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• List of Figures List of Tables Acknowledgements Transcription Conventions Series Editors' Foreword Introduction: 'Lights, action... and pure treacle' 1. 'Health warning: high-sugar content': The Rom-com and the Critics 2. 'The pudding works splendidly': Genre, Emotions and Pleasure 3. 'Candy-pink cage?' Gender, Feminism and the Phantom Viewer 4. 'Chomping on a burger with a glass of coke': the Americanness of Romantic Comedy Conclusion: 'Cinder-fuckin'-rella' Endnotes Works Cited
• Appendix 1: Semi-Structured Interview Questions
• Appendix 2: Participant Tables
• Appendix 3: Sweet Home Alabama Synopsis Index.
• (source: Nielsen Book Data)

In Guilty Pleasures, Alice Guilluy examines the reception of contemporary Hollywood romantic comedy by European audiences. She offers a new look at the romantic comedy genre through a qualitative study of its consumption by actual audiences. In doing so, she attempts to challenge traditional critiques of the genre as trite "escapism" at best, and dangerous "guilty pleasure" at worst. Despite this cultural anxiety, little work has been done on the genre's real audiences. Guilluy addresses this gap by presenting the results of a major qualitative study of the genre's reception, based on interview research with rom-com viewers in Britain, France and Germany, focusing on Sweet Home Alabama (2002, dir. Andy Tennant). Throughout the interviews, participants attempted to distance themselves from what they described as the "typical" rom-com viewer: the uneducated, gullible, overly emotional (American) woman. Guilluy calls this fantasy figure the "phantom spectatrix". Guilluy complements this with a critical examination of the press reviews of the 20 biggest-grossing rom-coms at the worldwide box-office in order to contextualise the findings of her audience research.
(source: Nielsen Book Data)

"A memoir by a Mexican American woman that doubles as a love letter to the tough grandmother who raised her"-- Amazon.com

• Part 1. Suggestions for Teachers and Context. Suggestions for Teachers ; Living Traditions : Children's Music in Guatemala and Nicaragua ; Overview : Central America, Guatemala, and Nicaragua ; Fieldwork Locations ; Biographies
• Part 2. La Música (The Music). Rondas (Singing Games) ; Rimas y Juegos (Rhymes and Games) ; Canciones (Songs)
• Part 3. Beyond the Songs. Culturally Responsive and Sustaining Pedagogies ; Music in Central America ; Brief History of Central America

!Canta Conmigo! is a practical guide for music educators looking to teach music from Central America. Suitable for use in families, schools, or community centers, this resource contains a playful collection of 90 songs, singing games, chants, and games author Rachel Gibson learned from teachers, children, and families while living in several communities in both countries. While the majority of the songs are in Spanish, the book also includes a few in a Mayan language, Kaqchikel. A comprehensive companion website offers field video, audio recordings, and select song histories to help readers witness the music in authentic contexts. Ethnographic descriptions of locations where songs were learned and personal biographies written by the singers in Kaqchikel or Spanish and translated to English allow the reader to develop a connection to the land and the musicians. Culturally responsive and sustaining teaching pedagogies are discussed alongside strategies to responsibly include the music into school curriculums. A brief history of Central America and an overview of music genres in the region are included to frame this song collection within historic, cultural, and musical contexts. !Ven a cantar y jugar! Come sing and play!.
(source: Nielsen Book Data)

• Vorbemerkung
• Anliegen und Vorhegen
• Deutschlands "afrikanisches Jahrhundert" : Afrika im Horizont der deutschen Abenteuerliteratur von den 1840er bis zu den 1940er Jahren
• Weltkunde und Erlebnis : Jugendliteratur aus Reiseliteratur
• Allmachtsfantasie und Farce : Exkurs zu Jules Verne und Mark Twain
• Heldenverehrung : Nacherzählung von Forscherschicksal
• Familienzusammenführung als Unterwerfungsfantasie
• Thema und Stoff -- Sklaverei und Mahdi-Aufstand
• Emin Pascha in der deutschen Jugendliteratur um 1890
• Jagd-Szenen : Afrikanisches Kräftemessen
• Schatsuchen und ihr Schauplatz
• Zur Ausgestaltung deutschen Kolonialbesitzes : Kaufleute und Pflanzer und Abenteuerliteratur
• Kolonialkriege und Weltkriege im Jugendbuch
• Afrika postimperial
• Neukonfigurierungen Afrika als Abenteuerraum
• Revanchismus und Vision : Völkisches Afrika
• Afrika im Jugendbuch : Zu Universität und Nachhaltigkeit kolonialistischen Denkens
• Literaturverzeichnis : Jugend- und Abenteuerromane ; Andere Quellen ; Forschungsliteratur
• Namenregister

• Introducción: Un país donde el pasado no termina de pasar
• Un país que no espera nada de sus élites
• El extraviado antifujimorismo de Vargas Llosa
• Una fractura casi irreconciliable
• Un país víctima de irresponsables
• Un país que parece haber perdido la cabeza
• Por qué los peruanos no podemos detener esta absurda escalada antidemocrática
• El show no debe continuar: la prensa peruana tras la campaña electoral
• La irresoluble incógnita del presidente Pedro Castillo
• Pedro Castillo y Vladimir Cerrón: por qué queremos ver sometimiento donde hay un objetivo común

En un país harto de unas élites y una clase política desconectadas de la ciudadanía, la sorpresiva segunda vuelta entre Pedro Castillo y Keiko Fujimori tuvo como consecuencia una sociedad aún más polarizada y la percepción generalizada de que buena parte de la prensa favorecía de forma poco honesta a una candidatura. El periodista Diego Salazar analiza con rigor y una perspectiva única los sucesos y polémicas que marcaron esta campaña electoral interminable. En una serie de artículos y reflexiones posteriores, Salazar realiza un pormenorizado recuento de lo ocurrido en estas elecciones 2021, así como de la actuación de varios de sus personajes principales. Por las páginas de ¿Ahora qué? desfilan como protagonistas no solo el ahora presidente Pedro Castillo y la excandidata Keiko Fujimori, sino también, en un papel que pocos esperaban, el premio nobel Mario Vargas Llosa, quien apoyó de forma incondicional a la hija de su antiguo rival, Alberto Fujimori. A ellos se suman políticos de distinto signo, aliados de uno y otro bando, y periodistas que, como el director de Canal N y América Noticias, Gilberto Hume, parecen haber olvidado que el periodismo político es algo más que un show interesado. En este libro, Salazar publica en exclusiva y por primera vez la entrevista que realizó a Gilberto Hume y que dio pie a su comentado artículo sobre la aparición del criptoanalista Arturo Arriarán en el programa televisivo Cuarto Poder, uno de los momentos más vergonzosos de toda la cobertura electoral

"Was unverständlich ist, fordert das Verstehen heraus, setzt ihm aber auch Grenzen. Deshalb ist die Dunkelheit eines Wortes, eines Verses oder gar eines ganzen Textes seit der Antike ebenso ein Stein des Anstoßes wie auch eine Einladung zum Denken. Nicht nur der konkreten Frage, was etwas Unverständliches bedeutet, sondern auch der abstrakteren, was Unverständlichkeit überhaupt heißt - wovon man spricht, wenn man von Unverständlichkeit spricht -, gilt dann die Aufmerksamkeit. Diese Frage wird in der Moderne angesichts von Werken der Literatur und Kunst, die kaum mehr verständlich scheinen, besonders dringlich. Ininsistenten Lektüren von Texten und Entwürfen Nietzsches, Heideggers, Adornos und Celans rekonstruiert Felix Christen die rhetorischen, hermeneutischen, ästhetischen und poetologischen Kontexte der Reflexion von Unverständlichkeit und zeigt, dass Unverständlichkeit ein initiales Moment moderner Theoriebildung ist. Der Theoretisierung von Unverständlichkeit wohnt dabei auch eine ethische Dimension inne, die bei Adorno, insbesondere aber bei Celan explizit wird."--Provided by publisher

• Note on Translation and Transliteration Introduction . .
• " ": The Text in Russian ANNOTATIONS TO THE RUSSIAN TEXT I II III HOW "THE NOSE" IS MADE: Language-Game as the Engine of the Plot INTERPRETATIONS 1. Joke, Jest, Farce, Anecdote 2. Social Satire 3. Mockery of the Demonic and of the Sacred 4. Chronicle of Folk Superstitions 5. A Case of Castration Anxiety 6. An Echo of German Romanticism 7. Perfect Nonsense 8. Shostakovich's Opera "The Nose" 8. Shostakovich's Opera "The Nose" 9. A Play with Reality: "The Nose, " Kafka, and Dali Instead of a Conclusion Selected Bibliography.
• (source: Nielsen Book Data)

This literary guide leads students with advanced knowledge of Russian as well as experienced scholars through the text of Nikolai Gogol's absurdist masterpiece "The Nose". Part I focuses on numerous instances of the writer's wordplay, which is meant to surprise and delight the reader, but which often is lost in English translations. It traces Gogol's descriptions of St. Petersburg everyday life, familiar to the writer's contemporaries and fellow citizens but hidden from the modern Western reader. Part II presents an overview of major critical approaches to the story in Gogol scholarship.
(source: Nielsen Book Data)