Founded in 2007, Beatnik Publishing is a NZ independent publisher that works alongside authors and artists to create beautiful, time-enduring books with international appeal. They publish cookbooks, children’s, poetry, lifestyle & self-help books.
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For the first time, the story of Leonida's wife, the hero of Thermopilai, recreated according to Herodotus's texts. This is a very strong woman, educated, emancipated. She lives in Sparta 2500 years ago and fights for women's rights. She lives during the wars between Greeks and Persians and she'll lose her husband in the war, but her bravery and love for the homeland will always remain.
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This book looks at London's provision of financial and military support for parliament's war against King Charles I. It explores for the first time a series of episodic, circumstantial and unique mobilisations that spanned from late 1641 to early 1645 and which ultimately led to the establishment of the New Model Army. Based on research from two-dozen archives, Civil war London charts the successes and failures of efforts to move London's vast resources and in the process poses a number of challenges to longstanding notions about the capital's 'parliamentarian' makeup. It reveals interactions between London's Corporation, parochial communities and livery companies, between preachers and parishioners and between agitators, propagandists and common people. Within these tangled webs of political engagement reside the untold stories of the movement of money and men, but also of parliament's eventual success in the English Civil War.
Hardy Hardy, Betreiber eines indonesischen Imbiss’ in Haarlem, hat mit seinen fast achtzig Jahren schon jede Menge erlebt: als Elfjähriger musste er auf Java mit ansehen, wie Unabhängigkeitskämpfer seine Familie ermordeten. Einen Trost fand er als Erwachsener in der Hawaii-Musik, bei seiner Band »Honolulu Kings« – und bei seiner Frau Christina, einer bildschönen Holländerin, der Liebe seines Lebens. Doch während sie immer tiefer in der Demenz versinkt, tritt seine eigene Vergangenheit zunehmend klarer ans Licht: Blieben die Morde an seiner Familie doch nicht ungesühnt? Hat Hardy sich gar selbst mit Schuld beladen? Er kann dem, was geschehen ist, nicht entfliehen, und muss sich den Dämonen seiner eigenen Geschichte stellen. Ein großer Roman über das, was war und was bleibt – und über ein außergewöhnliches Leben, bevölkert von Figuren, die dem Leser ans Herz wachsen.
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Hardy Hardy, Betreiber eines indonesischen Imbiss’ in Haarlem, hat mit seinen fast achtzig Jahren schon jede Menge erlebt: als Elfjähriger musste er auf Java mit ansehen, wie Unabhängigkeitskämpfer seine Familie ermordeten. Einen Trost fand er als Erwachsener in der Hawaii-Musik, bei seiner Band »Honolulu Kings« – und bei seiner Frau Christina, einer bildschönen Holländerin, der Liebe seines Lebens. Doch während sie immer tiefer in der Demenz versinkt, tritt seine eigene Vergangenheit zunehmend klarer ans Licht: Blieben die Morde an seiner Familie doch nicht ungesühnt? Hat Hardy sich gar selbst mit Schuld beladen? Er kann dem, was geschehen ist, nicht entfliehen, und muss sich den Dämonen seiner eigenen Geschichte stellen. Ein großer Roman über das, was war und was bleibt – und über ein außergewöhnliches Leben, bevölkert von Figuren, die dem Leser ans Herz wachsen.
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This book about the Thatcher government and the City of London tells the compelling human story of the people and processes that made Britain's 1980s financial revolution. Fusing insider testimony with new archival discoveries, it examines high stakes and networked solutions, and uncovers new objectives that drove reforms. In so doing it demystifies a major shift in capitalism. This has implications for our understandings of government and capitalism, from the way we think about the origins of subsequent financial crises to today's growing inequalities. Survival Capitalism offers new insights into the last major restructuring of the City, disrupts myths surrounding the logics of the market, and pays attention to people and processes at a time when the City of London again faces major change as Britain seeks to find its place outside the European Union in the wake of Brexit.
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False profits of ethical capital is a thought-provoking approach to understanding stakeholder capitalism. Rather than focusing on the inadequacies of corporate responsibility, sustainable investment and consumer politics, this book grapples with the technical and rhetorical functions of ethical capital for profit and accumulation. It provides a unique and eclectic analysis of the political dynamics between finance, capital and labour, offering a refreshing perspective on struggles interlocking social, ecological and economic crises, and suggesting new ways of thinking about sustainability politics.
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By situating Iran within the neoliberal global capitalism and resulting geopolitics, this book traces the patterns of capital accumulation and transformations in class and state formation emanating from it. It shows that Iranian neoliberalisation has brought about two capital fractions, namely the internationally-oriented capital fraction and the military-bonyad complex. It substantiates that the co-existence of these competing class fractions with different accumulation strategies has generated hybrid neoliberalism. The book further demonstrates how this new class formation has reorganised the function and operation of state institutions and transformed state ideology. By documenting the ways in which Iranian neoliberalisation has reshaped the subaltern classes and formed Iran's volatile foreign policy, it also provides a novel account of major events and processes in contemporary Iran, such as the post-2017 wave of uprisings, the nuclear programme and international sanctions.
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Die gelungenste Weltausstellung aller Zeiten war die Exposition Universelle de Paris von 1889. Weit über 32 Millionen Menschen besuchten das gigantische Spektakel mit knapp 62.000 Ausstellern aus 54 Nationen und 17 französischen Kolonien. Das Wahrzeichen der Schau, der Eiffelturm, blieb Paris bis heute erhalten. Einen legendären Ruf erwarb sich auch das offizielle, wöchentlich erscheinende Journal der Weltausstellung. Auf großformatigen, mit Stahlstichen üppig illustrierten Seiten berichtete es von den Sensationen vor Ort, von dreirädrigen selbstfahrenden Karren und ethnologischen Dörfern, in denen es Kamelreiten für die Kinder und Bauchtänze für die Herren gab. Der Schweizer Kunsthistoriker Beat Wyss hat die hundert originellsten Abbildungen ausgewählt. Sie illustrieren, wie die Expo den Erdball auf ein »Weltdorf« zwischen Trocadéro und Champ de Mars schrumpfen lässt, wie räumliche Distanzen abgebaut und dabei kulturelle Differenzen freigelegt werden. Das späte 20. Jahrhundert wird dafür den Begriff der Globalisierung prägen. Beat Wyss zeigt, wie die Gesellschaften seit dem 19. Jahrhundert mit diesem Prozeß umgehen und mit der Verwestlichung der Welt eine Orientalisierung des Westens einhergeht. Dem Leser als Flaneur über die Bühne der Weltausstellung wird klar: Die Expo 1889 belegt nicht nur den aktuellen Zustand einer Zeit, sondern bietet über die spektakuläre Anordnung ihrer Exponate den Vorschein einer gesellschaftlichen Utopie.
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Digital technologies promise efficiency and comfort, but the smoothness of platform services relies on the hidden social labour of those who keep the gig economy running. This book presents a comparative ethnography of young men making a living through digital technologies: selling mobile airtime in Abidjan, Côte d'Ivoire, and app-based delivery riders in Berlin, Germany. These case studies explore the significance of symbolic capital in urban youth's social existence and organisation of livelihood in the digital economy, and the technological mechanisms producing a new form of urban precarity. Globalized urban precarity in Berlin and Abidjan puts forward an original comparative approach to develop a global urban sociology for the digital era. It provides an innovative analytical toolbox that decentres discussions of precarity from the standard of a normal employment contract. With its focus on symbolic capital, the ethnography shows the consequences of the proliferating gig economy for status struggles among urban youth, and carefully embeds the densification of software and services into the socio-material relations on which these new urban infrastructures are built.
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Today's global capitalism runs through digital networks. Its leaders are internet giants such as Google, Apple, Amazon and Tencent. Their technologies are ubiquitous: we carry high-performance computers around in our pockets, manage our lives in the cloud and display them on social media. They have also literally privatised the market, transforming capitalism in the process. Philipp Staab takes us on a virtual tour of modern digital capitalism. He shows how digital surveillance and evaluation practices have proliferated throughout the economy, exacerbating social inequality in the process. What is specific to digital capitalism, Staab argues, is the emergence of 'proprietary markets'. In the past the focus was on producing things and selling them at a profit. Today the meta-platforms extract their profits by owning the market itself.
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In Singapore and Malaysia, the inversion of Chinese Underworld traditions has meant that Underworld demons are now amongst the most commonly venerated deities in statue form, channelled through their spirit mediums, tang-ki. The Chinese Underworld and its sub-hells are populated by a bureaucracy drawn from the Buddhist, Taoist and vernacular pantheons. Under the watchful eye of Hell's 'enforcers', the lower echelons of demon soldiers impose post-mortal punishments on the souls of the recently deceased for moral transgressions committed during their prior incarnations. Chinese religion in contemporary Singapore, Malaysia and Taiwan offers an ethnography of contemporary Chinese Underworld traditions, where night-time cemetery rituals assist the souls of the dead, exorcised spirits are imprisoned in Guinness bottles, and malicious foetus ghosts are enlisted to strengthen a temple's spirit army. Understanding the religious divergences between Singapore and Malaysia (and their counterparts in Taiwan) through an analysis of socio-political and historical events, Fabian Graham challenges common assumptions about the nature and scope of Chinese vernacular religious beliefs and practices. Graham's innovative approach to alterity allows the reader to listen to first-person dialogues between the author and channelled Underworld deities. Through its alternative methodological and narrative stance, the book intervenes in debates on the interrelation between sociocultural and spiritual worlds, and promotes the destigmatisation of spirit possession and discarnate phenomena in the future study of mystical and religious traditions.
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This volume foregrounds racial difference as a key to an alternative history of the Central and Eastern European region, which revolves around the role of whiteness as the unacknowledged foundation of semi-peripheral nation-states and national identities, and of the region's current status as a global stronghold of unapologetic white, Christian nationalisms. Contributions address the pivotal role of whiteness in international diplomacy, geographical exploration, media cultures, music, intellectual discourses, academic theories, everyday language and banal nationalism's many avenues of expressions. The book offers new paradigms for understanding the relationships among racial capitalism, populism, economic peripherality and race.
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The war that won't die charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers - from George Orwell and Pablo Picasso to Joris Ivens and Joan Miró - rallied to support the country's democratically-elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War and this book examines the specific role cinema has played in this process. The book's focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century - including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco's censorial dictatorship. The book will appeal to scholars and students of Film, Media and Hispanic Studies, but also to historians and, indeed, anyone interested in why the Spanish Civil War remains such a contested political topic.
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The war that won't die charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers - from George Orwell and Pablo Picasso to Joris Ivens and Joan Miró - rallied to support the country's democratically-elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War and this book examines the specific role cinema has played in this process. The book's focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century - including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco's censorial dictatorship. The book will appeal to scholars and students of Film, Media and Hispanic Studies, but also to historians and, indeed, anyone interested in why the Spanish Civil War remains such a contested political topic.
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Es ist ein ganzer Haufen Russen, den es zu Beginn der Neunziger in Amsterdam an Land gespült hat. Die Sowjetunion gibt es nicht mehr, die Grenzen sind durchlässiger geworden, aber Heimweh ist trotzdem ein Thema für diese Jungs, denen Puschkin-Büsten und Salzgurken inneren Halt geben, die ihre Tage auf dem pittoresken Rembrandtplein verbringen, wo sie Aquarelle an die Touristen verscherbeln, und ihre Nächte dem Studium des Wodkas widmen. Witali Kirillow ist einer von ihnen, der Mann mit den meergrünen Augen. Längst ist sein Visum abgelaufen, seit dem Tag, an dem er »illegal« wurde, fährt er vorsichtshalber in der Straßenbahn nicht mehr schwarz. Doch das ist nicht das einzige Delikt in Witalis Leben. Acht Jahre zuvor, als Offizier an der sowjetisch-finnischen Grenze, hinderte er einen Kameraden nicht daran, sich in den Westen abzusetzen. Von der Familie gutmütig als »das größte Loch im eisernen Vorhang« verspottet, wurde er von der Armee hart bestraft. Seitdem läßt der Gedanke an den Flüchtling Witali nicht mehr los. Und schließlich, unterstützt von der rasant-energischen Jessie, macht er sich auf, um herauszufinden, was aus ihm geworden ist. Nur zwei, drei Pinselstriche braucht Marente de Moor, um in ihrem Debütroman die unterschiedlichsten Viertel Amsterdams lebendig werden zu lassen und vor allem die russische Szene der Stadt zu porträtieren: lauter Charakterköpfe, die – hochsympathisch und besorgniserregend tiefgründig – ganz nebenbei verhandeln, was Grenze, was Identität, was Heimat bedeutet. »Ein mitreißendes Bild – manchmal herrlich komisch, manchmal voller Nostalgie – von einem ungebärdigen Pulk Russen, die wie Schiffbrüchige in Amsterdam gestrandet sind.« Haarlems Dagblad
