across the middle of the ...