Search results for ""Vertigo""

Una profunda autoficción donde la autora nos muestra de forma intimista lo que se siente al decidir llevar a cabo un cambio de vida.Un relato honesto y fresco sobre la crisis de los treinta.Vértigo es el retrato de una transición vital, de un momento en el que necesité saltar al vacío, como si mi cuerpo supiera la magnitud del cambio que me esperaba al otro lado.En Vértigo tejí las emociones que me invadían y las fui entendiendo hilo a hilo, y me doy cuenta de que siempre son los mismos hilos los que me duelen, los que me satisfacen o los que me enervan. Mis grandes dramas se simplifican a tres colores primarios que se van combinando de formas diferentes.De aquel Vértigo salió este libro y en esa crisis es donde empecé a componer las canciones que me han cambiado la vida. Rigoberta ya es una parte de Paula. Rigoberta siempre ha estado en mí. Rigoberta somos un poco todas.

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Perfectly titled, Vertigo —W.G. Sebald's marvelous first novel — is a work that teeters on the edge: compelling, puzzling, and deeply unsettling. An unnamed narrator, beset by nervous ailments, journeys accross Europe to Vienna, Venice, Verona, Riva, and finally to his childhood home in a small Bavarian village. He is also journeying into the past. Traveling in the footsteps of Stendhal, Casanova, and Kafka, the narrator draws the reader, line by line, into a dizzying web of history, biography, legends, literature, and — most perilously — memories.

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Víctor Menchaca vive en un barrio marginal de una gran ciudad, donde los jóvenes conviven diariamente con la pobreza, la delincuencia y la droga. Víctor no es una excepción: muy pronto se convierte en camello y cae en la adicción a la heroína. Pero un día se topa con dos personas que darán un giro a su vida: Montecristo y su hija, Heaven. Gracias a ellos y a su propia y férrea voluntad, Víctor logra enderezar su vida guiado por su pasión por la montaña y su amor por Heaven.

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Vertigo (1958) is widely regarded as not only one of Hitchcock's best films, but one of the greatest films of world cinema. Made at the time when the old studio system was breaking up, it functions both as an embodiment of the supremely seductive visual pleasures that 'classical Hollywood' could offer and – with the help of an elaborate plot twist – as a laying bare of their dangerous dark side. The film's core is a study in romantic obsession, as James Stewart's Scottie pursues Madeleine/Judy (Kim Novak) to her death in a remote Californian mission. Novak is ice cool but vulnerable, Stewart – in the darkest role of his career – genial on the surface but damaged within. Although it can be seen as Hitchcock's most personal film, Charles Barr argues that, like Citizen Kane, Vertigo is at the same time a triumph not so much of individual authorship as of creative collaboration. He highlights the crucial role of screenwriters Alec Coppel and Samuel Taylor and, by a combination of textual and contextual analysis, explores the reasons why Vertigo continues to inspire such fascination. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Barr looks afresh at Vertigo alongside the recently-rediscovered 'lost' silent The White Shadow (1924), scripted by Hitchcock, which also features the trope of the double, and at the acclaimed contemporary silent film The Artist (2011), which pays explicit homage to Vertigo in its soundtrack.

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A veces necesitamos perdernos para encontrar nuestro amor.Querida Alejandra:Desde el día en que te vi por primera vez en mi librería, supe que ibas a revolucionar mi vida. Con tus dudas, tus miedos, tu peculiar manera de considerarte no lectora. Con ese dolor y esa rabia que guardas desde hace años hacia un padre ausente. Pero también con tus colores, esos outfits imposibles, esa belleza que brilla fuera y dentro de ti, esa necesidad de comerte la vida a bocados mientras buscas un camino que seguir.Un camino que, por ahora, te aleja de mí y te lleva a Gran Canaria. Temo que no vuelvas y me dejes con mis libros, con mi abuelo, algo perdido sin ti. Pero, si el viaje sirve para que te encuentres y te reconcilies con la vida, aguantaré. Te esperaré. Sé que las relaciones a distancia son un riesgo y lo que yo te ofrezco no es mucho? Lo dejaría todo por ti? Volverás a mí? Quién sabe, mi querida rubia, mi Álex.Una vez

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Harald Jähner (Author) Harald Jähner is a cultural journalist and former editor of the Berliner Zeitung. He was also an honorary professor of cultural journalism at the Berlin University of the Arts. His book Aftermath: Life in the Fallout of the Third Reich was shortlisted for the 2021 Baillie Gifford Prize for Non-Fiction in the UK and won the Leipzig Book Fair Prize for Non-Fiction in his native Germany.Shaun Whiteside (Translator) Shaun Whiteside is an award-winning translator from French, German, Italian and Dutch. His most recent translations from German include Aftermath by Harald Jähner, To Die in Spring by Ralf Rothmann, Swansong 1945 by Walter Kempowski, Berlin Finale by Heinz Rein and The Broken House by Horst Krüger.

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‘Nothing like Vertigo is likely to be encountered in the course of one's regular reading. One emerges from it shaken, seduced, and deeply impressed’ Anita Brookner, SpectatorWhat could possibly connect Stendhal's unrequited love, a series of murders by a clandestine organisation, the Great Fire of London, a story by Kafka and a closed-down pizzeria in Verona? Part fiction, part travelogue, the narrator of Sebald’s compelling masterpiece pursues his solitary, eccentric course from England to Italy and beyond, succumbing to the vertiginous unreliability of memory itself.‘As a reader, you find his prose wrapping itself, wraith-like, round your imagination, casting a baffling and indefinable spell… [Sebald] entertains, provokes, stimulates and inspires’ Robert McCrum, Observer

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**WINNER OF THE FORWARD PRIZE FOR BEST COLLECTION 2019****WINNER OF THE ROEHAMPTON PRIZE FOR BEST POETRY COLLECTION 2019**Violence hangs over this book like an electric storm. Beginning with a poem about the teenage dawning of sexuality, Vertigo & Ghost pitches quickly into a long sequence of graphic, stunning pieces about Zeus as a serial rapist, for whom woman are prey and sex is weaponised. These are frank, brilliant, devastating poems of vulnerability and rage, and as Zeus is confronted with aggressions both personal and historical, his house comes crumbling down. A disturbing contemporary world is exposed, in which violent acts against women continue to be perpetrated on a daily – hourly – basis. The book shifts, in its second half, to an intimate and lyrical document of depression and family life. It sounds out the complex and ambivalent terrain of early motherhood – its anxieties and claustrophobias as well as its gifts of tenderness and love – reclaiming the sanctuary of domestic private life, and the right to raise children in peace and safety. Vertigo & Ghost is an important, necessary book, hugely impressive in its range and risk, and dramatic in its currency: a collection that speaks out with clarity, grace and bravery against the abuse of power.**SHORTLISTED FOR THE 2020 RATHBONES FOLIO PRIZE****SHORTLISTED FOR THE 2019 T. S. ELIOT PRIZE** ‘Misogynistic violence, ancient myth and modern rage confront each other in moving and dynamic verse’ Financial Times

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Housewife Natsumi leads a small, unremarkable life in a modern Tokyo apartment with her husband and two sons: she does the laundry, goes on trips to the supermarket, visits friends and gossips with neighbours. Tracing her conversations and interactions with her family and friends as they blend seamlessly into her own infernally buzzing internal monologue, Mild Vertigo explores the dizzying reality of being unable to locate oneself in the endless stream of minutiae that forms a lonely life confined to a middle-class home, where both everything and nothing happens. With shades of Clarice Lispector, Elena Ferrante and Lucy Ellmann, this verbally acrobatic novel by the esteemed novelist, essayist and critic Mieko Kanai – whose work enjoys a cult status in Japan – is a disconcerting and radically imaginative portrait of selfhood in late-stage capitalist society.

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A National Poetry Series winner, chosen by C.D. Wright. This visionary seventh collection by the PEN USA Award-winning poet pivots around uncertainties, mysteries, and the unexpected to find the language of the mind's theater. Melancholy and playful, analytic and lyrical, Vertigo immerses the reader in a dense realm of memory and multiple perspectives, repositioning our relations to daily life, the past, and the future.

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An irresistible gift edition of the mindbending thriller that inspired Hitchcock's Vertigo He isn't a cop anymore, but when an old friend asks Flavières to keep an eye on his dazzlingly beautiful wife, how can he refuse? And so he begins to scour the streets of wartime Paris in search of a woman who belongs to no one, not even to herself. Soon, intrigue is replaced by obsession, and dreams by nightmares, as the boundaries between the living and the dead begin to blur... This is the original breath-taking psychological thriller behind Hitchcock's legendary film-the story of a desperate man, tormented by his search for the truth, and ultimately destroyed by a dark, terrible secret.

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''This is one of the most gripping accounts of an era spanning war defeat, humiliation and failed revolution in 1918 to the violence, intimidation and propaganda of the Nazis'' rise to power in 1933. It contains many lessons for the world now.'' - John Kampfner, bestselling author of Why The Germans Do It Better''Vertigo is outstanding. Harald Jähner's gift for illuminating the big picture with telling detail gives the reader an uncanny sense of what it was actually like to be present in Germany during the Weimar Republic. This is history at its very best.'' - Julia Boyd, bestselling author of Travellers in the Third ReichGermany, 1918: a country in flux. The First World War is over, the nation defeated. Revolution is afoot, the monarchy has fallen and the victory of democracy beckons. Everything must change with the times.Out of the ashes of the First World War, Germany launches an unprecedented political project: it

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'I was twelve years old the first time I walked on water . . .'So begins Mr Vertigo, the story of Walt, an irrepressible orphan from the Mid-West. Under the tutelage of the mesmerising Master Yehudi, Walt is taken back to the mysterious house on the plains to prepare not only for the ability to fly, but also for the stardom that will accompany it. At the same time a delighted race through 1920s Americana and a richly allusive parable, Mr Vertigo is a compelling, magical novel - a work of true originality by a writer at the height of his powers. 'A virtuoso piece of storytelling by a master of the modern American fable.' The Independent

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The apparently unremarkable Natsumi lives in a modern Tokyo apartment with her husband and two sons: she does the laundry, goes to the supermarket, visits friends, and gossips with neighbors. Tracing her conversations and interactions with her family and friends as they blend seamlessly into her own infernally buzzing internal monologue, Mild Vertigo explores the dizzying reality of being unable to locate oneself in the endless stream of minutiae that forms a lonely life confined to a middle-class home, where both everything and nothing happens. With shades of Clarice Lispector, Elena Ferrante, and Kobo Abe, this verbally acrobatic novel by the esteemed novelist, essayist, and critic Mieko Kanai—whose work enjoys a cult status in Japan—is a disconcerting and radically imaginative portrait of selfhood in late-stage capitalist society.

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At once intimate and wide-ranging, and as enthralling, surprising, and vivid as the place itself, this is a uniquely eye-opening tour of one of the great metropolises of the world, and its largest Spanish-speaking city.   Horizontal Vertigo: The title refers to the fear of ever-impending earthquakes that led Mexicans to build their capital city outward rather than upward. With the perspicacity of a keenly observant flaneur, Juan Villoro wanders through Mexico City seemingly without a plan, describing people, places, and things while brilliantly drawing connections among them. In so doing he reveals, in all its multitudinous glory, the vicissitudes and triumphs of the city ’s cultural, political, and social history: from indigenous antiquity to the Aztec period, from the Spanish conquest to Mexico City today—one of the world’s leading cultural and financial centers.   In this deeply iconoclastic book, Villoro organizes his text around a

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Benign paroxysmal positional vertigo, or BPPV, is dizziness that comes from the inner ear. It affects more than eight million people in the United States alone. The good news is that this condition can be managed at home. Carol A. Foster, an Associate Professor of Otolaryngology at the University of Colorado, Denver School of Medicine, developed a maneuver that allows sufferers to treat their own symptoms. Her YouTube video demonstrating the maneuver has more than five million views. Written in a friendly and approachable tone, Overcoming Positional Vertigo provides readers a more in-depth guide to the diagnosis of BPPV, the specifics of treatments and maneuvers, and preventative measures one can take to avoid recurrence.

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Un dibujante torpe y nervioso recibe una invitación para participar en una expedición científica en barco a Groenlandia. Una comedia vertiginosa inspirada en las aventuras de Tintín.Georges Benoit-Jean se enrola en un largo viaje en barco a Groenlandia. Allí entra en contacto con un equipo de científicos y con un escritor danés que busca inspiración para su nueva novela localizada en el ártico. Arranca así una curiosa expedición plagada de obstáculos donde una extraña tripulación ve truncada su misión al descubrir un tesoro inesperado. Entre los monumentales icebergs y los diminutos refugios que se encuentran en los fiordos, el dibujante y cronista accidental de la misión descubre que su galopante vértigo no será el único inconveniente a superar.La prensa ha dicho:"Una refrescante oda a la aventura, un inteligente homenaje a Hergé".Les Inrockuptibles"Una historia llena de encanto y giros inesperados".Le Monde"Entre la comedia disparatada y el viaje iniciático, una

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Beginning with a poem about the teenage dawning of sexuality, Vertigo & Ghost pitches quickly into a fierce, electrifying, riveting sequence that exposes Zeus as a serial rapist, for whom women are prey and sex is weaponized. As unflinching, devastating poems of vulnerability and anger confront Zeus with aggressions both personal and historical, his house comes crumbling down. In its place, acclaimed poet Fiona Benson reveals a disturbing contemporary world in which violent acts against women continue to be perpetrated on a daily, even hourly, basis. In the volume’s second half, Benson shifts to an intimate and lyrical document of depression and family life. These moving poems probe the ambivalent terrain of early motherhood—its anxieties and claustrophobias as well as its gifts of tenderness and love—reclaiming the sanctuary of domestic private life and the right to raise children in peace and safety. Together, these two halves form a complex portrait of modern womanhood. Dynamic in its range and risk, Vertigo & Ghost introduces an important British voice to an American audience, a voice that speaks out with clarity, grace, and bravery against abuse of power.

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Habla Víctor Vázquez de metales en estos versos. Enlaza así con su poética anterior, de delicadeza heridora de anzuelos. Herrumbre, escamas de dureza metálica, armaduras sobre la piel. También pronuncia un osario que recubre los tejidos blandos que son el yo, el cuerpo amado y el poema. Sin embargo existe, en las córneas de este Valeria o el vértigo, el metal que se escinde sin aristas en la maleabilidad de su fórmula. Mercurio. Azogue, plata líquida, es unidad y corpúsculos con un sólo movimiento de escisión. Así el poema da versos que se lanzan como balas liquefactas y sinuosas. Así también el cuerpo de la amante se desprende de su parte desde el todo y pare.El poeta es rey que se despoja del armamento fiero para asumir una cierta pérdida y abdicar. Llega el relevo de la sangre a través de la sangre y no es nada en lo que edipicar ni con lo que electrizarse. Sólo asume la curiosidad de los límites: la piel de la madre es ahora la piel de la hija y la piel de los ojos y el vértigo

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Beginning with a poem about the teenage dawning of sexuality, Vertigo & Ghost pitches quickly into a fierce, electrifying, riveting sequence that exposes Zeus as a serial rapist, for whom women are prey and sex is weaponized. As unflinching, devastating poems of vulnerability and anger confront Zeus with aggressions both personal and historical, his house comes crumbling down. In its place, acclaimed poet Fiona Benson reveals a disturbing contemporary world in which violent acts against women continue to be perpetrated on a daily, even hourly, basis. In the volume’s second half, Benson shifts to an intimate and lyrical document of depression and family life. These moving poems probe the ambivalent terrain of early motherhood—its anxieties and claustrophobias as well as its gifts of tenderness and love—reclaiming the sanctuary of domestic private life and the right to raise children in peace and safety. Together, these two halves form a complex portrait of modern womanhood. Dynamic in its range and risk, Vertigo & Ghost introduces an important British voice to an American audience, a voice that speaks out with clarity, grace, and bravery against abuse of power.

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Reading philosophy through the lens of Alfred Hitchcock’s Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. Fear of the void, terror of heights: everyone knows what acrophobia is, and many suffer from it. Before Freud, the so-called “sciences of the mind” reserved a place of honor for vertigo in the domain of mental pathologies. The fear of falling—which is also the fear of giving in to the temptation to let oneself fall—has long been understood as a destabilizing yet intoxicating element without which consciousness itself was inconceivable. Some went so far as to induce it in patients through frightening rotational therapies. In a less cruel but no less radical way, vertigo also staked its claim in philosophy. If Montaigne and Pascal could still consider it a perturbation of reason and a trick of the imagination which had to be subdued, subsequent thinkers stopped considering it an occasional imaginative instability to be overcome. It came, rather, to be seen as intrinsic to reason, such that identity manifests itself as tottering, kinetic, opaque and, indeed, vertiginous. Andrea Cavalletti’s stunning book sets this critique of stable consciousness beside one of Hitchcock’s most famous thrillers, a drama of identity and its abysses. Hitchcock’s brilliant combination of a dolly and a zoom to recreate the effect of falling describes that double movement of “pushing away and bringing closer” which is the habitual condition of the subject and of intersubjectivity. To reach myself, I must see myself from the bottom of the abyss, with the eyes of another. Only then does my “here” flee down there and, from there, attract me. From classical medicine and from the role of imagination in our biopolitical world to the very heart of philosophy, from Hollywood to Heidegger’s “being-toward-death,” Cavalletti brings out the vertiginous nature of identity.

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Reading philosophy through the lens of Alfred Hitchcock’s Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. Fear of the void, terror of heights: everyone knows what acrophobia is, and many suffer from it. Before Freud, the so-called “sciences of the mind” reserved a place of honor for vertigo in the domain of mental pathologies. The fear of falling—which is also the fear of giving in to the temptation to let oneself fall—has long been understood as a destabilizing yet intoxicating element without which consciousness itself was inconceivable. Some went so far as to induce it in patients through frightening rotational therapies. In a less cruel but no less radical way, vertigo also staked its claim in philosophy. If Montaigne and Pascal could still consider it a perturbation of reason and a trick of the imagination which had to be subdued, subsequent thinkers stopped considering it an occasional imaginative instability to be overcome. It came, rather, to be seen as intrinsic to reason, such that identity manifests itself as tottering, kinetic, opaque and, indeed, vertiginous. Andrea Cavalletti’s stunning book sets this critique of stable consciousness beside one of Hitchcock’s most famous thrillers, a drama of identity and its abysses. Hitchcock’s brilliant combination of a dolly and a zoom to recreate the effect of falling describes that double movement of “pushing away and bringing closer” which is the habitual condition of the subject and of intersubjectivity. To reach myself, I must see myself from the bottom of the abyss, with the eyes of another. Only then does my “here” flee down there and, from there, attract me. From classical medicine and from the role of imagination in our biopolitical world to the very heart of philosophy, from Hollywood to Heidegger’s “being-toward-death,” Cavalletti brings out the vertiginous nature of identity.

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Since the construction of the first skyscrapers in the 19th century, urban environments have been increasingly marked by verticality. The advent of the modern metropolis transformed the experience of gravity in ways which resonate acutely today. At a time of instability, the rise of tall buildings poses new challenges to our sense of balance, yet the implications of vertigo remain unacknowledged. This book reflects on the precarious equilibrium at the heart of contemporary cities, where the drive to conquer ever greater heights has reconfigured our notion of abyss. Exploring the spatial thrills as well as anxieties associated with vertigo, it traces how different subjects experience, represent and transgress buildings and the spaces in between. On Balance tackles this complex subject through an interdisciplinary approach informed by social and medical sciences. After providing a historical overview of how the discourse on vertigo has permeated Western culture, it explores the work of modern and contemporary artists who have engaged with architecture as a field of dizzy visions. It then shifts focus to spatial practices predicated on the mastery of vertigo, such as climbing and funambulism, which have found in cities new stages for gravity-defying performances. Moving into the realm of architectural culture, the book offers a critical analysis of design projects and spaces that challenge the user’s stability, from the modernist quest for weightlessness to the states of suspension that have emerged in recent decades. This broad-ranging exploration of vertigo reveals architecture to be central to our perception of balance at multiple sensory, spatial and social levels.

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Vertigo is the feeling that everything around is moving or spinning and is usually caused by a problem with the balance mechanisms in the inner ear. It can also be caused by problems in certain parts of the brain or vision disorders.This concise handbook is a quick reference introducing the key concepts of vertigo. Beginning with an explanation of the key terms and the causes of dizziness, the following chapters discuss the examination, diagnosis and management of vestibular (parts of the inner ear and brain that process the sensory information involved with controlling balance and eye movements) disorders.An ancillary DVD of 27 videos demonstrates clinical neuro-otologic examination techniques and clinical findings.Key Features Concise introduction to key concepts of vertigo Explains key terms, causes, examination, diagnosis and management Includes DVD demonstrating clinical examination techniques and findings

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Many congenitally deaf infants and children suffer vestibular failure, which produces problems with their postural control, locomotion and gait. However it is known that these children can eventually catch up with their normal balance control status in terms of development and growth as a result of central vestibular compensation. In Vertigo and Balance Disorders in Children the author provides comprehensive and integrative information on the vestibular system. The materials presented range from the history of its study, basic anatomy and physiology of vestibular organs, mechanism of balance and motor function development, to clinical aspects of vestibular disorders including their evaluation and pediatric neurology. Although there have been books discussing postural responses of infants and children with vestibular disorders, this is the first to present the influence of peripheral vestibular disorders and central vestibular compensation comprehensively. This book will benefit not only practitioners in this field such as pediatric otolaryngologists, pediatricians, child neurologists and neurologists, but also clinical specialists such as neonatologists, physical therapists and speech therapists, helping them to better care for patients with vestibular failure.

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A pesar del tiempo transcurrido desde su redacción, este finísimo ensayo de PascalBruckner sobre los extravíos del cosmopolitismo? la globalización?sigue siendode una increíble actualidad: Un combate titánico enfrenta a dos posturas, tanalérgicas la una a la otra como el capitalismo al comunismo: la postura nacionalistay xenófoba, aferrada a su patrimonio, y la postura cosmopolita, ávida de losotros y de cambiar la estrechez nacional por un ropaje más amplio. Para superarla estéril confrontación de posiciones, el filósofo intenta pensar en el espacio de uncosmopolitismo no adocenado, en el que la diferencia entre las culturas no impida larelación, ni ésta anule las diferencias.

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Cuando Sofía decide mudarse con su hijo a un nuevo domicilio tras su separación, no puede creerse su buena suerte: acaba de encontrar un precioso piso restaurado en pleno centro de la ciudad, decorado con exquisito gusto y muy asequible. Es perfecto para ella, allí podrá escribir tranquila y comenzar una nueva vida, que se augura feliz.Sin embargo, poco a poco sus rutinas en su nuevo hogar parecen enturbiarse: pronto su hijo se independiza y ella se queda sola con la única compañía, omnipresente, de Germán, su único vecino, que vive en el piso de arriba del antiguo edificio. Se trata de un hombre desaliñado, oscuro, turbio, que al principio la exaspera y luego hace que una difusa sensación de amenaza, de creciente pavor, se cierne sobre ella, hasta el punto de que Sofía comienza a sospechar si no tendría algo que ver con la muerte del anterior propietario de su piso, una muerte, a su vez, relacionada de una extraña manera con un suicidio ocurrido recientemente en su mismo barrio.

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En este ensayo, escrito tras el atentado contra la revista Charlie Hebdo, Étienne Barilier muestra que el fundamentalismo islámico continuará causando estragos mientras la idea de Dios siga vinculada a la fuerza bruta. Sin embargo, nuestra sociedad? o, mejor dicho, nuestra cultura, nuestras ideas y las grandes obras que han producido?tiene algo que ofrecer para combatir el fanatismo religioso: unos valores humanistas que se manifiestan en nuestra tradición de pensamiento y en nuestras obras de arte más universales, fruto de siglos de esfuerzo civilizatorio y coraje intelectual.

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This book tells you about vertigo and dizziness in the context of balance disorders

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Catch a kaleidoscopic wave of color from our trippy, dimensional design with the Now House by Jonathan Adler 1000 Piece Vertigo Puzzle. Now House by Jonathan Adler stationery and gift products are produced by Galison.• The perfect pastime to brighten up your tabletop• 1,000 single side, unique cut pieces• Finished puzzle size: 20 x 27• Chic and sturdy matte-finish storage box: 8.50 x 10 x 2

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