Spalona Żywcem Wyd. Kieszonkowe - Souad

Książki & Multimedia > Książki

Opis - Pierwsze na świecie świadectwo ofiary zbrodni honorowej. Miała siedemnaście lat i zakochała się: zhańbiła rodzinę. Więc rodzina wydała na nią wyrok śmierci... Pokochała go pierwszą miłością. Myślała, że się z nią ożeni. Ale ukochany zniknął, a ona odkryła, że jest w ciąży. A w jej świecie to najcięższa zbrodnia... W zapomnianej przez Boga wiosce w Cisjordanii kobiety są warte mniej niż zwierzęta domowe. Tu mężczyzna jest panem życia i śmierci żony, córki, siostry. Brat może bezkarnie zabić siostrę, matka - córkę, kolejną bezużyteczną dziewczynkę, jaka się urodzi. Tu kobiecie odbiera się godność, a nawet życie zgodnie z odwiecznym obyczajem i uświęconą tradycją. A śmierć jest karą dla dziewczyny, która zhańbi rodzinę. Tak jak Souad. Wyrok wydaje jej ojciec. Szwagier dokonuje egzekucji. Oblewa Souad benzyną i podpala... SOUAD przeżyła - cudem, ale rodzina usiłowała zabić ją nawet w szpitalu. Na zawsze jednak pozostanie straszliwie okaleczona - na ciele i duszy. I wciąż musi się ukrywać; dopóki żyje, jej rodzinę okrywa hańba. Spalona żywcem, opublikowana pod pseudonimem szokująca opowieść o piekle, jakim było jej dzieciństwo i młodość, stała się międzynarodowym bestsellerem. Wydana w 37 w krajach książka przerywa tabu milczenia wobec istniejącej nadal w krajach muzułmańskich barbarzyńskiej tradycji. Nieludzkiego obyczaju, prawa mężczyzn, na mocy którego co najmniej pięć tysięcy kobiet pada co roku ofiarą zbrodni honorowej. Nazwa - Spalona Żywcem Wyd. Kieszonkowe Autor - Souad Oprawa - Miękka Wydawca - Amber Kod ISBN - 9788324159406 Kod EAN - 9788324159406 Wydanie - 1 Rok wydania - 2016 Tłumacz - 31182,maria rostworowska; Format - 110 x 175 x 14 Ilość stron - 224 Podatek VAT - 5% Premiera - 2016-06-23

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Letter from America Penguin

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When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

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Yayoi Kusama Prestel

Książki / Literatura obcojęzyczna

This book accompanies Yayoi Kusama's first major European retrospective exhibition, offering a comprehensive overview of the Japanese artist's influential oeuvre, which spans more than eighty years.The companion to the groundbreaking new retrospective at the Gropius Bau, this publication examines Kusama's life and work through wholly original insights by leading experts. The book traces the development of Kusama's creative output from her early paintings and accumulative sculptures to her immersive environments, as well exploring her lesser-known artistic activity in Europe and Germany in particular. It illuminates Kusama's commitment to political and social issues in Europe, the US and Japan. A diverse selection of images and archival documents feature alongside texts by authors from different theoretical backgrounds. Essays discuss Kusama's accomplishments in the worlds of fashion, film, art marketing and publishing. They focus on her engagement with different artistic spheres and offer genre-specific observations about her performances, installations and painting series. As panoramic and fascinating as its subject, this monumental retrospective guides viewers interested in Kusama towards a deeper understanding of her creative trajectory and of the breadth of her extraordinary career.

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Feminist Ethnomusicology University of Illinois Press

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One of the pioneers of gender studies in music, Ellen Koskoff edited the foundational text Women and Music in Cross Cultural Perspective, and her career evolved in tandem with the emergence and development of the field. In this intellectual memoir, Koskoff describes her journey through the maze of social history and scholarship related to her work examining the intersection of music and gender. Koskoff collects new, revised, and hard-to-find published material from mid-1970s through 2010 to trace the evolution of ethnomusicological thinking about women, gender, and music, offering a perspective of how questions emerged and changed in those years, as well as Koskoff's reassessment of the early years and development of the field. Her goal: a personal map of the different paths to understanding she took over the decades, and how each inspired, informed, and clarified her scholarship. For example, Koskoff shows how a preference for face-to-face interactions with living people served her best in her research, and how her now-classic work within Brooklyn's Hasidic community inflamed her feminist consciousness while leading her into ethnomusicological studies.An uncommon merging of retrospective and rumination, A Feminist Ethnomusicology: Writings on Music and Gender offers a witty and disarmingly frank tour through the formative decades of the field and will be of interest to ethnomusicologists, anthropologists, scholars of the history and development of feminist thought, and those engaged in fieldwork. Includes a foreword by Suzanne Cusick framing Koskoff's career and an extensive bibliography provided by the author.

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Annie Leibovitz Taschen GmbH

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When Benedikt Taschen asked the most important portrait photographer working today, Annie Leibovitz, to collect her pictures in a SUMO-sized book, she was intrigued by the challenge. The project took several years to develop and when it was finally published in 2014, it weighed in at 26 kg (57 pounds).This incredible collection is now available in an accessible XXL book format.Leibovitz drew on more than 40 years of work, starting with the photojournalism she did for Rolling Stone magazine in the 1970s through the conceptual portraits she made for Vanity Fair and Vogue. She selected iconic images

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Bridget Riley DAVID ZWIRNER

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Published on the occasion of Bridget Rileys major exhibition at David Zwirner in London in the summer of 2014, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past 50 years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm and density. As noted by Paul Moorhouse, Throughout her development, Riley has drawn confirmation from Eugene Delacroixs observation that the first merit of a painting is to be a feast for the eyes. [Her] most recent stripe paintings are a striking reaffirmation of that principle, exciting and entrancing the eye in equal measure.Created in close collaboration with the artist, the publications beautifully produced colour plates offer a selection of the iconic works from the exhibition. These include the artists first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called Egyptian palette a narrow chromatic range that recalled natural phenomena and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen. A range of texts about Rileys original and enduring practice grounds and contextualizes the images, while little-seen archival imagery shows Riley at work over the years.

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Faust part one Penguin

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Ballenesque Thames & Hudson Ltd

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A substantial retrospective on one of the world's most remarkable and critically acclaimed art photographers. Separated into four parts, Ballenesque takes readers on a visual, chronological journey through Roger Ballen's entire oeuvre, including both iconic images and previously unpublished photographs. Part I explores his formative artistic influences and his later rediscovery of boyhood through photography, culminating in his first published monograph, Boyhood, in 1979. Part II then charts the period between 1980 and 2000, during which time his deeper search for the elemental self found its way into the 'Dorps', or small towns, of South Africa and concluding with the release of his seminal monograph Outland. Part III covers the years 2000-2013, when Ballen achieved global recogition with Shadow Chamber and Boarding House and his work began to veer away from portraiture altogether. Finally, in Part IV, Ballen reflects upon his career in its entirety. With over 300 photographs and an introduction by eminent academic Robert J. C. Young, this book provides both an entirely new way of seeing Ballen's work for those who already follow his career and a comprehensive introduction for those encountering his photographs for the first time.

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Memoirs of Louis Bouyer Angelico Press

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Louis Bouyer was a major figure in the Church of the last century. These memoirs, which Bouyer wrote in a humble and humorous vein--though without withholding his notoriously sharp pen when needed--allow the reader to enter with him into the great events that shook the Church and the world during the era of upheavals and transformations through which he lived. They amount to an intelligent, sensitive, and pious man's fascinating chronicle and deep reflection on Christianity's life and travails in a world committed to modernity. Bouyer here tells us the full and varied story of a life devoted to the discovery of the sources and Tradition of the Church in doctrine, spirituality, liturgy, and scripture.We follow Bouyer's journeys from his inherited Protestantism to the fullness of the Catholic Faith, from his position as a Lutheran pastor to the priesthood in the Oratory of France, from humble parish life to the Olympian heights of his official theological and liturgical collaboration (and difficulties) before and after the Council with such influential figures as Congar, Daniélou, de Lubac, Bugnini, and... Joseph Ratzinger (Benedict XVI). Bouyer paints the lush landscape of a century's illusions and disenchantments; his memoirs are essential for understanding the history of the Church during that momentous time."It would be impossible for anyone to speak knowledgeably about liturgical developments in the past 50 years without being cognizant of the work done by Louis Bouyer. His Memoirs, which feature his outspoken opinions and profound intelligence as well as a personality deeply imbued with the true spirit of the Catholic liturgy, can serve as a balance and perhaps an antidote to misinformation about the post-Vatican II developments in the Sacred Liturgy of the Latin Rite. A careful perusal of these Memoirs, now available in English in an excellent translation by John Pepino, also can serve as a corrective to the sometimes unbridled and euphoric optimism that marked liturgical studies in the late 1960s and early 1970s. I cannot recommend strongly enough the reading and study of this work."--BISHOP (EMERITUS) FABIAN BRUSKEWITZ, Lincoln, NE "While Father Louis Bouyer was a prolific author in many fields of theology, his most lasting legacy may well be his contribution to liturgical renewal, including his collaboration in the post-conciliar reform of the Roman rite. Bouyer is a sharp observer, and his retrospective is frank and at times caustic. Here is the authentic voice of a key witness to momentous developments in twentieth-century Catholicism. The publication of these important memoirs makes a real contribution to writing the history of the Church in our times."--FR. UWE MICHAEL LANG, Cong. Orat.; Heythrop College, University of London"Louis Bouyer was, according to his former student Cardinal Lustiger "the least conformist and yet among the most traditional" of theologians--a reality borne out in these memoirs, which reveal Bouyer sinking ever-deeper roots in Catholic tradition as well as his ever-present ability to look at matters with a fresh, critical eye. Expertly translated and edited with additional notes for English readers, The Memoirs of Louis Bouyer not only provides important historical details hitherto unpublished--particularly regarding the liturgical movement and post-conciliar reform--but also offers a lesson in the nature of living Catholic Tradition: one that Bouyer would insist that we learn, and learn well."--DOM ALCUIN REID, Monastčre Saint-Benoît, La Garde-Freinet, France

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Naomi Campbell Taschen GmbH

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This book is a tribute to the remarkable 25-year career of the supermodel, entrepreneur, activist, and provocateur, the one and only Naomi Campbell. Reigning as a top model since the age of 15, Campbell changed history as the first black model to grace the cover of "French Vogue" and "TIME" magazine. Appearing on over 400 magazine covers and in countless editorials and advertising campaigns, Campbell worked with the best photographers of the 80s, 90s, and today - making this retrospective as much about the fashion photography of the past 25 years as about the icon herself. Campbell's bold personality, striking beauty, and constantly evolving looks are captured through a selection of 300 photographs.The book includes the work of over 100 top photographers including Mert Alas and Marcus Piggott, Richard Avedon, David Bailey, Gian Paolo Barbieri, Gilles Bensimon, Michel Comte, Anton Corbijn, Patrick Demarchelier, Sante D'Orazio, Arthur Elgort, Jean-Paul Goude, Pamela Hanson, Horst, Seb Janiak, Steven Klein, Markus Klinko and Indrani, Nick Knight, David LaChapelle, Karl Lagerfeld, Thierry Le Goues, Annie Leibovitz, Peter Lindbergh, Craig McDean, Steven Meisel, Helmut Newton, Irving Penn, Bettina Rheims, Terry Richardson, Herb Ritts, Matthew Rolston, Paolo Roversi, Paul Rowland, Norman Jean Roy, Francesco Scavullo, David Seidner, Bert Stern, Solve Sundsbo, Juergen Teller, Mario Testino, Wolfgang Tillmans, Inez van Lamsweerde and Vinoodh Matadin, Ellen von Unwerth, and Bruce Weber. 300 editorial photographs are supplemented with an exclusive biography with never-before-seen personal photographs. It is a Limited Collector's Edition with a print by a photographer of Naomi's choice done exclusively for this book. All prints will be signed by the top model and the photographer.

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Six Novels in Woodcuts, 2 Vols. Library of America

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From the eve of the Great Depression to the start of World War II, Lynd Ward (1905-1985) observed the troubled American scene through the double lens of a politically committed storyteller and a visionary graphic artist. His medium-the wordless "novel in woodcuts"-was his alone, and he quickly brought it from bold iconographic infancy to subtle and still unrivalled mastery.§§Gods' Man (1929), the audaciously ambitious work that made Ward's reputation, is a modern morality play, an allegory of the deadly bargain a striving young artist often makes with life. Madman's Drum (1930), a multigenerational saga worthy of Faulkner, traces the legacy of violence haunting a family whose stock in trade is human souls. Wild Pilgrimage (1932), perhaps the most accomplished of these early books, is a study in the brutalization of an American factory worker whose heart can still respond to beauty but whose mind is twisted in rage against the system and its shackles.§§Prelude to a Million Years (1933) is a dark meditation on art, inspiration, and the disparity between the ideal and the real. Song Without Words (1936), a protest against the rise of European fascism, asks if ours is a world still fit for the human soul. Vertigo (1937), Ward's undisputed masterpiece, is an epic novel on the theme of the individual caught in the downward spiral of a sinking American economy. Its characters include a young violinist, her luckless fiancé, and an elderly business magnate who-movingly, and without ever becoming a political caricature-embodies the social forces determining their fate.§§The images reproduced in this volume are taken from prints pulled from the original woodblocks or first-generation electrotypes. The Library of America is proud to bring Ward's masterworks to a new generation of readers, together with nine illuminating essays about his craft, including those he wrote for the long out-of-print Storyteller Without Words , a 1974 retrospective. Art Spiegelman contributes an introductory essay, "Reading Pictures," that defines Ward's towering achievement in that most demanding of graphic-story forms, the wordless novel in woodcuts.

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The Learjet History Springer, Berlin

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This book offers an unique, comprehensive retrospective on the Learjet aircraft, from the establishment by Bill Lear in the sixties, to its slow demise in 2021. It accompanies readers on a unique journey through the configuration changes, and advanced technological applications that have transformed business jets and their market in the last sixty years. Important insights are given into numerous patents and innovations that have shaped the development of new technologies and aerodynamic improvements such as the winglet. Furthermore, this book presents many special missions carried out by the Learjet family, such as VIP, business and ambulance flights, research and military projects, and the use of Learjet in aerobatics, as well as aerial photography and cinematography. With a great number of original photographs and drawings, interesting events, stories and anecdotes, this book provides today's aeronautical and systems engineers and test pilots with an invaluable source of information and inspiration. Yet, it also offers a compelling reading to students, professionals and scientists in the aerospace field as well as to curious readers with a general interest in aeronautics.

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Gerhard Richter The University of Chicago Press

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Gerhard Richter is one of the most important and popular artists of the postwar era. For decades he has sought innovative ways to make painting more relevant, often through a multifaceted dialogue with photography. Today Richter is most widely recognized for the photo-paintings he made during the 1960s that rely on images culled from mass media and pop culture. Always fascinated with the limits and uncertainties of representation, he has since then produced landscapes, abstractions, glass and mirror constructions, prints, sculptures, and installations. Though Richter has been known in the United States for quite some time, the highly successful retrospective of his work at the MOMA in 2002 catapulted him to unprecedented fame. Enter noted curator Dietmar Elger, who here presents the first biography of this contemporary artist. Written with full access to Richter and his archives, this fascinating book offers unprecedented insight into his life and work.Elger explores Richter's childhood in Nazi Germany; his years as a student and mural painter in communist East Germany; his time in the West during the turbulent 1960s and '70s, when student protests, political strife, and violence tore the Federal Republic of Germany apart; and, his rise to international acclaim during the 1980s and beyond. Richter has always been a difficult personality to parse, and the seemingly contradictory strands of his artistic practice have frustrated and sometimes confounded critics. But the extensive interviews on which this book is based disclose a Richter who is far more candid and vivid than ever before. The result is a book that will be the foundational portrait of this artist and his profoundly influential oeuvre.

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Mad Dreams and Monsters Cameron & Company Inc

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A spectacular and comprehensive authorized retrospective of Oscar-winning visual effects master Phil Tippett, founder and namesake of iconic Tippett StudioFrom Star Wars to Jurassic Park and RoboCop to Starship Troopers, special effects master Phil Tippett has brought his magic to some of the most iconic films of all time. His unparalleled career in visual effects spans more than 40 years, with two Academy Awards, one BAFTA, and two Emmys. This stunning book celebrates Tippett's career, from early Super 8 explorations through his groundbreaking work with Industrial Light & Magic, DreamWorks, and beyond.While Tippett's first love remains the stop-motion animation that made him a Hollywood legend, he was present at the birth of big-screen digital effects, and his genius has evolved with the times. In 1984 he founded Tippett Studio, which has come to specialize in digital effects.Packed with over a thousand behind-the-scenes photographs, Mad Dreams and Monsters includes never-before-published stories from the master himself and a veritable who's who of visual effects luminaries-a must-have for movie fans, film students, and anyone who's ever been captivated by movie magic.

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Araki. 40th Ed. Taschen GmbH

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Decades

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