Anna, Daniel, and Lucas seem to be living a dream. While their parents take care of a castle, they have the run of the grounds and the beautiful surrounding countryside. Their only concern is how best to catch the mysterious pike that lurks in the deep water of the moat. But when Daniel and Lucas's mother first begins to seem tired all the time, and then loses her hair, Anna wonders what is going on. It is cancer, she is told, but Daniel and Lucas must not know. As the summer days grow shorter and the colors of the fields and flowers change, the boys eventually learn of their mother's illness. Daniel becomes convinced that catching the pike will bring luck -- that it might even cure his mother. But as her condition worsens, these three true friends can only wish that they could stop the destructive march of time. Jutta Richter's powerful prose makes this sensitive story set during a summer idyll an unforgettable one.

This open access book describes methods for research on and research through design. It posits that ethnography is an appropriate method for design research because it constantly orients itself, like design projects, towards social realities. In research processes, designers acquire project-specific knowledge, which happens mostly intuitively in practice. When this knowledge becomes the subject of reflection and explication, it strengthens the discipline of design and makes it more open to interdisciplinary dialogue. Through the use of the ethnographic method in design, this book shows how design researchers can question the certainties of the everyday world, deconstruct reality into singular aesthetic and semantic phenomena, and reconfigure them into new contexts of signification. It shows that design ethnography is a process in which the epistemic and creative elements flow into one another in iterative loops. The goal of design ethnography is not to colonize the discipline of design with a positivist and objectivist scientific ethos, but rather to reinforce and reflect upon the explorative and searching methods that are inherent to it. This innovative book is of interest to design researchers and professionals, including graphic artists, ethnographers, visual anthropologists and others involved with creative arts/media.

Returning to Russia from a sanitarium in Switzerland, the Christ-like epileptic Prince Myshkin finds himself enmeshed in a tangle of love, torn between two women—the notorious kept woman Nastasya and the pure Aglaia—both involved, in turn, with the corrupt, money-hungry Ganya. In the end, Myshkin’s honesty, goodness, and integrity are shown to be unequal to the moral emptiness of those around him. In her revision of the Garnett translation, Anna Brailovsky has corrected inaccuracies wrought by Garnett’s drastic anglicization of the novel, restoring as much as possible the syntactical structure of the original.