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The world of bonsai

Lesniewicz, Paul Grames, Eberhard Eckardt, Emanuel
Published by BLV Buchverlag GmbH & CoYear: 1982
Edition: hardcover / bound
ISBN: 9783405126926
Condition: used GERMAN first edition Paul Lesniewicz, born in 1941, is THE pioneer and trailblazer in the German bonsai scene. Known in Europe through his numerous publications on the subject of bonsai culture and the illustrated book Die Welt des Bonsai. About the book: The aim of bonsai art is to discover the essence and individuality of a tree and to bring it to life. Bonsai are living works of art, never finished, remain a living nature, live and continue to grow. It was the Chinese who were the first to plant trees in bowls in ancient times, and Chinese gardeners have not only created trees but also landscapes with rocks since the Han Dynasty (around 206 BC to 220 AD). Mountains, trees and rivers, tiny and lifelike, recreated on a tray. In the 10th and 11th centuries, Buddhist monks brought bonsai to Japan. For them the trees were religious objects, green stairs that lead to heaven, symbols for the unity of man and nature. The art of creating miniature trees has been perfected by Japanese masters over the centuries. They also understood the care of their bonsai as a meditation exercise, a religious duty. The model of every bonsai is the tree in nature and its image in humans. A bonsai says a lot about the temperament and character of its master - it is the reflection of his soul. This book shows the atmosphere of this fascinating world of bonsai and the importance of the bonsai idea for people today in this part of Asia in impressive pictures.

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A MING'S HUMOR PAINTING - OUT OF IMAGINATION

Song Xiaoming, A. MING
Publisher: Shaanxi People's Fine ArtsYear: 1995
Edition: Paperback
ISBN: 9787536807570
Condition: used English & Chinese A Ming his full name is Song Xiaoming Who was born in Jily, 1962 in Wu Han city Hu Bei province He graduated from Xian Fine Arts Academy in 1985 and is positionning the deputy editor of (The Humor King) as well as the special invited editor of finearts for the (Public Relations), (Comedy World) (Grace Article) (Legal System of Special Economic. Region) (Collections) (XI 'AN Tourism News) His works of art more than 1,000 have been published in 30 more kinds of magazines and news papers in China. His design of this book cover series painting and illustration have awarded the national and provincial prizes. His name was written in (China Modern Artist Dictionary) in 1985 (China Modern-Famours Editorial Reporter Collection) in 1994 (China Fine Art Dictionary Caricature Volumein 1995 The profession of Mr. Song Xiaoming is design of fine art..He is invited by more than ten newspaper and periodical offices because he is able to offer a nice design. He always busy himself with working by work. I tried mySelf to transfer him but failure when I was the chief editor of ((Grace article)). Since then we can meet each other only once monthly. FOREWORD I am a less speaking man but he is less than me. After working, both of us want to talk something, but when we sit down and face to face a smile without any words from mouth out. His smile is quite soft from the corner of mouth ripples to the eye-glasses back and disappears gently away. Jia Ping wa During a period, A Ming's humor painting was published continuously in many news papers and magazines. The humor paintings is new, plain and meaning profo undly as well as divulging a good-natured flavor. I quite liked it and reconmmended to others, When I happened to introduce to Mr 'Song Xiaoming, he shaked his head and answered me just so so. This made me angry with him and unsatified that he also got the traditional error a person who could not meet the other person of the same trade. One day I discussed manners with the other and mentioned Mr, Song Xiaoming how to treat A Ming. The others smiled and explained that A Ming is Song Xiaoming. I was happy and shamed at that movement, complained that he could keep his secret to the others not me I should punish him by watching his painting when if I meet him. To my surpise he took me a great roll of his paintings. How many works he owns and every one is wonderful. I stared at his face and did not know why so many strange things in his mined? At present there are many cartoons but less the humor paintings with real meaning. Humor needs the wisdom 'needs the alone practice and experience of life as well as to directly face the heavy life and excess over the realm basic on this. Humor is a kind of attitude and sentiment. After going through his works, I can fully understand him. Mr 'Song Xiaoming has fewer words in mouth but prize in deep heart without insipidity. His glittering a smile is the model of his humor painting. We always see him busy for life and surprise that he always work hard but easy to do so many designs of fine art but we ignored he has a tallent for painting. This person should be a real humor painter who is alive and sending us more humor. During the time of century alternate, every where can hear the voice of complaining tiredness. The humor painting 'however like a window to be installed on a sealed room Jet the person who lives in the room with honey dream every night Like a person who wears a sunglasses on his face under the sunshine, the others could not see his eye- ray but he is able to watch everythings clearly. I rejoice at living in the same city and familiarizing with Mr. Song Xiaoming, Xian needs humor painting, China too. The soft smile have to be needed in the times. Jun. 3rd 1995

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The Bantam New College German & English Dictionary - Bilingual Edition

John Traupman
Publisher: BantamYear: 1984
Edition: Paperback
ISBN: 9780553280883
Condition: used Description Bantam New College German / English Dictionary (Bantam New College Dictionary Series) (English and German Edition) Portrait John Traupman is an emeritus professor of classics at Saint Joseph's University. Professor Traupman has compiled a number of dictionaries, such as The Bantam New College Latin & English Dictionary and The Bantam New College German & English Dictionary. Publisher: Bantam Reissue, Bilingual Edition (July 1, 1984) Language:: English, German Paperback: 768 pages ISBN-10: 0553280880 ISBN-13: 978-0553280883 Dimensions: 10.67 x 3.05 x 17.78 cm

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Quieter

Fresh, Max
Published by SuhrkampYear: 1984
Edition: Paperback
ISBN: 9783518391471
Condition: used On his entry into Switzerland, Mister White is arrested because, for the police, he is identical to the missing sculptor Anatol Ludwig Stiller. Former friends confirm the suspicion. But he opposes this stipulation, his notes in pre-trial detention defend themselves against this assertion with the statement: I am not quiet! Max Frisch (1911-1991), one of the most important German-speaking writers of the 20th century, was not only able to create something with the word: He also worked successfully as an architect. Through journalistic work and first literary attempts, he finally found his own style as an author. In his essays, short stories, radio plays, dramas and novels, he was not only a great writer, but also a contentious humanist. His critical spirit rubbed against his home in Switzerland as well as demagogues all over the world - only to find sobering on the occasion of his 75th birthday: "At the end of the Enlightenment there is the golden calf." He became known among others. with the novels "Stiller", "Homo Faber" and "Sein Name sei Gantenbein" as well as plays like "Andorra" and "Triptychon".

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Prometheus der Dulder / Imago - Nobel Prize for Literature 1919

Carl Spitteler
Published by Coron VerlagYear: 2000
Edition: hardcover / bound
ISBN: 9783518391471
Condition: used Carl Spitteler: Prometheus the sufferer What do we actually know about Carl Spitteler? Does this great Swiss poet share the fate of many proponents of poetry that they are only read by a small elite? Even during the First World War, Romain Rolland was astonished to discover that most Germans did not know Spitteler at all. At the same time, as he noted in his diaries, The Conscience of Europe, Rolland was extremely astonished at the greatness of his mind and his art. In the world of the living this is the most primal and most powerful source that I have come across in literature. This judgment stands in clear contrast to the degree of fame of the poet. If his name is mentioned, it is usually not in connection with his works, from knowledge of his poetry, but more because of his public attitude during the First World War. Only once in his life did Spitteler give a political speech - but its consequences were more powerful than the impact of all of his books. It was on December 14, 1914, in Zurich, when he gave his speech, Our Swiss Viewpoint. It was about the attitude of the Swiss towards war and towards the belligerent powers. He demanded restraint in the sense of neutrality, warned against an internal ordeal by taking sides for or against France or Germany, but also found clear words against the German warfare against Belgium. In general terms, he stated: the names republic, democracy, freedom, tolerance and so on, do these mean something irrelevant to a Swiss citizen? There was a time - I have seen it - when these names counted for everything in Europe. Today they are treated almost as zero. Everything was too much. Zero is not enough. Spitteler had foreseen the sharp, often malicious reactions - especially from Germany. Even his first supporter and public admirer, the musician Felix Weingartner (1863-1942), who had already published a small work on Spitteler in 1904, now turned against Spitteler in an open letter. In it he expressed that he continued to admire the work, but that the author of his work was unworthy not he had written it, but a god who had entered him, a German god of course. Spitteler reacted with humor: It was astonishing that this German god did not go to a Hindenburg, but to a Swiss man who speaks French, Russian and English and who values ​​these languages. Even the gentlemen of the Nobel Prize Committee paid tribute to public opinion in Germany. When Spitteler was proposed for the Nobel Prize for Literature in 1915, the rejection said that his political behavior in Germany and Austria had caused the greatest offense. There can be no doubt that his choice, while the war continues, would cause a most embarrassing sensation in these countries and cause all kinds of misunderstandings. After the end of the war, it was considered appropriate - precisely because of the Swiss man's neutrality - to award him the prize. In 1920 he received the Nobel Prize for Literature for 1919. Now one could even fall back on a statement from 1914 in which it was said about Spitteler: The poet rises, both in form and content, above the contradictions of the time , he is, so to speak, neutral towards all of their bitter and senseless struggles. Spitteler's path to this recognition was a long one. Born on April 24, 1845 in Liestal (Switzerland) as the son of a civil servant and later entrepreneur, it was his father's wish to turn Carl into a well-trained lawyer. The foundations for this were laid with school attendance in Bern and Basel. Above all through his teacher Jacob Burckhardt at the Baseler Pädagogium Spitteler was decisively shaped in terms of ideology. During this time, he developed a lifelong friendship with Joseph Viktor Widmann (1842-1911), who later worked as a journalist and writer himself. The correspondence between the two friends is one of the most important sources for understanding Spitteler's intellectual and artistic development. The law course, which he began in Basel in 1863, did not satisfy him. There was a deep crisis. In December 1864, he flew to Lucerne, where he stayed for a long time, separated from his family. In 1865 he began studying theology in Zurich, which he continued in Heidelberg in 1867. He was probably primarily concerned with collecting arguments against Christianity and against religion in general. The influence of Burckhardt and Arthur Schopenhauer had made him a pessimist and anti-theologian. So it was not surprising that his first attempt to graduate successfully in 1869 failed. He only succeeded in doing this after studying again in Basel in 1871. However, instead of taking over a parish assigned to him as a pastor, he left Switzerland to go to Russia as a tutor. He did not return home until 1879. After years of cosmopolitan life in aristocratic families in Russia, he was disappointed with the climate in Switzerland. What a contrast! and what a mockery in contrast! Out in a foreign country: open arms, warm welcome, benevolent tolerance of his peculiarities, indulgence for his mistakes here at home: narrow-minded nagging, infallibility conceit, negation of his entire personality, this was the saying in the strongly autobiographical novel Imago about this impression. He worked as a teacher in Bern and Neuveville on Lake Biel. In 1883 he married Marie Op den Hooff, worked as a journalist for the Swiss Border Post and the Neue Zürcher Zeitung, before moving to Lucerne in 1892 in the house of his father-in-law. Now free of material worries, he could devote himself entirely to his writing. In the following years he received many honors. In 1904 he received the award of the Bauernfeld Foundation together with the later Nobel Prize winners Thomas Mann and Hermann Hesse. 1909 the city of Lucerne made him an honorary citizen. In 1920 he received the Nobel Prize for 1919 and the Schiller Prize in 1921, he was appointed commander of the French Legion of Honor. The poet died in Lucerne on December 29, 1924. Carl Spitteler had been looking for his actual calling for a long time. In his autobiographical memoirs, he cited October 1862 as the turning point in his life: And suddenly like lightning, bright as noon, a thought struck me: That's it, not the music, not the painting, but the poetry. In it you can express your defiance, your anger, everything that depresses you and what you have to say. And it does not require any technical studies, no school, no lessons, no help, no teacher. You only have to deal with your soul and your conscience of art. And one more thing, hey luck! you can create in silence and secret, without anyone suspecting it. But it would be many years before he could redeem this calling. It was not until 1881 - and under the pseudonym Carl Felix Tandem - that his first work, Prometheus and Epimetheus, appeared. It went largely unnoticed, even if Gottfried Keller, for example, was very impressed. Spitteler became better known for his journalistic work, which first appeared in various newspapers and magazines and then in anthologies such as Literary Parables (1892) and Laughing Truths (1898), as well as for stories such as Conrad, the Lieutenant (1898). His attempts to gain a foothold on the stage failed totally. The only performance of one of his pieces was with the parliamentarian on November 1, 1889 in Basel - and it was a failure. Spitteler saw his real artistic concern in the great epic. He understood both his stories and his poems (the butterflies and bell songs collections) as exercises so that I can put together future, heavier and larger works in a sounding form. The breakthrough in Spitteler's work came with the verse epic Olympic Spring, the four parts of which (The Hera Driveway, The Bride, The High Time End and Turning) were written between 1900 and 1905. It is about the ascent of the young gods from Hades to Olympus, about the dispute between Zeus and Apollo about Hera, about many individual stories about different gods such as Apollo, Hermes, Dionysus, Poseidon and others. Finally, the turning of the gods to the human world is represented in the figure of Heracles. Regardless of the relationship to Greek mythology, the reader quickly realizes that Spitteler represents a world of its own and that it is not Greece but his Swiss homeland that forms the framework. In the award speech for the Nobel Prize that Harald Hjärne gave in Stockholm on June 1, 1920, it was said: Behind Spitteler's mythology lies a very personal inner struggle, and it is an expression of an attitude towards life that he acquired in the course of his own development . He resorted to this traditional poetic form in order to reflect human effort, hope and despair in the realm of the imagination and to depict fates in their bitter struggle for freedom against the ruling power. His only novel Imago (1906) occupies a special position among the poet's works.It is Spitteler's love story to his cousin Ellen Vetter-Brodbeck, and at the same time it is a nuanced representation of the relationship between art and life. Imago was not just a work of art for the poet, it was his lifeblood: for my life story, that is, for my biographers, it will be the most important document of all. I appear veiled and masked in all my works, here I show my soul the smallest fiber. It is no coincidence that Sigmund Freud named his journal for the application of psychoanalysis in the humanities after the novel Imago in 1912 at the suggestion of Carl Gustav Jung. Spitteler's work is sometimes seen in connection with Friedrich Nietzsche. There was a loose correspondence between the two of them from the last days of the philosopher before his mental breakdown. Spitteler took an essentially distant stance from Nietzsche's oeuvre. Only when Nietzsche's sister, Elisabeth Förster-Nietzsche, developed the legend that Spitteler was decisively influenced by Nietzsche, did the poet turn to the public and explain his relationship to Nietzsche (1908). His ideological basic positions remained with Burckhardt throughout his life and Schopenhauer determined what not only his great works, but also his philosophical attempts on human dignity (1862) and unphilosophical thoughts (1910/11) testify. Spitteler probably found the greatest appreciation in an appreciation that Romain Rolland had sent to Verner von Heidenstam (1859-1940) in Sweden to support the candidacy for the Nobel Prize. It said: The great poems of Spitteler were a discovery for me during the war, and I can say that they illuminated my dark years. I had the feeling that I was meeting one of those powerful artistic personalities who are regretted to be found only rarely here and there in the past. Painter, poet and thinker in one, Spitteler is one of the last great creators of myths, epic legends and philosophical parables. Without a doubt he is the greatest poet Switzerland has ever had. She embodies herself in him with her absolute independence of thought, her coarse humor and her robust nature ... I would like to add that Spitteler's character seems to me no less extraordinary than his art ... He was free all his life, alone - and happy thanks to the light and warmth of its own inner sun. * * * He was not a fool, but he was a sufferer, it is said in the novel Imago about the hero of the book. This builds a bridge to Spitteler's late work, which appeared in the year of the poet's death in 1924 under the title Prometheus der Tulder. On the one hand it was a reworking of the poetry Prometheus and Epimetheus from the years 1881/82, as Spitteler himself explained in a 1923 lecture in Zurich (Why I reworked my Prometheus) and on the other hand it was an independent creation in which the life experiences and life views of the poet were incorporated. The two-part verse epic was created over a period of fourteen years. The external action corresponded to the earlier work: Prometheus refuses to God to exchange his soul for a conscience and is severely punished and banished for it. The brother Epimetheus, on the other hand, agrees to this exchange and is appointed king. But conscience proves to be an inadequate advisor: Epimetheus neither recognizes the gift that Pandora would like to give people, nor can he protect the Son of God entrusted to him from Behemoth, the representative of evil. Only Prometheus, called for help, saves the Son of God, but renounces earthly honors and - reconciled with his brother - withdraws into solitude. It was a dreary day. Not a breath, not a breath left In the silent mist that hung astonished from the sky are the first lines of verse with which The Hour of Temptation is introduced. In the election of a king there is on the one hand a detailed description of the installation of Epimetheus as king, on the other hand Prometheus' conflict with his soul - his way of choosing a king. In the chapter The Creator, Spitteler sings a song of praise for artistic creation by depicting the joys and sorrows of this work. The first part of the epic ends with the sufferer. The efforts of exile and detention, but also the hero's internal struggles, his doubts as to whether this perseverance and tolerance are justified are presented in detail here. The second part opens with the story of Pandora, who wants to give people a gift, but which is not recognized by Epimetheus, for which God angrily rebukes him. In the Behemoth chapter, the conscience is then emphatically settled. Behemoth has such an easy game with Epimetheus because he is hollow on the inside: Ha! see: with a raised finger the conscience, The sermon over a dictionary assiduously. With the victor, the return of Prometheus and the use of his inner strength to save the Son of God from incurable disease, and the reconciliation with the brother who regains his soul, the seal closes. The fable of Prometheus the sufferer is simpler, tighter and more clearly focused on Prometheus than its predecessor Prometheus and Epimetheus. The focus is on the sharp conflict between the fallible God and the human soul, which takes place against the background of a pessimistically interpreted world. The creative person as a unique, self-responsible, internally guided individual - that is the core message of poetry: You don't need laws, they come from within. The whole wisdom means: to reflect on oneself ... it is said in connection with a complex characteristic of the human creative spirit. And again and again it is about the value of the individual, embodied by Prometheus: Defiantly claim: 'I! ... Courageously confess your worth, cheerfully shout: 'I! ... It is you who creates and drives hidden in him. Open your mouth, immortal! Confess yourself! Call your name! Rejoice proudly and happily: 'Me! Epimetheus, on the other hand, stands for the crowd that is not to be trusted, indeed that is despised: bacon for mice, carrion for foxes, glue for bullfinches, slime for thought that is pious for people! Last but not least, you can feel the wisdom of a fulfilled life everywhere, which has also found its fulfillment in endurance. And the approaching death is thematized more than in other poems: Not life - just an attempt that struggles for life, a pathetic attempt that always fails. With hardship and tribulation a short period of existence, after which death, which is the result of all efforts. ... The life harvest store is the grave! Prometheus' maxim of life, which he defends against all temptations and threats, which he does not sacrifice to any belief in God and which he finds in the appeal to himself, could also apply as the maxim of the poet Carl Spitteler: Because what is there is due to my spiritual judgment And truth, sweet or bad, is important to thought. Imago: Herzeleid But one day he knew whether it was good or bad for him. He had met her there one morning when he was visiting Frau Doctor Richard, in a cheerful mood and in harmless jokes like himself briefly, they got along today. So one remained seated in intimate chatter, lingering longer than intended, as if spellbound by the friendly spirit of the hour. Infatuated by the echo of the agreement, a childish question slipped from him down in the street, as she shook hands with him with a good look as he said goodbye: So you're not coming with me now? Of course not, she replied, amused, hopefully not. Where else? This question! Home to my husband and my boy who are hungry for lunch. And me? so i am excluded? Well, not at all. Just come with my husband will be happy. She wasn't his! And like a cat that was shot, he fled home. She wasn't his! And he who thought his love was desireless! As if it were humanly possible to love someone without at least wanting their permanent presence. She wasn't his! Worse still: it belonged to someone else, a stranger! He had known that for a long time, of course, for the first time today he also felt it, since she left him to move on to someone else. And that's what she called going home! The cat, when it is shot, crawls away, but takes the shot with it, and the wound, which at first was more frightening than painful, begins to work in a quiet corner. What an unheard of privilege! what an outrageous inequality! Day after day, year after year until the end of the day, the other should be allowed to live with her, he never. Not a summer, not a month, not even for once a day. Everything to him, nothing to him. And don't just live with her, but away, thoughts! Because because he already has too much there, she gives him love and friendship on top of her presence. If that person is sad, she comforts him, if he is sick, she annoys him, he dies, her longing follows him across the grave, there is a resurrection, her awakening gaze seeks that one. What, then, has the presumptuous advantage of a singular value that he should receive such a dizzying price? Isn't he human too? or does he have more merits and merits on his own than the rest of humanity combined? And no hope! Nothing to change! neither to clap nor to defy all around nowhere a possibility. On the contrary: every passing hour, day or night, rain or sunshine, whatever its content, every one of them certainly does one thing, one like the other: it digs the gap between him and her deeper, makes it shorter Bond with that closer. The habituation, the understanding, the shared memories, the mutual thanksgiving, it doesn't decrease on the contrary, it increases, it accumulates. The longer, the more the child, who unites both, will demand their care and participation, and consequently make the parents even more intimate. After all, it is not said that it will remain the only one, it can possibly have a little brother or sister, why not? who will defend them? Oh, he had underestimated it, the power of marriage, when he regarded it as a kind of governorship, thinking that it could be shared cheaply: that one, the governor, his body and his soul! As keenly as he saw, there was one thing he had overlooked in his inexperience, the main thing: the mystery of the flesh, the animal power of the natural instinct, which compels the mother to give heaven and earth for a broth for her child, which compels the woman to throwing the heart to the body, belonging with all fibers to the man who shaped her physically, who transformed her from virgin to woman and mother, condemned to love this one, even if she despised him. Doll, Bebé and Papa, these three words exhaust the life of a woman. O you fools who care whether you love those whom you desire as a wife! Hearty! laugh at their disgust, drag them to the altar for marriage is stronger than hatred, more permanent than love. A virgin staggers with the hated one to church as to the slaughterhouse, corpse-pale, death in the heart that belongs to another ask after twenty years: Children, rejoice, papa is coming home tomorrow. If only there was no misfortune for papa! The other, on the other hand, the once dearly loved one, when he dies, he receives a little melancholy when the news of his death comes up, and when it comes up a painfully squashed teardrop, afterwards it's called Papa again. That is the power of marriage. No, no hope. Fight a natural instinct? Folly. Argue against the laws of the world? Madness. The truth said to him, Damned forever, and his grief confessed, So it is. Then he realized that whoever makes a man his god is planting a curse. If they are to be envied, who have a supernatural God, it doesn't matter what kind of anger he would be like Jehovah, a monster like Moloch because no god of any religion is inexorable, no one casts into hell who approaches him lovingly, no one speaks to the desperate : I do not know you. And if even one of the heavenly ones were as numb as stone, there is one thing he is definitely not: he is not petty. You don't come across any Director Wyß between you and him, you don't depend on Kurt's preferences, the Christians' Madonna doesn't give birth to a pack of boys for whose sake she would forget heaven and earth. Worship a human: not much smarter than worship a worm. With a bright mind he saw that only insight does not cure inflammation. See that the poison that turns your blood into pus is just a contemptible grain of dirt, but the fire will continue to eat. But precisely because his love was religion, because in Theuda-Imago's symbolic face all life in the world sounded like home in his mother's face, he felt his suffering most painfully in the noblest parts of his soul. All the hints and meanings, all the lights, faces and poems that come walking across the bridge that connects reality with the spiritual world, reached sore, with a bloody stab his whole attitude to life fell ill with a longing homesickness for her, Homesickness for the common home of all creatures, homesickness for oneself. Because he was she but o hell wonder of impossibility! she wasn't him. And since he was a man of spirit, forced to want to know what kind of snake was biting him when he was bitten, he might talk to his reason about the miracle of lovelessness, knowing full well that knowledge is of no use to him would just because as a thinker he couldn't help but think. Heartache does not stop thinking, on the contrary, it forces the thoughts to gnaw. Are you awake? do you have time? Can you solve the riddle for me as to how it is possible in the soul that a person who is given the highest good, the only consolation on earth, that is, love, does not reward you with love in return? Reason answered: Collect and compare: If you love God, does he love you again? Without doubt. If you love the Pope, does he love you again? Moderate. If you love the Duchess of Aragon and Castile, will she love you again? It will hardly occur to her. If you love a snail, does she love you again? It certainly couldn't. Well there you have it. The deeper down with the soul, the less love. Love causes fullness of soul, lovelessness reveals dullness. Point. And to know all this clearly, to see it all, it's just your own fantasy egg that looks at you from the glass of this little woman, and yet to be damned, this little woman that you overlook, feel and think over, like him To covet the Holy Grail, to thirst for it like someone dying of thirst for the source of salvation! How do you explain that Foolishness, foolishness, my dear! laughed reason. But if you just keep practicing your follies, it promises me that one day you will become something sensible. So he talked to reason about his case. Because of that, he didn't get the slightest degree better on the contrary. It was like a toothache: the more you think about it, the worse it gets, and if you try not to think about it, the pain forces you to think about the pain. But where should he save his thoughts so that they might not find the pain? Whether he flew into religion beyond the starry sky, whether he fled into the radiant ether of creation of poetry, he always encountered his condemnation, he always met this one unfortunate, dear human face, which pursued him everywhere, to him from everywhere with his beautiful annihilate cold look. O you thoughtless ones who smile at the suffering of unrequited love! Suppose a mother saw her deceased child, her only one, climb out of the grave, lovely and beautiful, transfigured by the shine of the sky, she fell towards him, screaming longing, but the child turned away from her, with a strange look, with contemptuous lips: What does she want me there ? Would you smile there? In the same way he felt the most expensive piece of himself torn out of him, strolling around separately and denying him. And it hurt so cruelly, so excruciatingly, that he sometimes said it shouldn't be because he couldn't stand it. But he was not a weakling, rather steadfast and tenacious. So he called his mind to help. There! so it is. I have to endure life I can't. So what? The mind answered him: Come on, I want to show you something. And led him to the slaughterhouse. So now I think you can take it Then, after they got home again, he went on: You see, the whole trick is not to do anything sinister, it would be better to do nothing at all. Grit your teeth or scream for me, if there is no other way just don't scream with your hands. Defeating the hour is everything who defeats the hour, defeats the day who defeats the day, defeats the year just now, not doing anything fatal. But the hour conquers a man and you are a man, provided that he is healthy and you are healthy, with work. So let the pain go, that's their business, they can do it alone, you work, you know what. He knew what.And since the work was done in the service of his strict mistress, who is a powerful goddess there, the tormentors fled from her breath behind the curtain, from where they treacherously shot out now and then to give him a quick stab, but just as quickly hidden again.

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The rules of violence

Peter Schmidt
Published by rororo Rowohlt Taschenbuch VerlagYear: 1984
Edition: Paperback
ISBN: 3499426862
Condition: used The situation is desperate for the members of the German terrorist group Kobra. With the search computer of the BKA in Wiesbaden, the police always achieve new successes. The network is getting thicker and tighter, it is only a matter of time before the members are shot or imprisoned. There is only one way to survive: to destroy the computer to deal a decisive blow to the investigation. And that seems impossible. Because the data memory cannot simply be blown up because it is 80 meters deep in the earth and is surrounded by a concrete jacket. The data can only be deleted through magnetic manipulation and appropriate code entry. But the terrorists have found a French computer specialist who wants to do the impossible for half a million. But in reality the price is much higher, and it cannot be paid with money ... (From: krimicouch.de) From a certain point in time you only feel like a surgeon who cuts open an ulcer, they say Job. The sympathetic scene at the time, the oppressive paranoia of the terrorists, which is sedated with brutal excesses of violence, all of this shows Schmidt in his exciting novel as a hopeless development process of confused actionists, without resorting to simple kitchen psychological explanations.

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The bargain hunter

Kinsella, Sophie
Publisher: ManhattanYear: 2000
Edition: hardcover / bound
ISBN: 9783442545254
Condition: used Portrait: The bargain hunter Rebecca "Becky" Bloomwood Rebecca Bloomwood is a journalist and knows a lot about finances. At least with those of her readers, to whom she gives valuable investment tips. Your own account, on the other hand, is chronically overdrawn. Because the young Becky, as she is called by her friends, has a keen and unmistakable eye for favorable opportunities. For the bargain hunter there is simply nothing better than shopping. Nothing relaxes them, fulfills them and makes them happier. There is hardly a company that cannot be led to success through intensive shopping beforehand. It's just stupid that Becky's bank does not want to see these necessities and is putting increasing pressure on them. When it turns out that the incredibly good-looking agency boss Luke Brandon, on whom Becky has had an eye for a long time, is already taken, it all becomes a bit much for the young woman. With such constant stress, only one thing helps: a little shopping spree.

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Stories and texts about nothing - The outcast. The tranquilizer. The end. Texts about nothing

Beckett, Samuel
Published by SuhrkampYear: 1962
Edition: Paperback
ISBN: 3518010824
Condition: used - The Outcast - The Sedative - The End - Texts About Nothing The three "Stories" were written in 1945, the thirteen "Texts about Nothing" in 1930. Together they introduce you to the typical world of figures and the constantly recurring problems of Samuel Beckett. They make no concessions, but they are more accessible than the great epic poems, to which they relate like a fragment to the whole, a fragment from which the whole could be reconstructed.

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Germany tells

Benno von Wiese (editor)
Publisher: FischerYear: 1962
Edition: Paperback
ISBN: 3518010824
Condition: used CONTENTS Introduction 7 ARTHUR SCHNITZLER The dead are silent 19 HUGO V. HOFMANNSTHAL Lucidor 34 HEINRICH MANN Abdication 45 THOMAS MANN With the Prophet 54 ROBERT WALSER The Dancer 61 FRANZ KAFKA In the Gallery 62 FRANZ KAFKA The Hunter Gracchus 63 ROBERT MUSIL The Blackbird 68 GOTTFRIED BENN BENN. 83 FRANZ WERFEL The hotel stairs 87 HANS HENNY JAHNN A boy is crying 97 HERMANN BROCH Methodically constructed 108 ALFRED DÖBLIN In Heaven The Archangel Gabriel 118 BERTOLT BRECHT Mr. K's favorite animal 128 BERTOLT BRECHT Measures against violence 128 HERMANN HESSE Frank tells his story about the wicker chair 131 BRUNO Chamfort Death 134 JOSEPH ROTH His k. u. k.

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Alfa Romeo Coupes 1910-2000

Ippolito Alfieri
Published by AutomobiliaYear: 2001
Edition: hardcover / bound
ISBN: 9788879601108
Condition: used Linen in dust jacket Text in English, French and Italian 148 pages, 52 color illustrations and 115 black & white illustrations, size 11 "x 11". A comprehensive study of all of the Alfa coupes constructed between the years 1910 and 2000. Each chapter concludes with detailed specification charts of the various models reviewed and there is an extensive section on the 8-cylinder Montreal and 33 Stradale. Alfa Romeo designers have always been good at creating fine mechanicals and high power, the same Enzo Ferrari admired and used for his Scuderia before the war and imitated in the early postwar years. Roadholding has always been perfect, assisted by the balance of the mass, and sophisticated suspension systems. The bodies have been produced by the most prestigious names, from Touring to Zagato, from Bertone to Pininfarina. Some of these coupes - for example the Touring 1900, Bertone's Giulietta Sprint, Zagato's SZ and Pininfarina's present GTV - should be regarded as masterpieces of car design. The book concludes with the 1990's series of GTV's. Out-of-print and no longer available from the publisher. English, Italian & French text.

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Alfa Romeo: Always with Passion

David Owen
Publisher: Haynes Manuals IncYear: 1999
Edition: hardcover / bound
ISBN: 9781859606285
Condition: used Hardcover, more than 100 color pictures If Alfa fans ever needed confirmation that the Fiat takeover was a lot more than mere badge engineering, then here is the proof. The second edition of this well-received book chronicles the wealth of new models launched by the marque since 1986 and the ground-breaking power units that drive them. David Owen provides an authoritative insight into post-war Alfa Romeos, from the 1900 to the sleek GT coupe available from the end of 2003. The lavishly illustrated text includes driving impressions, buying hints and specifications, together with marque information.

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Cleansing the Doors of Perception: The Religious Significance of Entheogenic Plants and Chemicals

Huston Smith
Published by Jeremy P Tarcher / PutnamYear: 2001
Edition: Hardcover
ISBN: 9781585420346
Condition: used Buch ist neu Cleansing the Doors of Perception is a fresh consideration of the age-old relationship between certain psychoactive plants and chemicals and mystical experience by one of the most trustworthy religious writers of our time. Author Huston Smith (most famous for his classic The World's Religions) is the Walter Cronkite of religion scholars. He has long believed that "drugs appear to be able to induce religious experiences" and that "it is less evident that they can produce religious lives." At the same time, he posits that "if ... religion cannot be equated with religious experiences, neither can it long survive their absence." Therefore, Smith's basic question about entheogens (a word he defines as "nonaddictive mind-altering substances that are approached seriously and reverently") is "whether chemical substances can be helpful adjuncts to faith." Cleansing the doors does not offer one sustained argument in response to that question. Instead, the book collects Smith's many articles about this subject, and connects them with brief introductory essays. The writings gathered here range from personal testimony about Smith's own experience with entheogens to ethnographic work on the use of entheogens in India. Throughout, Smith's style conveys the wisdom and wonder that has guided his explorations of this strange, fascinating aspect of religious experience. --Michael Joseph Gross From Booklist It takes something of a visionary and a revolutionary to fly in the face of convention. When "family values" becomes the rallying cry of everyone from presidential candidates to TV talk show hosts, and the ongoing war on drugs fosters a climate of fear rather than reassurance, it is a bit of a shock to hear it suggested that nonaddictive drugs might enhance spiritual behavior and, indeed, that substance-altered states may echo religious experiences. Renowned religious historian Smith makes those suggestions in a brave discussion of the connection between religious experience and entheogenic (i.e., psychedelic) substances. Smith was at the forefront of experiments with psychedelic drugs in the sixties, though, and these essays span some 40 years. Liberally updated and edited, they examine Aldous Huxley's early experiences with LSD, Timothy Leary's adventures as counterculture guru, and Carlos Castaneda's use of the peyote sacrament of some American Indian traditions, and even touch on the pioneering work of Sigmund Freud and William James. Calmly, in measured tones, Smith lucidly and learnedly mulls over a most controversial topic. June Sawyers Copyright American Library Association. All rights reserved

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Countdown to First Certificate: Teacher's Book TEACHER MANUAL

Michael Duckworth, Kathy Gude, Jenny Quintana
Published by Oxford University PressYear: 2008
Edition: Paperback
ISBN: 9780194801065
Condition: used new, TEACHER'S MANUAL lntroduction PAGET2-T3 Student's Book Contents PAGE 2-3 Students' Book and lnterleaved Teaching notes PAGE T 4-T123 Student's Book Reviews PAGE 124-135 Student's Book endmatter PAGE 136-157 Unit tests PAGE T158-T181 Progress tests PAGE T182 -T189 Review keys PAGE T19Q-T192 Unit test keys PAGE T193-T197 Progress test keys PAGE T198-T199

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Panel tenaxious comix No. 1

various
Publisher: PANEL e.V. - Association for the Promotion of the Ninth ArtYear: 2018
Edition: softcover
ISBN: 9783935146951
Condition: used is new In the last months of his life, PANEL founder Bert Dahlmann really blossomed again. Determined to get a magazine up for the comic parlor, he contacted artists and advertisers, called his colleagues every day with new ideas and put all the remaining energy into the new format. Now it is up to us to complete Bert's last project, not least to pay tribute to him. Unfortunately, we couldn't reach everyone with whom Bert had already contacted. Many would have liked to have been there too, but we just don't have access to Bert's email account. Our thanks go all the more to everyone who made this edition possible. For everyone else, all that remains is for us to vaguely refer to a next time. We stuck to the ideas developed with Bert as much as possible, but we also had to change a few things, for practical or time-related reasons. Without Bert, a magazine like this isn't the same. A little something is missing. Rautie & Max Title: Ulf K. 2Martin Armbruster: Walk on the beach 7TeER: My big day 11diceindustries: Black art 12Lars Fischer: Bye Bert! 16Hannes Neubauer: The Little Black One 17Rautie: Educationally Valuable 25Kim Schmidt: Frog 26Jörg Ritter: The "Researcher" 29Hannes Neubauer: The Little Black One 30Elke R. Steiner: Relax 32Max Vähling: It depends on 33Kim Schmidt: Frog 34Ulf K .: Mr. Cloud 39Jörg Knight: Killing 40Nicola Maier-Reimer: Pink Dress 42Raul C. 0. Kauke: Violence 43Stephan Probst: Hello 56Harm Bengen: Cartoons 58tvuzk: Mentally Ill 59Nora Below: Prejudice and Atonement 62diceindustries: The Stealing of Images Backcover: Rautie

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KiX No. 31/2020

various
Published by KiX VerlagYear: 2020
Edition: softcover
ISBN: 9783948452025
Condition: used is new On 64 pages DINA6 in color, new comics & nice short stories by Ritter, Raul, Tvuzk and Rautie. Cover & back cover by Jörg Ritter 2. Collage by tvuzk 3. e-Wurscht by Rautie 4. Piep-Show & nosebleeds by Rautie 5. Foreword by Rautie 6. Everything used to be better by Rautie 7. Drunk search by Jörg Ritter 8. Work ( IVI) from Jörg Ritter 9. Money from tvuzk 12. Office animals from Jörg Ritter 13. Useful from Raul CO Kauke 14. The trip to Jerusalem part 1 of Rautie 16 ... Everyday office life from Jörg Ritter 18. Shitstorm from Rautie 19. Spam folder from tvuzk 22. Friendly advice from Jörg Ritter 23. He too from Jörg Ritter 24. Overrated by tvuzk 25. Drinker from tvuzk 26. Hope from Jörg Ritter 27. Hunger & Appetit from Jörg Ritter 31. The Gray Avenger from Raul CO Kauke 32. Collage by tvuzk 34. Friendly Fire by Rautie 35. Bikini by Raul C.O. Kauke 36. Konsumchens great adventure by Jörg Ritter 37. When God is bored ... by Jörg Ritter 38. Dr. Leeches 1 by Rautie 39. The problem of Rautie 42 ... The trip to Jerusalem part 2 of Rautie 44. Monsters by Jörg Ritter 45. Not the English style by tvuzk 46. The people of the future part 1 by Raul C.O. Kauke 48 ... Blood Tooth and The Metamorphosis of tvuzk 50 ... The People of the Future Part 2 by Raul C.O. Kauke 52nd Dr. Leeches 2 by Rautie 53. Uncle Antifa by Jörg Ritter 54. Misunderstanding at the 0-50 punk party by tvuzk 55. Lunch in the Italian insect ristorante by tvuzk 56. The trip to Jerusalem part 3 by Rautie 58 ... The people of Future part 3 from Raul CO Kauke 60. Urgent +++ Eilig from Jörg Ritter 61. Thumbs up from Rautie 62. Chocolate bar from Rautie 63. Collage from tvuzk

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E.T.A Hoffmann

Beese, Marianne
Publisher: VEB Bibliographisches Institut LeipzigYear: 1986
Edition: hardcover / bound
ISBN: 3323000188
Condition: used Marianne Beese E. T. A. Hoffmann Pictorial biography The pictorial biographies primarily deal with great representatives of our national cultural heritage and our revolutionary traditions, especially writers, composers and politicians. The life and work of the person concerned are presented or introduced in text and images, including numerous documents, against the respective historical background. Some of the volumes are dedicated to groups of poets and famous music ensembles. Timing tables complement the representations. VEB Bibliographisches Institut Leipzig

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THE SECRETS OF PITTSBURGH

Michael Chabon
Published by Verlag Kiepenheuer & Witsch, CologneYear: 1988
Edition: hardcover / bound
ISBN: 3323000188
Condition: used Pittsburgh Secrets There has been no such piece of young literature since The Catcher in the Rye. After the summer, Art should grow up and swap his sneakers for serious leather slippers, but before that he wants to live. He meets the beautiful Phlox, the confusing Lecomte and the money collector Cleveland, loses his ideals and discovers unimagined feelings. And so he slowly comes across them: the secrets of Pittsburgh and those of life. I'm going to turn this city upside down, says Art Bechstein. In autumn I have to become a responsible adult with a decent job. But now it's summer, the magical summer after graduation. Art will be enjoying this summer with new eccentric friends. He celebrates parties, gets to know the glittering side of the gray industrial city of Pittsburgh, from whose chimneys pink clouds seem to be rising. And he himself is turned upside down, because he falls in love with the pretty girl Phlox and meets the attractive Arthur Lecomte, who seduces Art. A hot summer with a jealous love triangle, and through all the dreams and excitements and scenes, the wild drunk Cleveland rides on his motorcycle. He is the only kind who knows Bechstein's carefully guarded secret, knows that his father goes about half-way business, but plans a decent future for his son.The novel, which Michael Chabon wrote at the age of twenty-three, was an international bestseller and is still considered to be today Classic of contemporary American literature.

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AutoCAD 14 Basics

Günter Reinemann, Fred Apel, Holger Düvel, Uwe Galow
Publisher: HERDT-Verlags für Bildungsmedien GmbHYear: 1999
Edition: Paperback
ISBN: 3323000188
Condition: used TABLE OF CONTENTSISAutoCAD 14 - Basics Introduction 1.1 Foreword 1.2 Font conventions in this document 1.3CAD and CIM 1.4 The Autodesk company 1.5AutoCAD modules and multimedia 1.6AutoCAD full versions and AutoCAD LT 1.7The program installation 1.8The AutoCAD workstation 1.9Differences to manual drawing 1.10pixels - and vector-oriented graphics programs 14 1.11 Recommended background settings ... 15 Basic rules for program operation 18 2.1 Starting AutoCAD 14 2.2 The AutoCAD 14 screen 2.3 Command input methods 2.3.1 The keyboard 2.3.2 The pull-down or drop-down menus 2.3.3 The tablet menu 2.3. 4The button menu and the function keys 2.3.5The toolbars 2.3.6The screen menu 2.4Special features of AutoCAD 2.5Cancel and undo commands 2.6Transparent command execution 2.7Working with dialog windows 2.8The help program 2.9 ExitAutoCAD 14 2.10Alias ​​command names Create, load and save drawings 3.1 Create new drawings 3.2 Existing Open drawings 3.3 Save drawings 3.3.1 The KSICH / _QSAVE command 3.3.2 The SAVE AS / _SAVEAS command 3.3.3 Background settings for saving 3.3.4 Save at the end of the program 3.4 Automatic saving 3.5 System variables for saving Display control 4.1 Changing the display 4.1.1 The ZOOM / 300M command 4.1.2 The command PAN / _PAN 4.1.3 Change the display order 4.2 Calculating the screen display 4.3 Working with the overview window 4.4 Named sections 4.5 Basic settings Help for exact drawing 5.1 Working with coordinates 5.2 The coordinate display 5.3 Agreeing units 5.4 The coordinate symbol 5.5 The grid60 5.6 Ortho mode61 5.7 Snap mode61 5.8 Object snap63 5.8.1 Function AutoSnapTM65 5.8.2Direct object snap65 5.8.3 Current or permanent object snap67 5.9Priorities for point input69 5.10 Coordinate filter71 6Basic drawing commands72 Draw lines72 6.1.1The command LINE / _LINE72 6.1.2The command LINE / _LINE72 6.1.2 / _XLIN E73 6.1.3 The STRAHL / RAY command74 Draw circles74 Draw circular arcs76 Draw ellipses77 7 Change commands78 The basic rules for change commands78 Delete and retrieve objects79 7.2.1The command DELETE / _ERASE79 7.2.2The command HOPPLA LOOPS80 Move objects80 7.3.1The command SHIFT / _MOVE80 7.3.2The basic principles Geometry input options80 Copying objects86 7.4.1The command COPY / _COPY87 7.4.2The command REIHE / _ARRAY88 7.4.3The command TRANSLATION / OFFSET89 7.4.4The command MIRROR / _MIRROR91 Geometric changes92 7.5.1The command ROTATE LROTATE92 7.5.2The command VARIA93. / _SCALE93 7.5.3 The LÄNGE LLENGTHEN94 command 7.5.4 The ALIGN LALIGN .... command 95 7.5.5 The STRETCH LSTRETCH command .96 8Help for object selection100 The basic principle 100 The selection options 102 Working with object groups108 Working with selection filters 109 9Trim functions110 Objects rounding off and chamfering 110 9.1.1 The ABRUNDEN / _FILLET .... 110 9.1.2 The FASE / _CHA command MFER112 Lengthen and cut objects114 9.2.1The command TRIM / _TRIM114 9.2.2The command EXTEND / _EXTEND116 Break apart objects117 Exercise on the trim functions 118 10 Working with polylines120 Drawing polylines 120 10.1.1The command PLINIE / _PLINE121 10.1.2 The command RECTANGLE / RECTANG124 10.1.3 The command POLYGON / POLYGON125 10.1.4 The command RING / _DONUT126 10.1.5 The command PERIOD / _BOUNDARY127 10.1.6 The command SKIZZE / SKETCH128 10.2 Editing polylines 129 10.2.1 The command PEDIT / _PEDIT129 10.2.2 The command URSPRUNG / _EXPLODE131 10.2.3 The DDMODIFY / DDMODIFY132 command 10.3 Typical possible applications132 11 Entering and changing text134 11.1 The basic principle for labeling134 11.2 The STIL / STYLE command136 11.3 Labeling drawings 138 11.3.1 The DTEXT LDTEXTXT138 command 11.3.2 11.3.2 The. MTEXT LDTEXTXT138 command 11.3.2 .3 Enter special characters143 11.4 Change texts144 11.4.1 The command DDEDIT LDDEDIT144 11.4.2 The command DDMODIFY / _DDMODIFY145 12 Hatching er and fill areas146 12.1 Associative hatching146 12.1.1 The command GSCHRAFF / _BHATCH 147 12.1.2 The command HATCHEDIT / _HATCHEDIT151 12.1.3 Object-oriented programming152 12.1.4 Hatching exercises152 12.2 Filled areas155 12.2.1 The command SOLID / SOLID155 12.2.2 / _TRACE156 13 Working with layers158 13.1Layer technology and object properties158 13.1.1 The LAYER / _LAYER161 command 13.1.2 Selecting colors162 13.1.3 Line types and Ltfactor163 13.1.4 The LAYER CONTROL list box165 13.1.5 Set current layers166 ​​Changing object properties166 13.2.2CHK166 13.2.1 .2 The DDCHPROP / DDCHPROP167 command 13.2.3 The DDMODIFY / DDMODIFY167 command 13.2.4 The EIGANPASS / MATCHPROP168 command 13.2.5 Changes using the PROPERTIES toolbox170 14 Drawing and plotting to scale172 14.1 Setting the drawing units and scale172 14.217.3 The limits Plot181 14.4.1 Plot preview186 14.4.2 Plot to file187 14 .4.3 Tips on the topic of plotter187 15 Measuring and querying188 15.1 The query commands 188 15.1.1 The command LISTE / _LIST189 15.1.2 The command ID / _ID190 15.1.3 The command DISTANCE / _DIST190 15.1.4 The command AREA / _AREA190 15.1. 5 The MASSEIG / _MASSPROP191 command 15.2 Further info commands 192 15.2.1 The ZEIT / _TIME192 command 15.2.2 The STATUS / _STATUS192 command 15.2.3 The INFO / _ABOUT193 command 16 Working with blocks 194 16.1 Properties of blocks 194 16.2 Internal block definitions 197 16.3 Export to new drawings 199 16.4 Inserting blocks200 16.4.1 Inserting internal blocks200 16.4.2 Importing another drawing. 202 16.4.3 Complex insertions203 16.4.4 Special features of layers203 16.5 Special forms of blocks205 16.6 Break apart blocks206 16.7 Clean up unused block definitions206 17 Create and change dimensions 208 17.1 Preliminary remarks 208 17.2 Create and change dimensions 210 17.2.1 Linear dimensions 210 17.2.2 Baseline and Further dimensions 214 17.2.3 Angular dimensions 216 17.2.4 Radius dimensions 218 17.2.5 Diameter dimensions 218 17.2.6 Center points and lines 219 17.2.7 Editing dimensions 219 17.2.8 Guide texts 222 17.2.9 Shape and position tolerances 223 17.3 Dimension styles 224 17.3. 1 The basic principle 224 17.3.2 Automatic assignment 225 17.3.3 The DBEM / _DDIM command 226 17.3.4 The BEMSTIL / _DIMSTYLE command 232 17.3.5 Overwriting dimension variables 233 18 The prototype drawing 234 18.1 The basic principle 234 18.2 Creating a prototype 235 18.3 The DXF Format 239 19 Auxiliary functions240 19.1 Renaming named objects240 19.2 Initializing interfaces241 19.3 Entering DOS commands241 19.4 Starting external programs242 19.5 Adjusting system variables242

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Successful leadership

Dohmen, Theodor
Published by Ilse-VerlagYear: 1995
Edition: Hardcover
ISBN: 3323000188
Condition: used updated, improved edition The author, Theodor Dohmen, born in 1934, has worked in several large and medium-sized companies during his commercial career. He held a managerial position for six years and was able to gain a lot of experience in staff management. In addition to his professional work, he completed a degree in business administration and economics and, as an autodidact, dealt intensively with psychology for years. Theodor Dohmen has been working as an independent management consultant and seminar leader since 1969. He conducts advanced training courses in sales and leadership. Many thousands of participants have now attended his seminars. The thorough operational experience and the extensive course work guarantee that every reader is offered valuable tips for practical management work. This book is about the leadership of employees by their superiors. It doesn't matter which job it is. The thoughts on leadership developed here can offer suggestions wherever superiors have to lead employees. Whether in industry, in wholesaling or retailing, in the service sector or in public authorities - the principles of employee management are largely the same. It should be borne in mind, however, that the qualifications and overall intellectual level of employees require differences in the details of leadership style. A manager, for example, has to treat the department heads to be led by him in some cases differently than the foreman of an industrial company his workers. The size of the company and the workforce are also not particularly significant. Motivating people will follow much the same pattern in large or small communities. Even the organizational structure of a company does not need to be given too much importance, although a well thought-out company organization fulfills essential requirements for productive employee management. Which details are decisive is described in a separate chapter. The capital of a company consists not only of mechanical and structural systems, of inventories and financial resources, but also of the capabilities of the workforce. It can even be said that modern, high-performance machines and devices are easier to obtain than capable employees. The respective superiors are largely responsible for the performance of the people working in a company. It will depend on their leadership skills, among other things, whether a high level of work productivity is achieved. The performance of a workforce depends on the one hand on the knowledge and skills of the individual employees and on the other hand on the cooperation between these people. Both are fruitfully influenced by good leadership skills on the part of superiors. This book aims to show ways and explain how you can increase employee performance. Leadership, like most of our skills, is made up of disposition and what we have learned. It can therefore be developed on the basis of our systems. Many companies still have untapped reserves here. It is often led to be thoughtless. Errors in staff management can result in costs that sometimes significantly exceed the disadvantages of incorrect production in the manufacture of goods. It is therefore important that, as a manager, you have mastered the art of leading people successfully. As in the technical process in the manufacture or distribution of goods and services, one always finds changes and adjustments to a changed time in the management of employees. The whole living conditions, our form of society, experiences in school, church and state as well as changes in general human coexistence also influence what happens at the workplace and the behavior of the people working there. For some superiors, this means that they can no longer treat their employees the way they were treated years ago at the beginning of their professional career. The task at hand is to give many indications of what successful leadership should look like under today's conditions. The aim of all considerations is to serve the benefit of everyone - the company, superiors and employees. If in the book the terms superior "or boss" or employee "are only used in the male gender, this is done for reasons of linguistic simplicity. These expressions naturally also apply to the female gender. The words superior" and boss "are also used in this Book to be seen as equivalent, meaning the leader, the head of a group to be led.

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FILLIP Issue No. 13 - spring 2011, which introduces Intangible Economies, a new series edited by Antonia Hirsch, with essays by Jan Verwoert and Candice Hopkins

Jesse McKee, Claire Tancons, Kristina Lee Podesva, Ryan Trecartin, Jan Verwoert
Publisher: Projectile Publishing SocietyYear: 2011
Edition: softcover
ISBN: 3323000188
Condition: used Fillip Issue No. 13 Date 2011 Publisher Fillip Format Periodicals Details Softcover Size 17 25 1 cm Length 116 Description Spring 2011 Measures of an Exhibition: Space, Not Art, Is the Curators? Primary Material / Carson Chan Camps (or the Precarious Logic of Late Modernity) / Anthony Downey Intangible Economies / Antonia Hirsch The Golden Potlatch ?: Study in Mimesis and Capitalist Desire / Candice Hopkins Browsing the AAAARG Library / Jeff Khonsary An Evidence Horizon / Lisa Marshall Producing Images in Times of War / Haema Sivanesan On Carnival and? Contractual Curating / Jesse McKee and Claire Tancons When the time comes? you wont understand? the battlefield / Kristina Lee Podesva and Ryan Trecartin Faith Money Love / Jan Verwoert Edition of 3000 Fillip is a publication of art, culture, and ideas released three times a year by the Projectile Publishing Society based in Vancouver. Limited edition of 3000 FILLIP Issue No. 13 - spring 2011, which introduces Intangible Economies, a new series edited by Antonia Hirsch, with essays by Jan Verwoert and Candice Hopkins Measures of an Exhibition: Space, Not Art, Is the Curators? Primary Material / Carson Chan Camps (or the Precarious Logic of Late Modernity) / Anthony Downey Intangible Economies / Antonia Hirsch The Golden Potlatch ?: Study in Mimesis and Capitalist Desire / Candice Hopkins Browsing the AAAARG Library / Jeff Khonsary An Evidence Horizon / Lisa Marshall Producing Images in Times of War / Haema Sivanesan On Carnival and? Contractual Curating / Jesse McKee and Claire Tancons When the time comes? you wont understand? the battlefield / Kristina Lee Podesva and Ryan Trecartin Faith Money Love / Jan Verwoert Fillip is a publication of art, culture, and ideas released three times a year by the Projectile Publishing Society based in Vancouver. Beautiful Is Panama! Exterior of the Barter Theater, Abingdon, Virginia, c. 1933, One million mark note designed by Herbert Bayer, Thuringen, Weimar, 1923. N. Bruhl, engraving of Johannes Tetzel (1465-1519) after contemporary portrait. Courtesy of Archiv fur Kunst and Geschichte, Berlin. Production still from L'eclisse, 1962. Directed by Michelangelo Antonioni. 18. People of the Potlatch, Vancouver Art Gallery, 1956. Installation view. Courtesy of the Museum of Anthropology, Vancouver. Golden Potlatch Parade, 1912. Courtesy of University of Washington. Voids, fine retrospective, Kunsthalle Bern, 2009. Installation view. Franz Erhard Walther, base, four areas (Keeping the Canvas Square in Shape), number 49 and Connection (Head), number 31, from I. Werksatz, 1967 Photo by Timm Rautert Courtesy of Peter Freeman, New York. El Lissitzky, Design for the Abstract Cabinet, 1930, reconstructed in 1968. photographic conversation from Bug ai-Shamali camp, 2008. Documentation of the Gwangju Democratization Movement, Gwangju, South Korea, May 1980. MAP Office, The Final Battle in Spring, 90-minute procession. Photo by Akiko Ota. Courtesy of Claire Tancons. Judy Radul, World Rehearsal Court, 2009, details. Photo by Howard Ursuliak. Courtesy of the Morris and Helen Belkin Art Gallery, Vancouver. Buddha carved from the rock at Bamiyan, Afghanistan, fifth century (now destroyed). Courtesy of the Afghan Information Bureau, London. Jayce Salloum, piles / fragments / ruins, some that is left of the buddhist statues (constructed 100-490 AD), bodily discarded (destroyed by Taliban, March 2001), pieces protected / sheltered, torn, (saved for possible reconstruction @ 45 -50 million each) at the caves site, Bamiyan, Hazaralat. Afghanistan, 4/16/08 [DSCF3081], 2010. Detail from the heart that has no love / pain / generosity is not a heart, 2010. C print. Courtesy of the artist. Ryan Trecartin. Any Ever, MOCA Pacific Design Center, 2010. Installation view. Photo by Brian Forrest.

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you will find the child in the manger

Schmeisser, Martin
Published by Verlag am EschbachYear: 1981
Edition: Flexi / Plastic
ISBN: 9783886710126
Condition: used In that area shepherds camped in the open field and kept watch over their flock by night. Then the angel of the Lord came to them, and the splendor of the Lord shone around them. They were very afraid, but the angel said to them, Do not be afraid, for I announce to you a great joy that will be shared with all the people: Today in the city of David the Savior has been born to you he is the Messiah, the Lord. And that should serve as a sign: You will find a child wrapped in diapers and lying in a manger. Gospel of Luke 2: 8-12

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