Un cuento ilustrado para que los niños aprendan a reconocer y trabajar el miedo. Todos los niños sienten emociones negativas que no saben como gestionar. El miedo es una de las más comunes. El cuento que tienes entre las manos explica la historia de Lisa, una niña que se siente insegura ante la oscuridad y ante todo aquello que le es desconocido, y del marcianito Churuchuru, su amigo inseparable que la ayudará a detectar, analizar y gestionar sus miedos. Un cuento escrito por dos grandes especialistas de la psicología infantil: Alberto Soler y Concepción Roger. Beneficios del cuento: - Detectar emociones que incomodan al niño. - Aprender a gestionarlas y a digerirlas. - Guiar al padre en la educación emocional del pequeño. - Recomendado a partir de 4 años. ENGLISH DESCRIPTION An illustrated story to help children learn to recognize and work on their fears. All children at times feel negative emotions that they do not know how to manage and cope with. Fear is one of the most common ones. This is Lisa’s story, a girl who feels insecure in the dark and in front of everything that is unknown to her, and of Churuchuru the Martian, her inseparable friend who will help her identify, analyze, and manage her fears. A story written by two great specialists in child psychology: Alberto Soler and Concepción Roger. Benefits of this story: - Identify emotions that make the child uncomfortable. - Learn to manage and overcome them. - Guide parents to help with the emotional education of the child. - Recommended for children 4 years old and up.

Tarzan, the king of the jungle, enters an isolated country called Minuni, inhabited by a people four times smaller than himself, the Minunians, who live in magnificent city-states which frequently wage war against each other. Tarzan befriends the king, Adendrohahkis, and the prince, Komodoflorensal, of one such city-state, called Trohanadalmakus, and joins them in war against the onslaught of the army of Veltopismakus, their warlike neighbours.

Recent books and exhibitions have shown that Victorians were not so straitlaced about sexual matters as has been popularly assumed. Ellen Bayuk Rosenman's engrossing and enlightening book proves that the Victorians were extraordinarily articulate and resourceful when it came to expressing their sexual desires. Narratives of erotic experience were written, justified to the conservative culture, and circulated for the pleasure of readers. Rosenman's exploration of masculinity and femininity in Victorian sexual storytelling includes an account of the "spermatorrhea panic" that terrified the men of Britain, tells of Theresa Longworth's erotic revisions of the romance plot, and takes up the exhaustive, even exhausting, pornographic epic My Secret Life. Drawing on social history, court cases, medical literature, popular novels, and the diaries and letters of everyday life, Rosenman looks beyond the usual sexual suspects—homosexuals and prostitutes, for example—to address a range of pleasures that emerged from the ideological structures meant to contain them. She asserts that, however powerful ideology is, it does not script erotic repertoires in definitive or predictable ways, and that individuals can find ways of evading or easing its constraints.

Hailed as the greatest novel of the Mexican Revolution, The Underdogs recounts the story of an illiterate but charismatic Indian peasant farmer’s part in the rebellion against Porfirio Díaz, and his subsequent loss of belief in the cause when the revolutionary alliance becomes factionalized. Azuela’s masterpiece is a timeless, authentic portrayal of peasant life, revolutionary zeal, and political disillusionment.

An interdisciplinary study of the widespread metaphors for Latin America as a subject of crisis.

The Mexican Revolution of 1910–1920 is among the world’s most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes—commercial and amateur, national and international. Many images of the Revolution remain iconic to this day—Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other’s images. In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was “the photographer of the Revolution,” there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions).

By comparing fictional representations with "real" New Women in late-Victorian Britain, Sally Ledger makes a major contribution to an understanding of the "Woman Question" at the end of the century. Chapters on imperialism, socialism, sexual decadence, and metropolitan life situate the "revolting daughters" of the Victorian age in a broader cultural context than previous studies.