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1000 tulosta hakusanalla Simon Reader

Simon au Rwanda

Simon au Rwanda

Jesko Johannsen

BoD - Books on Demand
2015
nidottu
A peine quelques semaines au Rwanda et son fils se lancait deja dans un match de foot avec des enfants rwandais dans une rue secondaire non asphaltee de Kigali. Ils jouaient avec un ballon en lambeaux- fait de sacs plastique attaches ensemble. Cela a fortement impressionne Jesko Johannsen et lui a inspire >. Simon est un garcon comme tous les autres, il rassemble les cultures et elargit les horizons. Avant de demenager au Rwanda avec ses propres enfants qui avaient respectivement trois et cinq ans, Jesko Johannsen a travaille de nombreuses annees en Allemagne comme journaliste.
Simon au Rwanda

Simon au Rwanda

Jesko Johannsen

BoD - Books on Demand
2015
nidottu
A peine quelques semaines au Rwanda et son fils se lancait deja dans un match de foot avec des enfants rwandais dans une rue secondaire non asphaltee de Kigali. Ils jouaient avec un ballon en lambeaux- fait de sacs plastique attaches ensemble. Cela a fortement impressionne Jesko Johannsen et lui a inspire >. Simon est un garcon comme tous les autres, il rassemble les cultures et elargit les horizons. Avant de demenager au Rwanda avec ses propres enfants qui avaient respectivement trois et cinq ans, Jesko Johannsen a travaiSimon va etre mele a un match de foot sur une piste boueuse en plein coeur de Kigali. Sur le chemin, en rentrant de l'ecole, il observe des enfants qui jouent avec un ballon fait de sacs plastique. Apres avoir convaincu son pere d'acheter un nouveau ballon aux enfants, Simon est entraine dans un match passionnant. Son equipe aurait gagne, si ...Simon a cinq ans et vit avec sa soeur Nora dans la capitale du Rwanda, a Kigali. Il pose son propre regard sur l'Afrique et nous incite ainsi a nous poser des questions et a comprendre. lle de nombreuses annees en Allemagne comme journaliste.
Simón Vélez

Simón Vélez

Pierre Frey; Deidi von Schaewen

Actes Sud
2013
nidottu
Simón Vélez was born in Manizales, Colombia, in 1949, and began his career forty years ago. Vélez is renowned for his joinery systems that brilliantly utilize bamboo as a permanent structural element in both residential and commercial structures. For four consecutive years he has been invited by the Vitra Design Museum and the George Pompidou Centre to conduct workshops in France in which structures of bamboo-guadua were built as an instructive exercise. In this monograph, illustrated by Deidi von Schaewen’s photographs, Pierre Frey offers us a rare insight into the works of this architect. Throughout the book, texts and images introduce us to a panorama of constructions as well as to the architect’s idiosyncratic construction techniques, which are part of a vernacular architecture that the author considers as ‘symptomatic of the state of the world and societies populating it’. Whether he is working with concrete, steel or other forms of wood, he works in the same way. He energetically defends his status as bambousero and is skilled at distinguishing materials and assigning them functions in accordance with their performances. He has persuaded his richest clients to build luxury residences from the material most used by simple peasants. He has also managed to convince many large public administrations, town council or businesses concerned about the environmental impact of their activities to adopt and promote guadua bamboo.
Simon Dalby: A Pioneer in International Relations

Simon Dalby: A Pioneer in International Relations

Springer International Publishing AG
2025
sidottu
This book profiles Simon Dalby’s academic contributions in the fields of critical geopolitics, environmental security and the intersection of international relations and the Anthropocene. It includes reprints of key essays that highlight innovations in critical thought at the intersections between geopolitics, environment and security. Starting with an analysis of American reconstructions of the Soviet threat in the 1970s, an early contribution to the emerging field of critical geopolitics, subsequent papers focus on the emergent formulations of environmental security in the aftermath of the Cold War and the environmental costs of globalization. Focusing on the implicit geographical framing in discourses of globalization offered a critique that extended the ambit of critical geopolitics to grapple with the issues of environmental security and the rising concern with climate change as well as the political identities invoked in that debate. In the aftermath of 9/11, similar arguments about contextualization applied to the American global war on terror and the revival of discussions of empire and its geographies, both in arguments for invading Iraq, as well as the wider discussions in policy discourse and popular culture. Simultaneously, the emergence of earth system science and the concept of the Anthropocene offered another way to highlight the dangers of fossil fueled economic activities. The necessity of fundamentally rethinking the premises of security policy in light of this recontextualization is emphasized in more recent contributions on climate security and the current ecological crisis. Critical geopoliticsEnvironmental securityGlobal war on terrorFirepower in the Anthropocene
Simon Magus: The First Gnostic?

Simon Magus: The First Gnostic?

Stephen Haar

De Gruyter
2003
sidottu
This latest comprehensive work on Simon Magus lends new impetus to the investigation of Early Christianity and questions surrounding the origin and nature of Gnosticism. Major contributions of this study include: (1), a departure from the traditional exegesis of Acts 8, 5-24 (the first narrative source of Simon), and the later following reports of ancient Christian writers; (2), an overview of the literature of Graeco-Roman antiquity to determine the contribution of "magic" and "the Magoi" in the development of perceptions and descriptions of Simon; and (3), the inclusion of social science explanation models and modern estimations of "identity", in a creative approach to questions surrounding the phenomenon of Simon.
Simon Quaglio

Simon Quaglio

Christine Hübner

De Gruyter
2016
sidottu
In der Außenwahrnehmung des 9. Jahrhunderts wurde die Theatermalerei, das Entwerfen und Ausführen von Bühnendekorationen, meist als Handwerk und unliebsamer Brotberuf für bildende Künstler verstanden die ausgeführten Bühnenbilder besaßen nur selten den Status eigenständiger Kunstwerke. Die Publikation diskutiert am Beispiel des Münchener Hoftheatermalers Simon Quaglio ( 795— 878) erstmals die Theatermalerei in ihrem Status als künstlerische Gattung. So wird sichtbar, wie die Kunstentwicklung und die kunsttheoretischen Diskurse der Zeit einen direkten Einfluss sowohl auf die Ästhetik der Bühnendekorationen als auch auf das Selbstverständnis der Theatermaler genommen haben. Zugleich entsteht dabei ein dichtes Bild der Münchener Theaterpraxis im 9. Jahrhundert.