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Proleterka
A fifteen-year-old girl and her father, Johannes, take a cruise to Greece on the Proleterka. Jaeggy recounts the girl's youth in her distinctively strange, telescopic prose: the remarried mother, cold and unconcerned; the father who was allowed only rare visits with the child; the years spent stashed away with relatives or at boarding school. For the girl and her father, their time on the ship becomes their 'last and first chance to be together.' On board, she becomes the object of the sailors' affection, receiving a violent, carnal education. Mesmerised by the desire to be experienced, she crisply narrates her trysts as well as her near-total neglect of her father. Proleterka is a ferocious study of distance, diffidence and 'insomniac resentment.'
Communicating Process Architectures 2006
Contains papers from the conference Communicating Process Architectures, 2006. This work talks about various aspects of communicating process theory and their application to designing and building systems. It includes a case study on large scale formal development and verification, CSP mechanisms for Microsoft's .NET framework, and more.
Communicating Process Architectures 2007
Deals with Computer Science and models of Concurrency. This title emphasizes on hardware/software co-design and the understanding of concurrency that results from these systems. It includes a range of papers on this topic, from the formal modeling of buses in co-design systems through to software simulation and development environments.
Rendezvous
None
Every Promise
When Sarah leaves him - heartbroken by their inability to conceive - Pietro reverts to a younger self, leaving the dishes unwashed, his bed unmade and the post unopened. Soon afterwards, Sarah confesses that she is pregnant, but from a casual encounter. She comes to rely on Pietro's mother for support, leaving all three in a painful limbo, unable to move on or return to the way things were. Into the void falls Olmo, an old man haunted by memories of war. At first he provides a distraction, but when he asks Pietro to travel to Russia on his behalf, to right a wrong from his past, he offers this most troubled of young men the chance of a new beginning.
Communicating Process Architectures 2008
Communicating Process Architectures 2008 contains the proceedings of the thirty-first Communicating Process Architectures Conference (CPA 2008) organized under the auspices of WoTUG and the Department of Computer Science of the University of York. The aim of this book is to cover both theoretical aspects and industrial applications of Communicating Processes. Two invited speakers have given excellent contributions to this topic. Professor Samson Abramsky has worked in the areas of semantics and logic of computation, and concurrency. His work on game semantics considers interaction and information flow between multiple agents and their environment. This has yielded new approaches to compositional model-checking and to analysis for programs with state, concurrency, probability, and other features. Professor Colin O'Halloran has been instrumental in the uptake of formal methods in the development and verification of high assurance systems on an industrial scale. His research interests are in automating the use of formal methods and using these techniques at reasonable cost and on an industrial scale.
Notes from an Exhibition
From the author of A Perfectly Good Man, the bestselling story of an artist tormented by depression and the toll of creativity.
The Art of Screen Adaptation
'If you decide to adapt a classic or much-loved book, your working maxim should be, 'How will it work best as a film?' However faithful it is to the original, if it's not interesting onscreen then you've failed.' - William Boyd in Story and Character: Interviews with British Screenwriters Hollywood. Netflix. Amazon. BBC. Producers and audiences are hungrier than ever for stories, and a lot of those stories begin life as a book - but how exactly do you transfer a story from the page to the screen? Do adaptations use the same creative gears as original screenplays? Does a true story give a project more weight than a fictional one? Is it helpful to have the original author's input on the script...
