Dar konoz almarefahThe publishing house was established in 2005 with great experience in this field to be a beacon of knowledge and a real investment in its approach that it took from its inception. These characteristics made it always strive to present a distinct cultural message.
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We are publishing book about the central questions of our culture in politics, philosophy, art and history.
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Al is an unusual elephant born with the ability to change into different things, including turning into human. His magic tricks helps save other elephants from poachers.
In one faraway land, before fruits were eaten by people, they lived on their own in the Fruit Kingdom. The tale teaches children the health benefits of eating various fruits.
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On her ninth birthday, a lonely orphan named Bella gets a visit from a giraffe. The giraffe later takes her to Giraffe Land to meet the queen. While in Giraffe Land, Bella breaks the spell of of a witch who had planned on destroying Giraffe Land.
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One day, twin baby owls leave their nest to go look for their mother who had gone to look for food and they got lost...
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This picture book describes what some baby animals call their mothers. The book is suitable for ages 0-3.
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Alice is a young girl who out of curiosity, follows a tourist car and eventually gets lost. She lives in the forest on her own until she is found by kind gorillas.
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This picture book originally written in Kinyarwanda is suitable for ages 0 to 3. Simon does not like to share his book, one day when he stepped out, the family cat stole it. The cat wanted to read it too.
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In one village called the Sneezing Village, everyone there sneezed. Children and adults sneezed all the time. The book tells a story of the relationship between people that lived in that village and three unique parrots.
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Fifi la footballeuse est une histoire pour enfants qui parle d’une jeune fille passionnée de football.
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For many years, Mr. Eagle had been feeding on little chickens until he met a happy family of chickens... What does he do when he meets them?
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This baby picture book teaches young children the names of some baby animals and how thier mothers are called. It is suitable for ages 0-3.
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Nina likes to look up in the sky. She sees a number of things up in the sky. This baby picture book is suitable for ages 0-3.
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»Die Dinge«, schrieb Shaw einmal, »stellen sich mir zuerst als Szenen mit Handlungen und Dialogen vor – als Momente, die sich aus der ihnen innewohnenden Lebenskraft heraus entwickeln.« Träger solcher Lebenskraft, im Kontrast zum lähmenden Dasein derer, »die nicht zu leben verstehen« und deshalb »aus dem Sterben eine Tugend machen müssen«, sind die Hauptgestalten Kapitän Shotover, der jedoch der Menschheit überdrüssig ist und sich der Gesellschaft entzieht, sowie die junge Ellie Dünn, Opfer und erschreckend gelehrige Schülerin in »Haus Herzenstod«, das – so Shaw zu Beginn seiner Vorrede – »nicht bloß der Name des Dramas ist«, sondern »das verfeinerte, müßige Europa vor dem Krieg«, welches die beängstigenden Voraussetzungen zu diesem Krieg in sich trug.
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The pastor in print explores the phenomenon of early modern pastors who chose to become print authors, addressing ways authorship could enhance, limit or change clerical ministry and ways pastor-authors conceived of their work in parish and print. It identifies strategies through which pastor-authors established authorial identities, targeted different sorts of audiences and strategically selected genre and content as intentional parts of their clerical vocation. The first study to provide a book-length analysis of the phenomenon of early modern pastors writing for print, it uses a case study of prolific pastor-author Richard Bernard to offer a new lens through which to view religious change in this pivotal period. By bringing together questions of print, genre, religio-politics and theology, the book will interest scholars and postgraduate students in history, literature and theological studies, and its readability will appeal to undergraduates and non-specialists.
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It is a coming-of-age story for Generation Z. How to grow up or even live in a world where no steady jobs are available, you can’t pay your rent and can’t afford medical or living expenses. Moreover, it touches on how to be a socially engaged artist in such a world, and more so, a woman in a post-me too world? Dijana, a daughter of working-class immigrants, tells the story of her difficult childhood and adolescence, how should became a journalist and later a writer in a society full of prejudices, glass ceilings and obstacles. How she gradually became a stereotypical ‘success story’, even though she still struggles with writing, because she can’t afford a ‘room of her own’. Dijana is a daughter of working-class immigrants, who came to Slovenia in the eighties in search of a better future. The family is building a house but is made redundant from the local factory when Yugoslavia is in the midst of an economic crisis. When her parents get divorced, Dijana, her older sister and mother struggle with basic needs. She is ashamed of their poverty, her classmates bully her because of her immigrant status, but mostly because of her being ‘white trash’. In the local school she meets teachers with prejudices against immigrants, but is helped by a librarian who spots her talent. When Dijana goes to secondary school, she moves in with her older sister who lives in Ljubljana, the capital of Slovenia. Her sister is into rave culture and Dijana starts to explore experimenting with drugs, music and dance. At the secondary school, she is again considered ‘the weird kid’, as she isn’t enough of a foreigner for other immigrant kids because she is from the country, yet she isn’t Slovenian enough for other native kids. She falls even deeper into drug addiction, fails the first year of school and has to move back to live with her mother. She takes on odd jobs to make ends meet. Whilst working as a waitress she encounters sexism and sexual violence from customers and abuse from the boss. She finishes night school and graduates. She meets many ‘lost’ people of her generation along the way, who tell her their stories about precarious, minimum wage jobs, lack of opportunities, expensive rent, etc. Dijana writes for numerous newspapers but loses or quits her job, because she isn’t allowed to write the stories she wants or because of the bad working conditions or the blatant sexual harassment. Due to the high rent in the capital, Dijana has to move to the countryside to live with her mother. She feels lonely there, struggles with anxiety and cannot write a second book, because she is constantly under pressure to make a living. She realises that she must persevere regardless of the obstacles, she must follow her inner truth and by writing about it, try to create a community of like-minded people, a community of people who support each other – all literature/art is social.
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Wo bin ich und wann lebe ich? Wer so fragt, fühlt sich nicht völlig am Platz. Orts- und Zeitverschiebungen bedeuten, daß Eigenort und Eigenzeit von Fremdheit gewissermaßen umschattet sind. Es besteht eine Spannung zwischen den Orten und Zeiten, in denen wir uns leiblich befinden, und den Raum- und Zeitstrukturen, in die sich unsere Erfahrungen einordnen. Diese Spannung durchzieht den alltäglichen Wechsel von Erwartung und Erinnerung, von Überraschung und Gewöhnung, von sozialer Nähe und Ferne. Sie prägt den Kontrast von Weltläufigkeit und Ortsansässigkeit, die Orientierung anhand von Karte, Uhr und Kalender sowie den Einfluß von Körperzeit und Körperraum. Eine Weise, sie erscheinen zu lassen, sind die Orts- und Zeitexperimente der Bühnenkunst. Die Zeit entdecken wir im Raum, aber die Wiederkehr des Raumes gibt auch der Zeit ein neues Gepräge.
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Auf der Reise von Paris nach Rom ändert der Erzähler, ein Geschäftsreisender, seinen Entschluß, sich von seiner Pariser Frau scheiden zu lassen und seine italienische Freundin zu heiraten, weil er sich bewußt wird, daß er durch diese zweite Heirat seine erste Ehe nur wiederholen würde. Was die Reflexion auslöst, ist das Lösgelöstsein der Reisesituation, die durch die Unverbindlichkeit der Dinge und die Fremdheit der anderen Personen gekennzeichnet ist. Der Roman ist durchweg ein innerer Monolog in der zweiten Person, der vom Besteigen des Zuges in Paris bis zur Ankunft in Rom reicht. Dieser Monolog wird stimuliert und unterbrochen durch Verschiebungen von Raum und Zeit, den Wechsel von Reflexion und Traum, den Kontrast zwischen der fremden Umwelt und der inneren Entscheidung, durch die Erkenntnis, daß die Dinge, d. h. unser Verhältnis zu ihnen, sowohl eine mythenschaffende wie eine mythenzerstörende Qualität haben. »Paris – Rom oder Die Modifikation« ist eines der wichtigsten Werke des »nouveau roman«, der, die Experimente von Proust, Joyce und Faulkner weiterentwickelnd, in einer kritischen Auseinandersetzung mit dem traditionellen Roman ein adäquates Ausdrucksmittel sucht.
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In one school bathroom, four soaps decide to take action after being ignored by children for many years. They become police soaps.
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WHERE ‘D YOU GO is a collection of short stories about terrorism in Northern Nigeria. From Captain Shola and his men, who are ambushed by killer herdsmen while on patrol and need to hold their ground, to a retired Special Forces officer who leads his men to protect his village and its environs from killer herdsmen; to Lieutenant Colonel Abel, whose team had to extend their tour by two days to escort the Senate President’s daughter to an IDP Camp and then wait out an assault by Boko Haram insurgents; to Kunle Pierce who is a CIA operative, but comes to avenge the murder of his brother-in-law by the Boko Haram sect; to the Corps members caught in a post-election violence and fight back; and then there is Halima, an abducted girl from Chibok who suffers from Stockholm syndrome, and tries to settle down to normalcy after her release with some other girls. The stories are action-packed, depicting loss, justice, vengeance, bravery, courage under fire, sacrifice and patriotism.
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Rumänien nach dem Sturz des Diktators. Emma, eine dreizehnjährige Vollwaise, wächst im Internat auf. Ihre Eltern sollen bei einem Autounfall ums Leben gekommen sein. Eines Tages erscheint eine Unbekannte, die sich als ihre Großmutter ausgibt. Widerstrebend folgt Emma ihr in eine fremde Stadt. In der Schule wird Emma nicht nur gehänselt, sondern auch bedroht, denn ihre Großmutter gilt als Spitzel und Geisteskranke. Tapfer erträgt sie die Peinigungen, zugleich aber wächst das Misstrauen gegen die alte Frau. Als sie sich über das Verbot, den Holzschuppen im Garten zu betreten, hinwegsetzt, macht sie eine verstörende Entdeckung. Die Geschichte, die nun beginnt, zieht Emma den Boden unter den Füßen weg: Stückweise kommt die Wahrheit über ihre Familie ans Licht – und über eine Gesellschaft, in der das gewaltsame Ende vieler ihrer Bürger nie verfolgt wurde. Die mutige Heldin dieses Entwicklungsromans handelt so radikal wie der Protagonist des Weißen Königs. Bei Dragomán sind es die Kinder, die mit ihrem unbestechlichen Sinn für Gerechtigkeit das Netz aus Lüge, Gemeinheit und Brutalität zerreißen. Eine knappe, einfache Sprache steht in spannungsvollem Kontrast zur doppelbödigen Realität und zur Mehrdeutigkeit des Wahrgenommenen. Das Unheimliche, Phantastische ist das Element, in dem Emma nach Klarheit sucht. »György Dragomán ist das herausragende Talent der jungen ungarischen Literatur.« György Konrád
