Wir alle haben Dinge, die wir in uns gefangen halten. Erinnerungen und Erfahrungen, welche wir im Laufe unseres Lebens sammeln. Momente, die an uns hängen bleiben und Krankheiten, von denen wir uns nie richtig erholt haben. Dieses Buch ist eine Zusammenstellung von Kurzgeschichten über solche Dinge. Über die Dinge, die wir für immer mit uns tragen.

Jeder von uns steht im Leben vor Herausforderungen, sei es in Beziehungen, im Beruf oder bei persönlichen Kämpfen. In diesem Buch teile ich 17 authentische Geschichten aus meinem eigenen Leben keine Fiktion, sondern real erlebte Situationen, in denen ich gegen Widerstände ankämpfte und dabei wichtige Lektionen lernte. Diese Geschichten sind nicht nur eine Quelle der Inspiration, sondern auch ein praktischer Leitfaden für alle, die das Gefühl haben, festzustecken. Ob du nach Lösungen für alltägliche Probleme suchst oder einfach nur neue Hoffnung und Perspektiven brauchst, dieses Buch bietet dir beides. Du wirst sehen, dass es möglich ist, selbst aus den schwierigsten Momenten etwas Positives zu schöpfen und wie du mit neuen Ideen und Hoffnung gestärkt aus jeder Herausforderung hervorgehen kannst.

Second-person storytelling is a continually present and diverse technique in the history of literature that appears only once in the oeuvre of an author. Based on key narratives of the post-war period, Evgenia Iliopoulou approaches the phenomenon in an inductive way, starting out from the essentials of grammar and rhetoric, and aims to improve the general understanding of second-person narrative within literature. In its various forms and typologies, the second person amplifies and expands the limits of representation, thus remaining a narrative enigma: a small narrative gesture - with major narrative impact.

A bilingual collection of affectional language, care-full thoughts, casual poetry & mixed feelings. Inspiriert, unter anderem, von: Matt Haig, Jenny Holzer, Vera F. Birkenbihl, Max Frisch, Max R. Leßmann, Max Goldt, Angela Aux, Haruki Murakami, den letzten Wehen des zähen Spätkapitalismus, gescheiterten Beziehungen, den Vogelgesängen im Park, unvollendeten Sätzen, dem Großstadtlärm, schlaflosen Nächten, offenen Fragen, vollen Aschenbechern, leeren Taschen, zufälligen Begegnungen und tiefen Gesprächen mit liebevollen Menschen.

Olivia schreibt ihrem Patenonkel Ingo gerne mal einen Brief. Mal kurz, mal lang, nicht sehr regelmäßig und ohne je eine Antwort zu erwarten. Vier Jahre hat sie ihm nicht mehr geschrieben. Manches ist schwer auszusprechen, oder besser gesagt, aufzuschreiben. Hier ist ein Versuch.

Following his beloved debut, Traitor's Blade, Sebastien de Castell returns with volume two of his fast-paced fantasy adventure series, inspired by the swashbuckling action and witty banter of The Three Musketeers. Knight's Shadow continues the series with a thrilling and dark tale of heroism and betrayal in a country crushed under the weight of its rulers' corruption. A few days after the horrifying murder of a duke and his family, Falcio val Mond, swordsman and First Cantor of the Greatcoats, begins a deadly pursuit to capture the killer. But Falcio soon discovers his own life is in mortal danger from a poison administered as a final act of revenge by one of his deadliest enemies. As chaos and civil war begin to overtake the country, Falcio has precious little time left to stop those determined to destroy his homeland.

By examining theoretical debates about the nature of nineteenth-century German opera and analyzing the genre’s development and its international dissemination, this book shows German opera’s entanglement with national identity formation. The thorough study of German opera debates in the first half of the nineteenth century highlights the esthetic and ideological significance of this relatively neglected repertoire, and helps to contextualize Richard Wagner’s attempts to define German opera and to gain a reputation as the German opera composer par excellence. By interpreting Wagner’s esthetic endeavors as a continuation of previous campaigns for the emancipation of German opera, this book adds an original and significant perspective to discussions about Wagner’s relation to German nationalism.

English is the language of science today. No matter which languages you know, if you want your work seen, studied, and cited, you need to publish in English. But that hasn’t always been the case. Though there was a time when Latin dominated the field, for centuries science has been a polyglot enterprise, conducted in a number of languages whose importance waxed and waned over time—until the rise of English in the twentieth century. So how did we get from there to here? How did French, German, Latin, Russian, and even Esperanto give way to English? And what can we reconstruct of the experience of doing science in the polyglot past? With Scientific Babel, Michael D. Gordin resurrects that lost world, in part through an ingenious mechanism: the pages of his highly readable narrative account teem with footnotes—not offering background information, but presenting quoted material in its original language. The result is stunning: as we read about the rise and fall of languages, driven by politics, war, economics, and institutions, we actually see it happen in the ever-changing web of multilingual examples. The history of science, and of English as its dominant language, comes to life, and brings with it a new understanding not only of the frictions generated by a scientific community that spoke in many often mutually unintelligible voices, but also of the possibilities of the polyglot, and the losses that the dominance of English entails. Few historians of science write as well as Gordin, and Scientific Babel reveals his incredible command of the literature, language, and intellectual essence of science past and present. No reader who takes this linguistic journey with him will be disappointed.

For fans of The Drowned World and World War Z, this “sobering and scary (and fascinating) novel—a look at where we’re going if we don’t quickly get our act together” (Bill McKibben, New York Times bestselling author) regarding climate change—unveils our potential terrifying future. 2084: Global warming has proven worse than even the most dire predictions scientists had made at the turn of the century. No country—and no one—has remained unscathed. Through interviews with scientists, political leaders, and citizens around the globe, this riveting fictional oral history describes in graphic detail the irreversible effects the Great Warming has had on humankind and the planet. In short chapters about topics like sea level rise, drought, migration, war, and more, The 2084 Report brings global warming to life, revealing a new reality in which Rotterdam doesn’t exist, Phoenix has no electricity, and Canada is part of the United States. From wars over limited resources to the en masse migrations of entire countries and the rising suicide rate, the characters describe other issues they are confronting in the world they share with the next two generations. “If the existential threat of climate change keeps you up at night, James Lawrence Powell’s The 2084 Report will make you want to do everything in your power to elect leaders who will combat global warming and save our planet” (Marie Claire).

An argument that social, political, and economic systems maintain power by discarding certain people, places, and things. Discard studies is an emerging field that looks at waste and wasting broadly construed. Rather than focusing on waste and trash as the primary objects of study, discard studies looks at wider systems of waste and wasting to explore how some materials, practices, regions, and people are valued or devalued, becoming dominant or disposable. In this book, Max Liboiron and Josh Lepawsky argue that social, political, and economic systems maintain power by discarding certain people, places, and things. They show how the theories and methods of discard studies can be applied in a variety of cases, many of which do not involve waste, trash, or pollution. Liboiron and Lepawsky consider the partiality of knowledge and offer a theory of scale, exploring the myth that most waste is municipal solid waste produced by consumers; discuss peripheries, centers, and power, using content moderation as an example of how dominant systems find ways to discard; and use theories of difference to show that universalism, stereotypes, and inclusion all have politics of discard and even purification—as exemplified in “inclusive” efforts to broaden the Black Lives Matter movement. Finally, they develop a theory of change by considering “wasting well,” outlining techniques, methods, and propositions for a justice-oriented discard studies that keeps power in view.