From the co-producer of Dork Diaries comes Kaylee, a lover of pranks, who takes on The Tooth Fairy, a Prankster Extraordinaire!

Kaylee loves pulling pranks: from dropping water balloons on passersby to even tricking Santa Claus, she's a prize-winning prankster!

Is she the Princess of Pranks? No! That title is held by none other than the Tooth Fairy. But when Kaylee loses a tooth and the Tooth Fairy goes about her usual tooth-taking business, Kaylee pranks her with a fake frog. As Kaylee and the Tooth Fairy try to out-prank one another, things get way out of hand. Will the two finally see eye and eye and share the crown?

Erin Russell, daughter of DORK DIARIES superstar, Rachel Renée Russell, makes her picture book debut with a rousing and rollicking story, sure to delight losers-of-teeth and pranksters young and old, and Jennifer Hansen Rolli's illustrations perfectly capture the hilarity and chaos of this unusual rivalry!

Addressing perspectives about who "we" are, the importance of place and home, and the many differences that still separate individuals, this volume reimagines cosmopolitanism in light of our differences, including the different places we all inhabit and the many places where we do not feel at home. Beginning with the two-part recognition that the world is a smaller place and that it is indeed many worlds, Cosmopolitanism and Place critically explores what it means to assert that all people are citizens of the world, everywhere in the world, as well as persons bounded by a universal and shared morality.

Investigates the field of German life writing, from Rahel Levin Varnhagen around 1800 to Carmen Sylva a century later, from Doeblin, Becher, women's WWII diaries, German-Jewish memoirs, and East German women's interview literatureto the autofiction of Lena Gorelik. In recent decades, life writing has exploded in popularity: memoirs that focus on traumatic experiences now constitute the largest growth sector in book publishing worldwide. But life writing is not only highly marketable; it also does important emotional, cultural, and political work. It is more available to amateurs and those without the cultural capital or the self-confidence to embrace more traditional literary forms, and thus gives voice to marginalized populations. Contested Selves investigates various forms of German-language life writing, including memoirs, interviews, letters, diaries, and graphic novels, shedding light on its democratic potential, on its ability to personalize history and historicize the personal. The contributors ask how the various authors construct and negotiate notions of the self relative to sociopolitical contexts, cultural traditions, genre expectations, and narrative norms. They also investigate the nexus of writing, memory, and experience, including the genre's truth claims vis-a-vis the pliability and unreliability of human memories. Finally, they explore ethical questions that arise from intimate life writing and from the representation of "vulnerable subjects" as well as from the interrelation of material body, embodied self, and narrative. All forms of life writing discussed in this volume are invested in a process of making meaning and in an exchange of experience that allows us to relate our lives to the lives of others.

Addressing perspectives about who "we" are, the importance of place and home, and the many differences that still separate individuals, this volume reimagines cosmopolitanism in light of our differences, including the different places we all inhabit and the many places where we do not feel at home. Beginning with the two-part recognition that the world is a smaller place and that it is indeed many worlds, Cosmopolitanism and Place critically explores what it means to assert that all people are citizens of the world, everywhere in the world, as well as persons bounded by a universal and shared morality.

Holocaust memorials and museums face a difficult task as their staffs strive to commemorate and document horror. On the one hand, the events museums represent are beyond most people's experiences. At the same time they are often portrayed by theologians, artists, and philosophers in ways that are already known by the public. Museum administrators and curators have the challenging role of finding a creative way to present Holocaust exhibits to avoid cliched or dehumanizing portrayals of victims and their suffering.
In "Holocaust Memory Reframed," Jennifer Hansen-Glucklich examines representations in three museums: Israel's Yad Vashem in Jerusalem, Germany's Jewish Museum in Berlin, and the United States Holocaust Memorial Museum in Washington, D.C. She describes a variety of visually striking media, including architecture, photography exhibits, artifact displays, and video installations in order to explain the aesthetic techniques that the museums employ. As she interprets the exhibits, Hansen-Glucklich clarifies how museums communicate Holocaust narratives within the historical and cultural contexts specific to Germany, Israel, and the United States. In Yad Vashem, architect Moshe Safdie developed a narrative suited for Israel, rooted in a redemptive, Zionist story of homecoming to a place of mythic geography and renewal, in contrast to death and suffering in exile. In the Jewish Museum in Berlin, Daniel Libeskind's architecture, broken lines, and voids emphasize absence. Here exhibits communicate a conflicted ideology, torn between the loss of a Jewish past and the country's current multicultural ethos. The United States Holocaust Memorial Museum presents yet another lens, conveying through its exhibits a sense of sacrifice that is part of the civil values of American democracy, and trying to overcome geographic and temporal distance. One well-know example, the pile of thousands of shoes plundered from concentration camp victims encourages the visitor to bridge the gap between viewer and victim.
Hansen-Glucklich explores how each museum's concept of the sacred shapes the design and choreography of visitors' experiences within museum spaces. These spaces are sites of pilgrimage that can in turn lead to rites of passage.

Studienarbeit aus dem Jahr 2010 im Fachbereich Medien / Kommunikation - Journalismus, Publizistik, Note: 2,0, Westfalische Wilhelms-Universitat Munster (Kommunikationswissenschaften), Veranstaltung: Einfuhrung in die Kommunikationswissenschaft II, Sprache: Deutsch, Abstract: 1. Einleitung Wer kennt sie nicht? Das Marlboro-Pferd, die Milka Lila Kuh oder den Schwabisch Hall-Fuchs, sie alle tummeln sich auf zahlreichen Plakaten, in TV-Werbespots oder in Anzeigen von Print- und Onlinemedien. Tagtaglich werden wir mit den verschiedensten Werbeformen konfrontiert, aber nur wenige beachten wir, nur wenigen schenken wir unsere Aufmerksamkeit. Der Fokus dieser Arbeit liegt auf der Betrachtung von Tierdarstellungen in der Werbung und der Frage, welche Auswirkungen sie auf die Rezipienten haben. Tiere faszinieren den Menschen schon immer. Der Hund lebt seit cirka 12.000 Jahren an der Seite des Menschen und ist somit sein altestes Haustier. Auch die Werbeproduzenten wissen um diese Gunst und machen daher haufig Gebrauch von Tieren als Werbefiguren, denn Werbung produziert ausschliesslich positive Botschaften. Die Bilder der Werbung sollen eine Utopie vom besseren Leben vermitteln, sie sollen Hoffnung und Gluck implizieren. Um ein grosstmogliches Mass an Aufmerksamkeit zu erreichen, beziehen sie sich auf die animalische Naturhaftigkeit des Menschen, die durch bildliche Reize Handlungsimpulse auslosen sollen. Abbildungen von Tieren, wie jene aus den Hohlen im franzosischen Lascaux, gehoren zu den ersten Bildmotiven, die von Menschen dargestellt wurden. (Vgl. Bache/Peters 1992: 13) Im Verlauf dieser Hausarbeit wird zunachst auf die historische Entwicklung des Werbebegriffes eingegangen, in Anlehnung daran die Darstellung von Tieren in der Werbung erlautert. Des Weiteren wird der Frage nachgegangen, in wie weit die Verwendung nicht-menschlicher Figuren, gemeint sind hier Tiere und tieranimierte Figuren, Auswirkungen auf die Rezipienten haben. Dazu werden verschiedene Werbekamp

Studienarbeit aus dem Jahr 2010 im Fachbereich Medien / Kommunikation - Theorien, Modelle, Begriffe, Note: keine, Westfalische Wilhelms-Universitat Munster (Kommunikationswissenschaften), Sprache: Deutsch, Abstract: 1. Einleitung Talcott Parsons gilt als Begrunder der Systemtheorie, beziehungsweise des Struktur-Funktionalismus, welches eine spezielle Form der Systemtheorie ist. Die Systemtheorie ist gekennzeichnet durch die Vorstellung, dass Systeme aus einzelnen Elementen bestehen und sich durch eine sie umgebende Umwelt abgrenzen und austauschen. Es geht um die Differenz von System und Umwelt. Das allgemeine Handlungssystem bildet den Kern dieser Theorie. (Vgl. Esser 2001: 65) Im Verlauf dieser Arbeit wird auf die Frage eingegangen, inwieweit das AGIL-Schema zum Verstandnis des Sozialsystems Gesellschaft beitragt. Agil bedeutet in diesem Zusammenhang allerdings nicht lebhaft. Dennoch ist es interessant, dass das Wort agil" vom lateinischen Verb agere" abstammt, was so viel wie handeln" bedeutet. Talcott Parsons erweiterte das von Robert Bales in Kleingruppen konstruierte AGIL-Schema in den 50er Jahren. Es interessierten ihn die Voraussetzungen, die erfullt sein mussen, damit sich aufeinanderbezogene Handlungen als selbststandiges System zu einer Umwelt abgrenzen konnen. (Vgl. Schneider 2002: 144) Vergleichbar mit den Prozessen eines Organismus, bei dem Stoffwechsel-funktionen, Austausch von Nahrstoffen und diverse Mechanismen der Selbst-regulation ein grosse Rolle spielen, ist es auch in einer Gesellschaft notig, Prozesse gezielt zu koordinieren, zu verknupfen und aufrecht zu erhalten. Hierbei sollen Anpassung (adaption), Zielerreichung (goal attainment), Integration (integration) und Strukturerhaltung (latent pattern maintenance) als zentrale Dimensionen des AGIL-Schemas die Ablaufe sichern und steuern. (Vgl. ebd.) Parsons betrachtet die vier Funktionen als universale Bezugsprobleme, die zur Losung eines jeden Systems erfullt werden mussen, damit der Fortb

In an era of backlash and supposed stagnation, feminist philosophers are still providing fresh and challenging perspectives - you just have to know where to look. Continental feminist theory continues to address pressing questions of equality and difference, identity and subjectivity. Modern thinkers such as Judith Butler, Kelly Oliver and Drucilla Cornell present strikingly new perspectives on sex, gender, sexual politics and the various social apparatuses that underlie gender inequality. Yet their theories are not always well received. This work is a response to the marginalization of these modern thinkers. In this volume, Ann J. Cahill and Jennifer Hansen collect the most groundbreaking work of the theorists. In their introductory pieces, Cahill and Hansen translate the often esoteric and mystifying work of the women in Continental philosophy to those outside the field and outside academia. With these essays, Continental Feminism Reader begins the process of reanimating feminist politics through the critical tool of its contributors.