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52 S. Gebrauchtes Exemplar in sehr gutem Zustand, mit CD. KEINE Eintragungen/Markierungen. Dieses Buch liest man nicht! Man liest es vor.Sie werden sicher denken, dass ein Buch ohne Bilder langweilig und sehr ernst ist. Außer . wenn das Buch so funktioniert: Alles, was in diesem Buch steht, MUSS vorgelesen werden. Selbst wenn da steht: BLORK oder BLuuRF. Selbst wenn es sich um ein absurdes Lied handelt, das davon erzählt, wie Sie einen Floh zum Frühstück verspeisen. Selbst wenn dieses Buch Sie dazu bringt, komische und peinliche Geräusche zu machen. Und vor allem wenn Sie und Ihre Kinder nicht mehr aufhören können zu lachen! Wunderbar schräg und total albern "Das Buch ohne Bilder" gehört zu den Büchern, die Kinder immer wieder vorgelesen haben wollen und Eltern immer wieder gerne vorlesen. Sagen Sie nicht, wir hätten Sie nicht gewarnt dieses Buch kennt kein Erbarmen!Mit CD - gelesen von Adnan Maral. Gesamtspielzeit: 4:50 Min. - Wir versenden aus unserem deutschen Lager heraus in plastikfreien oder wiederverwendeten Polstertaschen. Sprache: Deutsch Gewicht in Gramm: 483 Gebundene Ausgabe, Maße: 21.7 cm x 1.2 cm x 26.6 cm

What if a designer handbag were as easy to craft as a duct tape wallet? Now it is with this easy-to-follow guide to making 40 handbags so fashionable, you won’t actually believe they’re made of duct-tape. Part art-piece, part usable accessory, Richela Fabian Morgan shows how each of these gorgeous handbags can be recreated one manageable section at a time. Designs include: ·         Clutches and wristlets ·         Hobo and Shoulder Bags ·         Satchels ·         Messenger and Flap Bags ·         Tote BagsWith detailed step-by-step instructions and primers on duct tape "fabric," different types of closures from magnet snaps to jeans buttons, and bag accessories like bows and luggage tags, Morgan catapults this trend from the streets into the stratosphere. A mix of pop art and urban style photos of each project and a cool vibe throughout will make you want to immediately roll up your sleeves and begin making duct tape bags.

This book collects published and unpublished work over the last dozen years by one of today’s most distinguished and provocative anthropologists. Johannes Fabian is widely known outside of his discipline because his work so often overcomes traditional scholarly boundaries to bring fresh insight to central topics in philosophy, history, and cultural studies. The first part of the book addresses questions of current critical concern: Does it still make sense to search for objectivity in ethnography? What do we gain when we invoke “context” in our interpretations? How does literacy change the work of the ethnographer, and what are the boundaries between ethnology and history? This part ends with a plea for recuperating negativity in our thinking about culture. The second part extends the work of critique into the past by examining the beginning of modern ethnography in the exploration of Central Africa during the late nineteenth century: the justification of a scientific attitude, the collecting of ethnographic objects, the presentation of knowledge in narration, and the role of recognition―given or denied―in encounters with Africans. A final essay examines how the Congolese have returned the “imperial gaze” of Belgium by the work of critical memory in popular history. The ten chapters are framed by two meditations on the relevance of theory and the irrelevance of the millennium.

By the author of the telenovela "La casa de al lado," comes the second installment in the popular Malamor Trilogy. Ángela decides to follow her heart and stay in Almahue with Fabián; the malamor spell that had haunted the lovers for so long is now a distant memory. The miraculous recovery of the tree seems to portend an era of peace for the inhabitants of Almahue when a mysterious stranger unsettles everything. Is time for Rayen's vengeance? Is she capable of fulfilling her promise she made to destroy Almahue after Ernesto betrayed her? Will she also put an end to the love between Ángela and Fabián?