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U.S. Agency for International Development (USAID) under Prime Agreement Number AID-OAA-A-11-00012.
A dark protrait of urban ennui and ambition where what is real and what is not is hard to pin down. Julio is a frustrated publishing executive who falls in love with Laura, a bored urban mother. Julio had another lover, Teresa, who died in a crash - or did she? Did she ever exist?
'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.
Working at the local processing plant, Marcos is in the business of slaughtering humans—though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the “Transition.” Now, eating human meat—“special meat”—is legal. Marcos tries to stick to numbers, consignments, processing. Then one day he’s given a gift: a live specimen of the finest quality. Though he’s aware that any form of personal contact is forbidden on pain of death, little by little he starts to treat her like a human being. And soon, he becomes tortured by what has been lost—and what might still be saved.
This book presents the proceedings of The EAI International Conference on Computer Science: Applications in Engineering and Health Services (COMPSE 2019). The conference highlighted the latest research innovations and applications of algorithms designed for optimization applications within the fields of Science, Computer Science, Engineering, Information Technology, Management, Finance and Economics and Health Systems. Focusing on a variety of methods and systems as well as practical examples, this conference is a significant resource for post graduate-level students, decision makers, and researchers in both public and private sectors who are seeking research-based methods for modelling uncertain and unpredictable real-world problems.
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In the context of the global decline of democracy, The Authoritarian Divide analyzes the tactics that populist leaders in Turkey, Venezuela, and Ecuador have used to polarize their countries. Political polarization is traditionally viewed as the result of competing left/right ideologies. In The Authoritarian Divide, Orçun Selçuk argues that, regardless of ideology, polarization is driven by dominant populist leaders who deliberately divide constituents by cultivating a dichotomy of inclusion and exclusion. This practice, known as affective leader polarization, stymies compromise and undermines the democratic process. Drawing on multiple qualitative and quantitative methodologies for support, as well as content from propaganda media such as public speeches, Muhtar Meetings, Aló Presidente, and Enlace Ciudadano, Selçuk details and analyzes the tactics used by three well-known populist leaders to fuel affective leader polarization: Recep Tayyip Erdoğan in Turkey, Hugo Chávez in Venezuela, and Rafael Correa in Ecuador. Selçuk’s work provides a rubric for a better understanding of—and potential defense against—the rise in polarizing populism across the globe.
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Originally published in 2011, The Mosquito Bite Author is the seventh novel by the acclaimed Turkish author Barış Bıçakçı. It follows the daily life of an aspiring novelist, Cemil, in the months after he submits his manuscript to a publisher in Istanbul. Living in an unremarkable apartment complex in the outskirts of Ankara, Cemil spends his days going on walks, cooking for his wife, repairing leaks in his neighbor’s bathroom, and having elaborate imaginary conversations in his head with his potential editor about the meaning of life and art. Uncertain of whether his manuscript will be accepted, Cemil wavers between thoughtful meditations on the origin of the universe and the trajectory of political literature in Turkey, panic over his own worth as a writer, and incredulity toward the objects that make up his quiet world in the Ankara suburbs.