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From the author of the Pegasus series comes a spellbinding first book in a new fantasy series for fans of Rick Riordan and Shannon Messenger following two cousins whose summer vacation gets swept away by a storm that lands them on the lost island of Atlantis. The last way that Riley Evans wanted to spend spring break was studying whales on the family sailboat in the middle of the Bermuda Triangle. With only her dad, aunt, and annoying cousin Alfie for company, she is so bored staring at the waves that she's starting to see mermaids between them. But when their boat is capsized during a sudden storm, Riley finds more excitement than she bargained for as she and Alfie are washed ashore with neither of their parents in sight. Where they've been shipwrecked is no deserted island, though. Atlantis is a place beyond imagination, inhabited by both people and incredible creatures ranging from unicorns and gargoyles to talking animals. But not everyone welcomes the cousins' arrival, and beneath the wonder of this mythical land lurk dangerous secrets-something strange is happening to the inhabitants. What Riley wants more than anything is to find her father and go home. But the closer she gets to this goal, the more the islanders seem determined to keep her from reaching it. As Riley and Alfie unravel the mystery of Atlantis and its most terrifying part, the Forbidden Zone, they realize that the clock is ticking. If they can't learn what happened to their parents and find a way off the island soon, it may be too late to leave.
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1349
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"This groundbreaking book argues that the fundamental issues around how victim-survivors of digital gender-sexual violations (DGSVs) are abused can be understood in terms of gender and sexual dynamics, constructions, positioning and logics. The book builds upon Hall and Hearn's previous work, Revenge Pornography, but has been substantially reworked to examine other forms of DGSV such as upskirting and sexual deepfakes, as well as the latest research and debates in the field. Facilitated by developments in internet and mobile technologies, the non-consensual posting of real or fake sexually explicit images of others for revenge, entertainment, homosocial status or political leverage has become a global phenomenon. Using discourse and thematic analytical approaches, this text examines digital, survey and interview data on gendered sexual violences, abuses, and violations. The words of both the perpetrators and victim-survivors are presented, showing the impact on victim-survivors and the complex ways in which phallocentric power relations and existing hegemonic masculinities are reinforced and invoked by perpetrators to position girls and women as gendered and sexualised commodities to be traded, admired, violated or abused for the needs of individual men or groups of men. Hall, Hearn and Lewis explore their research in a broader social and political context, evaluating and suggesting changes to existing legislative frameworks, education, victim support, and practical and policy interventions against DGSV,along with wider political considerations. This is a unique resource for students, academics and researchers as well as professionals dealing with issues around digital gender-sexual violations"-- This groundbreaking book argues that the fundamental issues around how victim-survivors of digital gender-sexual violations are abused can be understood in terms of gender and sexual dynamics, constructions, positioning and logic.  It examines DGSVs including upskirting and sexual deepfakes as well as recent research in the field.
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2339
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"This groundbreaking book argues that the fundamental issues around how victim-survivors of digital gender-sexual violations (DGSVs) are abused can be understood in terms of gender and sexual dynamics, constructions, positioning and logics. The book builds upon Hall and Hearn's previous work, Revenge Pornography, but has been substantially reworked to examine other forms of DGSV such as upskirting and sexual deepfakes, as well as the latest research and debates in the field. Facilitated by developments in internet and mobile technologies, the non-consensual posting of real or fake sexually explicit images of others for revenge, entertainment, homosocial status or political leverage has become a global phenomenon. Using discourse and thematic analytical approaches, this text examines digital, survey and interview data on gendered sexual violences, abuses, and violations. The words of both the perpetrators and victim-survivors are presented, showing the impact on victim-survivors and the complex ways in which phallocentric power relations and existing hegemonic masculinities are reinforced and invoked by perpetrators to position girls and women as gendered and sexualised commodities to be traded, admired, violated or abused for the needs of individual men or groups of men. Hall, Hearn and Lewis explore their research in a broader social and political context, evaluating and suggesting changes to existing legislative frameworks, education, victim support, and practical and policy interventions against DGSV,along with wider political considerations. This is a unique resource for students, academics and researchers as well as professionals dealing with issues around digital gender-sexual violations"-- This groundbreaking book argues that the fundamental issues around how victim-survivors of digital gender-sexual violations are abused can be understood in terms of gender and sexual dynamics, constructions, positioning and logic.  It examines DGSVs including upskirting and sexual deepfakes as well as recent research in the field.
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2339
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From the author of the Pegasus series comes a spellbinding first book in a new fantasy series for fans of Rick Riordan and Shannon Messenger following two cousins whose summer vacation gets swept away by a storm that lands them on the lost island of Atlantis. The last way that Riley Evans wanted to spend spring break was studying whales on the family sailboat in the middle of the Bermuda Triangle. With only her dad, aunt, and annoying cousin Alfie for company, she is so bored staring at the waves that she's starting to see mermaids between them. But when their boat is capsized during a sudden storm, Riley finds more excitement than she bargained for as she and Alfie are washed ashore with neither of their parents in sight. Where they've been shipwrecked is no deserted island, though. Atlantis is a place beyond imagination, inhabited by both people and incredible creatures ranging from unicorns and gargoyles to talking animals. But not everyone welcomes the cousins' arrival, and beneath the wonder of this mythical land lurk dangerous secrets-something strange is happening to the inhabitants. What Riley wants more than anything is to find her father and go home. But the closer she gets to this goal, the more the islanders seem determined to keep her from reaching it. As Riley and Alfie unravel the mystery of Atlantis and its most terrifying part, the Forbidden Zone, they realize that the clock is ticking. If they can't learn what happened to their parents and find a way off the island soon, it may be too late to leave.
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1349
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2759
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1205
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Why a monumental diary by an aunt and niece who published poetry together as "Michael Field"-and who were partners and lovers for decades-is one of the great unknown works of late-Victorian and early modernist literature Michael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846-1914) and her niece, Edith Cooper (1862-1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siecle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown "novel" of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation. While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were publicly frustrated during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater. Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.
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