krainaksiazek little lost girl book one separation 20092363
- znaleziono 41 produktów w 5 sklepach
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
Bit Lost WALKER BOOKS
Książki / Literatura obcojęzyczna
A beautiful and witty picture book charting the journey of Little Owl who is just 'a bit lost'...Little Owl must be more careful when he is sleeping...Uh-oh! He has fallen from his nest, and with a bump he lands on the ground. Where is his mummy? With the earnest assistance of his new friend Squirrel, Little Owl sets off in search of her, and meets a sequence of other animals. Yet while one might have his mummy's Big Eyes, and another her Pointy Ears, they are simply not her. Chris Haughton's striking colour illustrations follow Little Owl on his quest. Which of his new friends will lead him back to his mummy? Winner of Gold in the Children's Book category at the Association of Illustrators annual awards, this title perfectly captures the timeless anxiety of separation, followed by joy of reunion, of mother and child. It features eye-catching artwork from a promising new talent. If you're not tempted to shed a tear with Mummy Owl when her son is restored to her, you must have a heart of stone.
Książki / Literatura obcojęzyczna
Hattie B, Magical Vet: The Dragon's Song (Book 1), is the first in a brand new magical series for girls. Discover a secret world of fairy-tale creatures! On her tenth birthday, Hattie B is swept into the magical Kingdom of Bellua where she meets a little pink dragon who needs her help. Evil King Ivar of the Imps has stolen the dragon's magical voice and Hattie is the only one who can help her get it back. Hattie B is inspired by a little girl called Harriet, who once asked 'where do unicorns and dragons go when they're unwell?' Her mum, Lindsay Taylor, and their friend, Suzanne Smith thought long and hard and suddenly realised - a magical vet of course! With this twinkle of an idea they met the writer Claire Baker and together they created the Kingdom of Bellua - and the pen name Claire Taylor-Smith.
Day I Lost My Superpowers Perseus Books Group
Książki / Literatura obcojęzyczna
Childhood is a magical time when even the stuff of the day-to-day is exciting and the ordinary often seems extraordinary. A part of this magic is that with just a little imagination, we all might be found to possess true superpowers! This isn't the first or last book where a child delightedly discovers her own superpowers. But it may be just about the driest, funniest, and sweetest, where the discovery is handled with humor and charm. One of the book's true pleasures is that it's a girl who discovers her own extraordinary abilities, and when her powers fail, as they must, she discovers them in her mom. All of which leads to a lovely intimacy between the two.
Bad Little Falls CONSTABLE & ROBINSON
Książki / Literatura obcojęzyczna
Game warden Mike Bowditch has been sent into exile, transferred by his superiors to a remote outpost on the Canadian border. When a blizzard descends on the coast, Bowditch is called to the remote cabin of a terrified couple. A raving and half-frozen man has appeared at their door, claiming his friend is lost in the storm. But what starts as a rescue mission soon becomes a baffling murder investigation. The dead man is an infamous drug dealer and state police suspect it was his own friend who killed him. Bowditch isn't so sure - but his vow not to interfere in the case is tested when he finds himself powerfully attracted to a beautiful woman with a dark past and a troubled young son who harbours secrets of his own...Praise for The Poacher's Son: "An excellent debut - filled with murder, betrayal and a terrific sense of place". (C.J. Box). "A stunning debut ...At its heart this is a tale of bitter betrayal, lost hopes and broken dreams. The book has a tautness that is impossible to forget and which left me close to tears. It is also the first in a series. Its successor, Trespasser, also featuring Bowditch, is on the way. Grab him now". (Daily Mail). "Stunning vistas ...eye popping scenes". (The New York Times Book Review). "This is a compelling, moving and utterly impressive debut". (Andre Dubus III, author of House of Sand and Fog). The Poacher's Son is one of the best written debut novels I have read in years. "This novel has it all - a great plot, a wonderful Maine woods setting and a truly remarkable and believable cast of characters". (Nelson de Mille).
Little History ATLANTIC BOOKS
Książki / Literatura obcojęzyczna
"""Bleddyn Butcher has been taking pictures of me and my cohorts since I first got up on stage back in Australia right through to the shuddering present and some of these images are so familiar to me, so much a part of the fabric of my life, my little history, that much like the songs I have written, these photographs have become the props around which my memories collect. Without them so many of those days would be lost. Soul-stealer and dream-catcher - here he comes then - with his book of rescued moments."" Nick Cave In 1981, dazzled by Nick Cave's extraordinary talent, rock photographer Bleddyn Butcher started taking photos of Cave and his then band, punk darlings The Birthday Party. A long friendship began. With over 100 carefully selected and many never-before-seen photographs, A Little History reflects the evolution of one of today's most original artists, burrowing beneath Cave's smouldering public persona to reveal the irrepressible humour which punctuates his private life. Alongside portraits of band members from The Birthday Party, The Bad Seeds and Grinderman, there are snapshots of backstage encounters with the likes of John Cale, Bob Dylan, Kylie Minogue and Nina Simone, peers Shane MacGowan and Mark E Smith and former girlfriends Anita Lane and Viviane Carneiro. One of rock's few singular personalities, Nick Cave's influence now extends far beyond music into the realms of film and literature. A Little History is the definitive portrait of a crucial artist."
Little Monkey's Big Peeing Circus Harry N. Abrams
Little Monkey is an exceptionally talented pee-er, so he decides to open a peeing circus in order to show off his gift. Mimi, a little girl monkey, wants to be part of the show, but Little Monkey tells her that because he's the best pee-er there is, he performs solo. Thus begins Little Monkey's Big Peeing Circus, to which all the animals come. And, indeed, Little Monkey is a fabulous pee-er - far, high, standing on one leg - he can do it all. Eventually, Mimi has had enough and she asks Little Monkey if he's seen her pee pee. Little Monkey looks. He doesn't see anything. He searches the audience, much to their amusement. But it's not funny. This is serious business. Mimi has lost her pee pee! Finally, Mimi confesses that she fooled Little Monkey - she doesn't have a pee pee; to which Little Monkey replies that then she can't possible pee, but Mimi proves him wrong, and Little Monkey is so impressed that from that day forth, they perform together. Every child wonders why boys have pee pees and girls don't. This humorous picture book is an introduction to boy parts and girl parts - their differences and similarities. A feminist text of sorts, "Little Monkey's Big Peeing Circus" tells us that girls can do what boys can even if they don't have the equipment - or, better yet, even without the equipment. Children will delight in the glorification of an often taboo subject, while taking in the classically whimsical, circus-colored illustrations.
Tank Girl TITAN PUBLISHING GROUP
Książki / Literatura obcojęzyczna
A pink haired girl dressed like a gangster, a kangaroo in a tutu and a homicidal manic with an obsessive trouser disorder can only mean one thing. Tank Girl's back for more!Following a bungled Mafia financed train heist and a shoot out in an outback petrol station, Tank Girl, Booga have gone on the run in a WWII German Mittlere Schutzenpanzerwagen (Sd.Kfz.251/1) armoured personal carrier with the only copy of the great lost Beat Generation classic, "Book of Hipster Gold" (said to hold the secret to ending all wars and suffering). Now with a convoy of Mafia dons, henchmen, a crooked cop and half the Australian constabulary hot on their tails it's one long frenzied chase across the Australian outback to the sanctuary of Booga's long-lost little bother's vast business empire and maybe world peace.
Consolations of Philosophy Penguin
Alain de Botton, best-selling author of How Proust can Change Your Life, has set six of the finest minds in the history of philosophy to work on the problems of everyday life. Here then are Socrates, Epicurus, Seneca, Montaigne, Schopenhauer and Nietzsche on some of the things that bother us all; lack of money, the pain of love, inadequacy, anxiety, the fear of failure and the pressure to conform.
Under the Duvet Penguin
Powieści i opowiadania
'When people ask me what I do for a crust and I tell them that I'm a novelist, they immediately assume that my life is a non-stop carousel of limos, television appearances, hair-dos, devoted fans, stalkers and all the glitzy paraphernalia of being a public figure. It's time to set the record straight. I write alone, in a darkened bedroom, wearing my PJs, eating bananas, my laptop on a pillow in front of me ...' Her novels are adored by millions around the world
Memory of Violets WILLIAM MORROW & CO
Książki / Literatura obcojęzyczna
From the author of the USA Today bestseller The Girl Who Came Home comes an unforgettable historical novel that tells the story of two long-lost sisters--orphaned flower sellers--and a young woman who is transformed by their experiences"For little sister. . . . I will never stop looking for you."1876. Among the filth and depravity of Covent Garden's flower markets, orphaned Irish sisters Flora and Rosie Flynn sell posies of violets and watercress to survive. It is a pitiful existence, made bearable only by each other's presence. When they become separated, the decision of a desperate woman sets their lives on very different paths.1912. Twenty-one-year-old Tilly Harper leaves the peace and beauty of her native Lake District for London to become assistant housemother at one of Mr. Shaw's Training Homes for Watercress and Flower Girls. For years, the homes have cared for London's orphaned and crippled flower girls, getting them off the streets. For Tilly, the appointment is a fresh start, a chance to leave her troubled past behind.Soon after she arrives at the home, Tilly finds a notebook belonging to Flora Flynn. Hidden between the pages she finds dried flowers and a heartbreaking tale of loss and separation as Flora's entries reveal how she never stopped looking for her lost sister. Tilly sets out to discover what happened to Rosie--but the search will not be easy. Full of twists and surprises, it leads the caring and determined young woman into unexpected places, including the depths of her own heart.
Roaring Nineties Penguin
His previous book revealed the shocking truth about globalization. Now, Joseph Stiglitz blows the whistle on the devastation wrought by the free market mantra in the nineties
Yardbirds Story - Clam Box Charly Records
1. Smokestack Lightning 2. You Can't Judge A Book By Looking At The Cover 3. Let It Rock 4. I Wish You Would 5. Who Do You Love 6. Honey In Your Hips 7. Bye, Bye Bird 8. Mister Downchild 9. The River Rhine 10. 23 Hours Too Long 11. A Lost Care 12. Pontiac Blues 13. Take It Easy, Baby 14. Out On The Water Coast 15. Western Arizona 16. Take It Easy, Baby 17. Do The Weston 18. Baby, What's Wrong 101. Boom, Boom 102. Honey In Your Hips 103. Talkin' 'Bout You 104. I Wish You Would (Demo) 105. A Certain Girl (Demo) 106. Slow Walk 107. Highway 108. My Little Cabin 109. Too Much Monkey Business 110. Got Love If You Want It 111. Smokestack Lightning 112. Good Morning, Little Schoolgirl 113. Respectable 114. Five Long Years 115. Pretty Girl 116. Louise 117. I'm A Man 118. Here 'Tis 119. I Wish You Would 120. A Certain Girl 121. Good Morning, Little Schoolgirl (Backing Track) 122. Good Morning, Little Schoolgirl (Backing Track Plu 123. Good Morning, Little Schoolgirl (Master) 124. I Ain't Got You 201. For Your Love 202. Got To Hurry (Take 2 - False Start) 203. Got To Hurry (Take 3 - Master) 204. Got To Hurry (Take 4) 205. Putty (In Your Hands) 206. Sweet Music (Take 3) 207. Sweet Music (Take 4) 208. I'm Not Talkin' 209. I Ain't Done Wrong 210. My Girl Sloopy 211. Heart Full Of Soul (Sitar Version) 212. Heart Full Of Soul 213. Steeled Blues 214. Evil Hearted You 215. Still I'm Sad 216. Shapes Of Things 217. Shapes Of Things (Alternative) 218. You're A Better Man Than I 219. I'm A Man 220. New York City Blues 221. The Train Kept A - Rollin' 222. Paff...bum 223. Questa Volta 224. Keith Relf - Mr Zero 225. Keith Relf - Knowing 226. New York City Blues (Stereo Remix) 301. Jeff's Blues (Take 1) 302. Jeff's Blues (Take 2) 303. Someone To Love, Part One (Take 2, Instr.) 304. Someone To Love, Part One (Take 4, Instr.) 305. Someone To Love, Part One (Take 14, Instr.) 306. Someone To Love, Part One (Take 15, Vocal) 307. Someone To Love, Part Two 308. Like Jimmy Reed Again 309. Chris' Number (Take 1) 310. Pounds & Stomps (Xyz) 311. Pounds & Stomps 312. What Do You Want (Take 1) 313. What Do You Want (Take 2) 314. What Do You Want (Take 3) 315. What Do You Want (Take 4) 316. Here 'Tis (Stereo Instrumental Version)) 317. Here 'Tis (Version For R. S. G.) 318. Crimson Curtain (Edit Ot Take One & Insert) 319. Stroll On 320. I'm A Man (Live In Germany, 1967) 321. Shapes Of Things (Live In Germany, 1967)
Craftsman's Handbook DOVER PUBLICATIONS
Książki / Literatura obcojęzyczna
Preface I I The first chapter of the first section of this book II "How some enter the profession through loftiness of spirit, and some, for profit" III Fundamental provisions for anyone who enters this profession IIII How the schedule shows you into how many sections and branches the occupations are divided V How you begin drawing on a little panel; and the system for it VI How to draw on several kinds of panels VII What kind of bone is good for treating the panels VIII "How you should start drawing with a style, and by what light" VIIII "How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief" X "The method and system for drawing on sheep parchment and on paper, and shading with washes" XI How you may draw with a leaden style XII "How, if you have made a slip in drawing with leaden style, you my erase it, and by what means" XIII How you should practice drawing with a pen XIIII How to learn to cut the quill for drawing XV How you should advance to drawing on tinted paper XVI How the green tint is made on paper for drawing; and the way to temper it XVII "How you should tint kid parchment, and by which method you burnish it" XVIII How you should tint paper turnsole color XVIIII How you should tint paper with an indigo tint XX "How you should tint papers with reddish color, or almost peach color" XXI How you should tint papers with flesh color XXII "How you should tint papers greenish gray, or drab" XXIII How you may obtain the essence of a good figure or drawing with tracing paper XXIIII The first way to learn how to make a clear tracing paper XXV A second way to make tracing paper: with glue XXVI How to make tracing paper out of paper XXVII How you should endeavor to copy and draw after as few masters as possible XXVIII How you should regulate your life in the interests of decorum and the condition of your hand; and in what company; and what method you should first adopt for copying a figure from high up XXX "How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style" XXXI "How you should draw and shade with washes on tinted paper, and then put lights on with white lead" XXXII How you may put on lights with washes of white lead just as you shade with washes of ink XXXIII How to make good and perfect and slender coals for drawing XXXIIII About a stone which has the character of charcoal for drawing. This ends the first section of this book II XXXV The second section of this book: bringing you to the working up of the colors XXXVI "This shows you the natural colors, and how you should grind black" XXXVII How to make various sorts of black XXXVIII On the character of the red color called sinoper XXXVIIII "How to make the red called cinabrese, for doing flesh on the wall; and about its character" XL On the character of the red called vermilion; and how it should be worked up XLI On the character of a red called red lead XLII On the character of a red called hematite XLIII On the character of a red called dragonsblood XLIIII On the character of a red called lac XLV On the character of a yellow color called ocher XLVI On the character of a yellow color called giallorino XLVII On the character of a yellow called orpiment XLVIII On the character of a yellow called realgar XLVIIII On the character of a yellow called saffron L On the character of a yellow called arzica LI On the character of a green called terre-verte LII On the character of a green called malachite LIII How you make a green with orpiment and indigo LIIII How you make a green with blue and giallorino LV How you make a green with ultramarine blue LVI On the character of a green called verdigris LVII How you make a green with white lead and terre-verte; or lime white LVIII On the character of lime white LVIIII On the character of white lead LX On the character of azurite LXI To make an imitation of azurite with other colors LXII "On the character of ultramarine blue, and how to make it" LXIII The importance of knowing how to make brushes LXIIII How to make minever brushes LXV "How you should make bristle brushes, and in what manner" LXVI How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the third III LXVII "The method and system for working on a wall, that is, in fresco; and on painting and doing flesh for a youthful face" LXVIII The method for painting an aged face in fresco LXVIIII The method for painting various kinds of beards and hair in fresco LXX The proportions which a perfectly formed man's body should possess LXXI The way to paint a drapery in fresco LXXII The way to paint on a wall in secco; and the temperas for it LXXIII How to make a violet color LXXIIII To execute a violet color in fresco LXXV To try to imitate an ultramarine blue for use in fresco LXXVII To paint a shot green drapery in fresco LXXVIII To paint in fresco a drapery shot with ash gray LXXVIIII To paint one in secco shot with lac LXXX To paint one in fresco or in secco shot with each other LXXXI To paint a greenish-gray costume in fresco or in secco LXXXII "To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood" LXXXIII "To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue" LXXXIIII "To make a black drapery for a monk's or friar's robe, in fresco and in secco" LXXXV "On the way to paint a mountain, in fresco or in secco" LXXXVI "The way to paint trees and plants and foliage, in fresco and in secco" LXXXVII "How buildings are to be painted, in fresco and in secco" LXXXVIII The way to copy a mountain from nature. This ends the third section of this book IV LXXXVIIII "How to paint in oil on a wall, on panel, on iron, and where you please" LXXXX How you should start for working in oil on a wall LXXXXI "How you are to make oil, good for a tempera, and also for mordants, by boiling with fire" LXXXXII How good and perfect oil is made by cooking in the sun LXXXXIII "How you should work up the colors with oil, and employ them on the wall" LXXXXIIII "How you should work in oil on iron, on panel, on stone" LXXXXV The way to embellish with gold or with tin on a wall LXXXXVI How you should always make a practice of working with fine gold and with good colors LXXXXVII "How you should cut the golden tin, and embellish" LXXXXVIII How to make green tin for embellishing LXXXXVIIII "How to make the golden tin, and how to lay fine gold with this vermeil" C "How to fashion or cut out the stars, and put them on the wall" CI How you can make the diadems of the saints on the wall with this tin gilded with fine goldCII How you should model up a diadem in lime mortar on a wall CIII How from the wall you enter upon panel-painting. This ends the fourth section of the book V CIIII The system by which you should prepare to acquire the skill to work on panel CV How you make batter or flour paste CVI How you should make cement from mending stones CVII How to make cement for mending dishes of glass CVIII "How fish glue is used, and how it is tempered" CVIIII "How goat glue is made, and how it is tempered; and how many purposes it will serve" CX A perfect size for tempering gessos for anconas or panels CXI A size which is good for tempering blues and other colors CXII To make a glue out of lime and cheese. This ends the fifth section of this book VI CXIII How you should start to work on a panel or anconas CXIIII How you should put cloth on a panel CXV How the flat of a panel should be gessoed with the slice with gesso grosso CXVI How to gesso sottile for gessoing panels CXVII How to gesso an ancona with gesso sottile; and how to temper it CXVIII How you may gesso with gesso sottile without having gessoes with gesso grosso first CXVIIII How you should temper and grind gesso sottile for modeling CXX How you should start to scrape down an ancona flat gessoed with gesso sottile CXXI "How the gesso sottile on the flats should be scraped down, and what these scrapings are good for" CXXII "How to draw on panel with charcoal, to begin with, and to fix it with ink" CXXIII How you should mark out the outlines of the figures for gilding the grounds CXXIIII "How to model on a panel with gesso sottile, and how to mount precious stones" CXXV How you should cast a relief for embellishing areas of anconas CXXVI How to plaster reliefs on a wall CXXVII How to model with mortar on a wall the say you model with gesso on panel CXXVIII "How to take reliefs from a stone mold, and how they are good on wall and on panel" CXXVIIII How you may model on a wall with varnish CXXX How you may model on a wall with wax CXXXI "How to lay bole on panel, and how to temper it" CXXXII "Another way to temper bole on panel, for gilding" CXXXIII How you may gild on panel with terre-verte CXXXIIII How to gild on panel CXXXV What stones are good for burnishing this gilding CXXXVI How to prepare the stone for burnishing gold CXXXVII "How you should burnish the gold, or mend matters in case it could not get burnished" CXXXVIII "Now I will show you how to burnish, and in what direction, especially a flat" CXXXVIIII "What gold is good for burnish and mordant gilding, and what thickness" CXL "How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures" CXLI How to design gold brocades in various colors CXLII How to execute gold or silver brocades CXLIII Several rules for cloths of gold and silver CXLIV "How to do velvet, wool, and silk" CXLV How to paint on panel CXLVI How to make draperies in blue and purple CXLVII How to paint faces CXLVIII How to paint a dead man CXLVIX How to paint wounds CL How to paint water VII CLI "A short section on mordant gilding. How to make a standard mordant, and how to gild with it" CLII How to control the drying of the mordant CLIII How to make a mordant out of garlic VIII CLIV Introduction to a short section on varnishing CLV When to varnish CLVI How to make a painting look as if it were varnished IX CLVII "A short section on illuminating: first, how to gild on parchment" CLVIII Another kind of size: for grounds only CLIX How to make and use mosaic gold CLX How to grind gold and silver for use as colors CLXI Colors for use on parchment X CLXII "A section dealing with work on cloth: first, painting and gilding" CLXIII Various ways to do hangings CLXIV How to draw for embroiderers CLXV "How to work on silk, on both sides" CLXVI How to paint and gild on velvet CLXVII How to lay gold and silver on woolen cloth CLXVIII How to make devices out of gilded paper CLXIX How to model crests or helmets CLXX How to do caskets or chests XI CLXXI "A short section on operations with glass: first, for windows" CLXXII How to gild for reliquary ornaments CLXXII Arrangements for drawing on this glass CLXXII How to draw on the gilded glass CLXXII How to scrape the gold off the backgrounds CLXXII How to back up the drawing with colors XII CLXXII "Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost" CLXXII Mosaic of quill cuttings CLXXII "Mosaic of crushed eggshells, painted" CLXXII Mosaic of paper or foil CLXXII "Mosaic of eggshells, gilded" XIII CLXXIII "A section dealing with miscellaneous incidental operations: first, block printing on cloth" CLXXIV How to gild a stone figure CLXXV The dangers of a wet wall for fresco CLXXV Preliminary precautions against moisture CLXXV Waterproofing with boiled oil CLXXVI Waterproofing with pitch CLXXVI Waterproofing with liquid varnish CLXXVII How to distemper inside walls with green CLXXVIII How to varnish terre-verte CLXXIX How to clean off the paint after you have made up a face CLXXX The perils of indulgence in cosmetics CLXXXI "The final section, devoted to methods of casting, begins here" CLXXXII How to take a life mask CLXXXIII The breathing tubes CLXXXIV The operations of casting the matrix CLXXXIV How to cast this waste mold CLXXXV How to cast whole figures CLXXXVI How to make a cast of your own person CLXXXVII Castings in gesso for use on panel CLXXXVIII How to cast medals CLXXXIX How to make a mold from a seal or coin Index
Experiencing Endings and Beginnings Karnac Books
Książki / Literatura obcojęzyczna
Throughout life we undergo many changes in our circumstances, beginnings and endings of relationships, gains and losses. This book highlights the emotional turmoil which, to a greater or lesser extent, accompanies these changes. It considers the nature of the anxieties aroused by a new situation and the ending of a previous state at various stages in life. Endings and beginnings are shown to be closely related, for every new situation entered into, more often than not, involves having to let go of some of the advantages of the previous one as well as losing what is familiar and facing fear of the unknown. The author shows how all these aspects of change evoke primitive anxieties, stemming from our earliest experiences of coming into this world. While beginning life outside holds the promise of a wider, more enriching existence it involves the loss of the known, relative safety of life inside mother's body. Moreover, the human newborn is at first utterly helpless, totally dependent on others to keep him alive. It leaves him terrified of being abandoned and left to die. The loss of what is familiar, the fear of the unknown as well as the fear of being unable to manage on our own remain in the depth of our psyche throughout life and are re-evoked at times of life-changing events and to some extent by any ending and beginning. The book stresses the importance of examining the way these anxieties are dealt with by different individuals and those who look after them and what promotes or undermines mental, emotional and spiritual growth.Freud, as well as stressing the importance of the "work of mourning" when someone we love and/or depend on dies, drew attention to the fact that mourning occurs in other situations, such as losing one's country, or an ideal. The author describes how bereavement affects young children, adolescents, young and old people. She also looks at all the ordinary endings in life such as the separation from mother when the child begins to go to nursery, leaving home to go to college, losing one's place of work at retirement, losing one's youth. She stresses how important it is to prepare and work through these and other losses for it is only if we continue to value and internalise the good aspects of the experiences we have had - rather than remain angry about what we have lost - that we are able to internalise and carry them within our heart and mind to sustain us through life, and remain open to appreciate the preciousness of living in the present.
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