The Relevance Of Discourse Analysis / T. Ensick, A. Van Essen And T. Van Der Geest -- Interpretations And Explanations In Discourse : Modes Of Advising In Family Planning / C.n. Candlin And J. Lucas. Comments / P. Ten Have -- Friendly Persuasion : The Negotiation Of Decisions To Use Oral Contraceptives / S. Fischer And A.d. Todd -- A Quatitative Pragmatic Analysis Of Discourse : Some Theoretical And Practical Implications / T. Van Der Geest. Comments / J.h.m. Ettema -- Feelings For Feelings : Expressive Information And Its Role In Doctor-patient Communication / M. Bax. Comments / M. Fahrenfort -- Conversation Control In Doctor Patient Interaction / J. Berenst. Comments / D. Springorum -- Notes On Privacy In Conversation With Schizophrenic Patients / D.m. Van Bijsterveld. Comments / A. Van Berkel. The Evaluation Of Discourse Structures With A Probablistic Sequential Approach : The Case Of The Psychosomatic Ward Round / D. Fehlenberg. Comments / P. Ten Have -- Summarizing In Doctor-patient Interaction / H. Houtkoop-steenstra. Comments / M. Fahrenfort -- Public Discourse And The Problem Of Social Order / W. Labov And T. Labov. Comments / D. Franck -- Conversational Analysis Of Political Interviews : A Diachronic Survey / J. Schwitalla. Comments / R. Grootendorst -- Fantasy Theme Analysis Of Presidential Debates / E.g. Bormann. Comments / D. Springorum -- The Normative Reconstruction Of Argumentative Discourse : An Illustration Of Its Efficacy In The Analysis Of The Confrontation Stage In A Political Discussion / F. Van Eemeren. Comments / A. Van Berkel. Political Interviews / T. Ensink. Comments / R. Grootendorst -- The Expressive Strategy In The Political Interviews : A System Error / P. Van Lint -- General Discussion Of Political Discourse / J.g. Stappers. T. Ensink, A. Van Essen And T. Van Der Geest (eds.). Bibliography: P. [385]-405.

Dit verhaal speelt in de Tweede Wereldoorlog. Als Kees Valk in de zomervakantie een tijdje gaat logeren op een boerderij, wacht hem een grote verrassing. Zijn broer Gerard, die al een tijdje was ondergedoken voor de Duitsers, woont vlak bij die boerderij in een hol. Kees beleeft spannende uren als hij een nachtje bij Gerard in het hol komt logeren en er een munitietrein wordt beschoten. Enkele dagen later is er een razzia op komst. Kees moet zijn broer gaan waarschuwen. Als dat maar goed gaat...

Jarenlang bezoekt Rob van Essen elke week zijn bejaarde moeder in Huizen. Vanuit Amsterdam neemt hij eerst de trein en dan de bus. Altijd weer een hele expeditie die hem net iets meer tijd kost dan hij heeft. Een opmerking van zijn leraar zenmeditatie zet hem op het juiste spoor, en voortaan loopt Van Essen het laatste stuk, van station Naarden-Bussum naar Huizen, een wandeling van zo’n zeven kilometer, en aan het eind van de middag weer terug. Eerst strompelend en later op lichte voeten wandelt Van Essen een vaste route, langs de bebouwde kom, de half-bebouwde kom, het Eerste Bos en het Tweede Bos. Onderweg sluit hij vriendschap met een roodborsttapuit, overdenkt hij hoe licht wordt vormgegeven en welk ritme er zit in stilstand en beweging. Heen en weer is een zoektocht naar de ware vorm, en tegelijk een klein monument voor een moeder – en voor de onbekende die aan de rand van een dennenbosje werd herdacht.

Journalist Rob Hollander wordt door zijn oud-studiegenoot Icks uitgenodigd langs te komen in Los Angeles. Daar biedt Icks hem de mogelijkheid fouten uit het verleden te herstellen door terug te reizen in de tijd.In de trip waarin Hollander vervolgens terechtkomt is een grote rol weggelegd voor een ingrijpende gebeurtenis uit zijn jeugd en zorgt een hereniging met een aantal medestudenten ervoor dat alles in een nieuw licht wordt geplaatst. Is het leven een enkele reis of kan je zo nu en dan een stukje terug om iets te herstellen?Ik kom hier nog op terug is een meeslepende en verrassende roman waarin alles met elkaar samenhangt. Net als in zijn eerdere, diverse malen bekroonde boeken slaagt Van Essen erin de alledaagse werkelijkheid te vermengen met het onverwachte en het onmogelijke, in een roman over schijn en werkelijkheid, de last van het verleden en de noodzaak deel uit te maken van een groter geheel.

'Zoals een vis geen idee heeft wat water is, had ik geen idee van de verzorgingsstaat. Om wat al bestaat bij je geboorte hangt een zweem van eeuwigheid wanneer je opgroeit. De verzorgingsstaat, die aaneengesloten periode van vrede en welvaart (voor ons, dan toch) waarin wat we deden zonder al te veel consequenties was, omdat onder alle trapezes waaraan wij onze kunstjes uitvoerden een stevig vangnet hing.' Rob van Essen noteert persoonlijke herinneringen, beschouwingen en anekdotes over de decennia waarin hij opgroeide en beschrijft hoe de tijdgeest van invloed was op zijn levensloop. In een mengeling van autobiografische en beschouwende passages overstijgt Van Essen de persoonlijke anekdotiek en laat hij zijn licht schijnen over een tijd die eeuwig leek te duren, maar die nu definitief voorbij is. Bron: Flaptekst, uitgeversinformatie

Dit verhaal speelt in de Tweede Wereldoorlog. Als Kees Valk in de zomervakantie een tijdje gaat logeren op een boerderij, wacht hem een grote verrassing. Zijn broer Gerard, die al een tijdje was ondergedoken voor de Duitsers, woont vlak bij die boerderij in een hol. Kees beleeft spannende uren als hij een nachtje bij Gerard in het hol komt logeren en er een munitietrein wordt beschoten. Enkele dagen later is er een razzia op komst. Kees moet zijn broer gaan waarschuwen. Als dat maar goed gaat...

In de autobiografische roman "Parre' vertelt Arjan van Essen het ontroerende verhaal van een Veluwse boerenjongen die vanuit zijn streng christelijke milieu terechtkomt in de wereld van het gokken. Parre groeit op in een Veluwse boerengemeenschap, in een huis waar nauwelijks gesproken wordt. Vol verwondering en op zoek naar de verbinding die hij thuis niet vindt, trekt hij er als jonge jongen 's nachts op uit en sluit hij vriendschappen met de dieren in het bos. Om diezelfde reden stapt hij in de dure Mercedes die hem in Amsterdam brengt. Vanaf dat moment leeft Parre in twee werelden: in het streng christelijke milieu dat hij zichzelf eigen heeft gemaakt en in de gokscene in de stad. Dat hij die twee levens zorgvuldig gescheiden houdt, is voor hem vanzelfsprekend. Over sommige dingen spreek je niet. Totdat hij met zijn rug tegen de muur staat en niets anders wil dan verdwijnen. Achtervolgd door schulden, op de grens van waanzin, maakt hij een keuze. Geïnspireerd door zijn eigen levensverhaal geeft Van Essen een intieme inkijk in de eenzame wereld van een gokverslaafde die het voor elkaar krijgt om uit het dal te klimmen. (source: Bol.com)

Ze zijn allemaal op zoek naar geluk, verlossing en verlichting, de personages in 'Hier wonen ook mensen', allen op hun eigen manier. Sommigen gaan op zoek naar oude boeddhistische rituelen in Korea, anderen trekken de woestijn in, reizen naar Portugal of keren terug naar het ouderlijk huis. Ondertussen komt God langs bij Richard Dawkins en worden in kroegtoiletten pistolen getrokken. In de verhalen van Rob van Essen zijn melancholie en waanzin nooit ver weg, maar in de meest onverwachte hoeken schuilt humor en genade. Van Essens veelgeprezen laconieke stijl maakt deze verhalen een traktatie voor lezers die zich graag verbazen.

Alternating between nineteenth-century England and present-day New York, this is the story of renowned British painter J. M. W. Turner and his circle of patrons and lovers. It is also the story of Henry Leiden, a middle-aged family man with a troubled marriage and a dead-end job, who finds his life transformed by his discovery of Turners The Center of the World , a mesmerizing and unsettling painting of Helen of Troy that was thought to have been lost forever. This painting has such devastating erotic power that it was kept hidden for almost two centuries, and was even said to have been destroyed...until Henry stumbles upon it in a secret compartment at his summer home in the Adirondacks. Though he knows it is an object of immense value, the thought of parting with it is unbearable: Henry is transfixed by its revelation of a whole other world, one of transcendent light, joy, and possibility. Back in the nineteenth century, Turner struggles to create The Center of the World , his greatest painting, but a painting unlike anything he (or anyone else) has ever attempted. We meet his patron, Lord Egremont, an aristocrat in whose palatial home Turner talks freely about his art and his beliefs. We also meet Elizabeth Spencer, Egremonts mistress and Turners muse, the model for his Helen. Meanwhile, in the present, Henry is relentlessly trailed by an unscrupulous art dealer determined to get his hands on the painting at any cost. Filled with sex, beauty, and love (of all kinds), this richly textured novel explores the intersection between art and eroticism. Amazon.com Review Q&A with Thomas Van Essen Q. When did you first get the idea for The Center of the World ? A. It was during my first or second year of graduate school, a long time ago. I was taking a course in nineteenth-century nonfiction. I was sitting in the back of the room, on the left-hand side, when the professor, George Levine, told the famous story about Ruskin supposedly burning Turners erotic sketches. I didnt know an awful lot about Turner at the time, but I knew I liked him and that he was a great painter. My first thought, I remember, was what a shame, but my second was, what if these sketches were a sign of something else? What if Ruskin burnt them not because they were merely erotic, but because they had some kind of power in them that was more than mere eroticism? What if they were the preliminary sketches for a work like no other? That notion, in various permutations, knocked around in the back of mind for around twenty-five years. Q. So what made you finally explore that theme in a novel? A. I have a very good day job, but one evening about ten years ago I had one of those is this all there is? moments. I was the last one left in the office; I had just gotten off the phone with a very demanding client and knew that I had done a pretty good job of handling a complicated situation. In some universe I should have been very pleased with myself, but I just felt empty and depressed. Is this what I really want out of life? I had stopped writing after I had failed to find a publisher for my first novel, a pretty good genre novel, but I knew that I needed to go back to it. So I decided I would just write the book I wanted to write; I wouldnt worry about it being publishable or anything like that. I would just do what I needed to do, engage with the ideas I really cared about. I would go back to the idea that had been kicking around in my head and in my journals since graduate school. I made this deal with myself. I would get up an hour and half early every morning and write before I went to work. No adolescent agonizing, just produce some prose every day. All I had to do, I figured, was write two hundred words a day, or a thousand words a week. Fifty thousand words a year and Id have a novel in two years. Piece of cake. It was, of course, more complicated than that and the two years turned to three and to four between living and crossing stuff out, but I stuck with it because I fell in love with what I was doing. Q. How would you describe the idea that is at the heart of The Center of the World ? A. In Against Interpretation Susan Sontag says,Transparence is the highest, most liberating value in art . . . Transparence means experiencing the luminousness of the thing in itself, of things being what they are. What if the sketches that Ruskin destroyed were studies for a work of art that achieved that transparence that Sontag talks about more perfectly than any work of art ever has? That work would be uninterpretable, it would just be what it was. How would people respond to such a thing? How could such a thing have been created? These are the ideas that I am playing around with in the novel. An uninterpretable work, a work that just is, would be something that, as an aesthetic object, is more perfect than anything yet created and more erotic, as an erotic object, than any thing that ever was before. When I think about the Turner painting in the book I think about two vectors, one labeled art and one labeled eroticism merging someplace beyond anything we know in either category. That intersection, treated as a real possibility, is what the book is about. How could such an impossible object be created in the past? What would it be like to be in the presence of such an object in the present? Those are the questions I am trying to deal with. Q.Thats a very theoretical and pointy-headed description of what you are doing. The book actually doesnt seem that theory-driven. A.Thank you. Thats me, in part, looking back and trying to make sense of the book after the fact. Q. Did you do a lot of research for this book? A. Yes, but not a ton. In a joint interview E. L. Doctorow and Joe Papaleo (both of whom were my teachers at Sarah Lawrence) talk about how in fiction writing, too close an adherence to historical fact can be crippling. ( Conversations With E. L. Doctorow , University Press of Mississippi, 1999) Everything that happens in the book is more or less plausible given the broad outlines of what we know about Turners career, but I didnt let myself be limited by the facts. One of the great things about writing about Turner is that he was a very private personwe dont really know an awful lot about the man beyond the paintingsso I felt like I had quite a few degrees of freedom there. I went to Petworth House a few times during the course of the writingjust wandering around like a touristand tried to imagine how this real place could be instrumental in the creation of the impossible object that is at the heart of my book. The descriptions of the rooms and the paintings at Petworth are pretty accurate. The National Trust guide to Petworth House was an import resource. Q. The Turner painting at the center of your novel seems to be a sexually explicit representation of Helen of Troy. How did you get to that? A. Well, I started with Turners erotic sketches and the notion that they were remnants, as it were, of a greater, but now lost, work. That work would have to have an erotic element to it, it would have to be a historical painting (this is Turner after all), and it would have to be about something really important. That got me to Helen pretty quickly. Early in the novel Turner is talking to his patron, Lord Egremont, about the difference between the ancients and the moderns, and who knew more about the truth. Turner says that there is more truth between a womans legs than there ever was between Homers ears. What he means here, I think, is that the truth is not so much an intellectual creation, but it is something that resides ultimately in the body and in human desire. When Turner, with Egremonts encouragement, tries to represent that truth he is drawn to Helen, because Helen is the ultimate object of desire. She is, in some sense, the cause of everything: the Trojan War and epic poetry, art; the origin, from Turners perspective, of everything that matters. Q. What would you like your readers to get out of The Center of the World ? A. Pleasure, of course. Turner was a Romantic and his paintings, while wonderful as formal objects, are also full of feeling. My book is not one of those cool postmodern affairs. It shares, in some small way, a Romantic (with a capital R) sensibility with Turner and other artists and poets of his time. I would like readers to leave with a feeling for what art and love can be and with some new ideas about how those two things might be related. Review Was J.M.W. Turner anything like Thomas Van Essen has presented him in this ambitious debut novel? After a few pages you will hardly care, as you will be gladly moving from the dinner table of Turners patron in early 19th century England, to the calculating art world of present-day New York City, to the rustic beauty of the Adirondacks and all its treasures, hidden and otherwise. In Thomas Van Essens characters and the impressive scope of this story we are given a strong case for the transformative nature of art, and how beauty can be a balm for the human soul. Mary Beth Keane, author of Fever and The Walking People "Van Essens debut novel departs from the recent real-life discovery of maritime landscapist J.M.W. Turners erotica to trace a fictional portrait by the painter of a scantily clad Helen of Troy awaiting Paris...All who meet Turners Helen see simultaneously truth, beauty, and the impetus for sin. With the paintings journey, newcomer Van Essen demonstrates a flair for dialogue and an appreciation for how art moves the human heart." Publishers Weekly ϡ쯦랠

Alternating between nineteenth-century England and present-day New York, this is the story of renowned British painter J. M. W. Turner and his circle of patrons and lovers. It is also the story of Henry Leiden, a middle-aged family man with a troubled marriage and a dead-end job, who finds his life transformed by his discovery of Turner's The Center of the World , a mesmerizing and unsettling painting of Helen of Troy that was thought to have been lost forever. This painting has such devastating erotic power that it was kept hidden for almost two centuries, and was even said to have been destroyed...until Henry stumbles upon it in a secret compartment at his summer home in the Adirondacks. Though he knows it is an object of immense value, the thought of parting with it is unbearable: Henry is transfixed by its revelation of a whole other world, one of transcendent light, joy, and possibility. Back in the nineteenth century, Turner struggles to create The Center of the World , his greatest painting, but a painting unlike anything he (or anyone else) has ever attempted. We meet his patron, Lord Egremont, an aristocrat in whose palatial home Turner talks freely about his art and his beliefs. We also meet Elizabeth Spencer, Egremont's mistress and Turner's muse, the model for his Helen. Meanwhile, in the present, Henry is relentlessly trailed by an unscrupulous art dealer determined to get his hands on the painting at any cost. Filled with sex, beauty, and love (of all kinds), this richly textured novel explores the intersection between art and eroticism. Amazon.com Review Q&A with Thomas Van Essen Q. When did you first get the idea for The Center of the World ? A. It was during my first or second year of graduate school, a long time ago. I was taking a course in nineteenth-century nonfiction. I was sitting in the back of the room, on the left-hand side, when the professor, George Levine, told the famous story about Ruskin supposedly burning Turner's erotic sketches. I didn't know an awful lot about Turner at the time, but I knew I liked him and that he was a great painter. My first thought, I remember, was what a shame, but my second was, what if these sketches were a sign of something else? What if Ruskin burnt them not because they were merely erotic, but because they had some kind of power in them that was more than mere eroticism? What if they were the preliminary sketches for a work like no other? That notion, in various permutations, knocked around in the back of mind for around twenty-five years. Q. So what made you finally explore that theme in a novel? A. I have a very good day job, but one evening about ten years ago I had one of those is this all there is? moments. I was the last one left in the office; I had just gotten off the phone with a very demanding client and knew that I had done a pretty good job of handling a complicated situation. In some universe I should have been very pleased with myself, but I just felt empty and depressed. Is this what I really want out of life? I had stopped writing after I had failed to find a publisher for my first novel, a pretty good genre novel, but I knew that I needed to go back to it. So I decided I would just write the book I wanted to write; I wouldn't worry about it being publishable or anything like that. I would just do what I needed to do, engage with the ideas I really cared about. I would go back to the idea that had been kicking around in my head and in my journals since graduate school. I made this deal with myself. I would get up an hour and half early every morning and write before I went to work. No adolescent agonizing, just produce some prose every day. All I had to do, I figured, was write two hundred words a day, or a thousand words a week. Fifty thousand words a year and I'd have a novel in two years. Piece of cake. It was, of course, more complicated than that and the two years turned to three and to four between living and crossing stuff out, but I stuck with it because I fell in love with what I was doing. Q. How would you describe the idea that is at the heart of The Center of the World ? A. In Against Interpretation Susan Sontag says,Transparence is the highest, most liberating value in art . . . Transparence means experiencing the luminousness of the thing in itself, of things being what they are. What if the sketches that Ruskin destroyed were studies for a work of art that achieved that transparence that Sontag talks about more perfectly than any work of art ever has? That work would be uninterpretable, it would just be what it was. How would people respond to such a thing? How could such a thing have been created? These are the ideas that I am playing around with in the novel. An uninterpretable work, a work that just is, would be something that, as an aesthetic object, is more perfect than anything yet created and more erotic, as an erotic object, than any thing that ever was before. When I think about the Turner painting in the book I think about two vectors, one labeled art and one labeled eroticism merging someplace beyond anything we know in either category. That intersection, treated as a real possibility, is what the book is about. How could such an impossible object be created in the past? What would it be like to be in the presence of such an object in the present? Those are the questions I am trying to deal with. Q.That's a very theoretical and pointy-headed description of what you are doing. The book actually doesn't seem that theory-driven. A.Thank you. That's me, in part, looking back and trying to make sense of the book after the fact. Q. Did you do a lot of research for this book? A. Yes, but not a ton. In a joint interview E. L. Doctorow and Joe Papaleo (both of whom were my teachers at Sarah Lawrence) talk about how in fiction writing, too close an adherence to historical fact can be crippling. ( Conversations With E. L. Doctorow , University Press of Mississippi, 1999) Everything that happens in the book is more or less plausible given the broad outlines of what we know about Turner's career, but I didn't let myself be limited by the facts. One of the great things about writing about Turner is that he was a very private personwe don't really know an awful lot about the man beyond the paintingsso I felt like I had quite a few degrees of freedom there. I went to Petworth House a few times during the course of the writingjust wandering around like a touristand tried to imagine how this real place could be instrumental in the creation of the impossible object that is at the heart of my book. The descriptions of the rooms and the paintings at Petworth are pretty accurate. The National Trust guide to Petworth House was an import resource. Q. The Turner painting at the center of your novel seems to be a sexually explicit representation of Helen of Troy. How did you get to that? A. Well, I started with Turner's erotic sketches and the notion that they were remnants, as it were, of a greater, but now lost, work. That work would have to have an erotic element to it, it would have to be a historical painting (this is Turner after all), and it would have to be about something really important. That got me to Helen pretty quickly. Early in the novel Turner is talking to his patron, Lord Egremont, about the difference between the ancients and the moderns, and who knew more about the truth. Turner says that there is more truth between a woman's legs than there ever was between Homer's ears. What he means here, I think, is that the truth is not so much an intellectual creation, but it is something that resides ultimately in the body and in human desire. When Turner, with Egremont's encouragement, tries to represent that truth he is drawn to Helen, because Helen is the ultimate object of desire. She is, in some sense, the cause of everything: the Trojan War and epic poetry, art; the origin, from Turner's perspective, of everything that matters. Q. What would you like your readers to get out of The Center of the World ? A. Pleasure, of course. Turner was a Romantic and his paintings, while wonderful as formal objects, are also full of feeling. My book is not one of those cool postmodern affairs. It shares, in some small way, a Romantic (with a capital R) sensibility with Turner and other artists and poets of his time. I would like readers to leave with a feeling for what art and love can be and with some new ideas about how those two things might be related. Review Was J.M.W. Turner anything like Thomas Van Essen has presented him in this ambitious debut novel? After a few pages you will hardly care, as you will be gladly moving from the dinner table of Turner's patron in early 19th century England, to the calculating art world of present-day New York City, to the rustic beauty of the Adirondacks and all its treasures, hidden and otherwise. In Thomas Van Essen's characters and the impressive scope of this story we are given a strong case for the transformative nature of art, and how beauty can be a balm for the human soul. Mary Beth Keane, author of Fever and The Walking People ''Van Essen's debut novel departs from the recent real-life discovery of maritime landscapist J.M.W. Turner's erotica to trace a fictional portrait by the painter of a scantily clad Helen of Troy awaiting Paris...All who meet Turner's Helen see simultaneously truth, beauty, and the impetus for sin. With the painting's journey, newcomer Van Essen demonstrates a flair for dialogue and an appreciation for how art moves the human heart.'' Publishers Weekly

Alternating between nineteenth-century England and present-day New York, this is the story of renowned British painter J. M. W. Turner and his circle of patrons and lovers. It is also the story of Henry Leiden, a middle-aged family man with a troubled marriage and a dead-end job, who finds his life transformed by his discovery of Turner’s *The Center of the World*, a mesmerizing and unsettling painting of Helen of Troy that was thought to have been lost forever.This painting has such devastating erotic power that it was kept hidden for almost two centuries, and was even said to have been destroyed...until Henry stumbles upon it in a secret compartment at his summer home in the Adirondacks. Though he knows it is an object of immense value, the thought of parting with it is unbearable: Henry is transfixed by its revelation of a whole other world, one of transcendent light, joy, and possibility.Back in the nineteenth century, Turner struggles to create *The Center of the World*, his greatest painting, but a painting unlike anything he (or anyone else) has ever attempted. We meet his patron, Lord Egremont, an aristocrat in whose palatial home Turner talks freely about his art and his beliefs. We also meet Elizabeth Spencer, Egremont’s mistress and Turner’s muse, the model for his Helen. Meanwhile, in the present, Henry is relentlessly trailed by an unscrupulous art dealer determined to get his hands on the painting at any cost. Filled with sex, beauty, and love (of all kinds), this richly textured novel explores the intersection between art and eroticism.words : 96792

Manon van Essen is de oprichter van Magioni: gezonde pizzabodems op basis van groenten. Want wie wil er nou niet zonder schuldgevoel genieten van een pizza? In dit kookboek leer je hoe je zelf groentenpizzabodems kunt maken én wat de beste en lekkerste toppings zijn. De recepten zijn snel, makkelijk én lekker. Ideaal voor drukbezette huishoudens met all time favorites en klassiekers, maar ook voor zo nu en dan een echte sinner en aangevuld met lekkere bijgerechten. Voortaan is pizza your healthy pleasure! Zoals bijna elk goed verhaal begon ook dat van Manon van Essen in de kroeg, met vriendinnen filosoferend over een wereld waarin pizza net zo voedzaam zou kunnen zijn als een salade. Na eindeloos proberen en hard werken in een pizzeria om de kneepjes van het vak te leren kennen, ontdekte ze het ultieme recept voor de Magioni-pizzabodem. De bodems bestaan voor 40% uit groenten (zoals bloemkool, biet of courgette) en bevatten 30% minder koolhydraten en calorieën. Ook de toppings van de pizza's maakt Manon het liefst een stuk gezonder. Manon van Essen begon op haar twintigste met ondernemen. Ze was zeer succesvol met de app Handwriter, maar besloot het over een andere boeg te gooien. Haar uitgangspunt werd om met gezond eten aan de slag te gaan. Het ultieme massaproduct 'pizza' leek haar de ideale manier om de wereld te kunnen veroveren. Na een pittige periode van vallen en opstaan bereikte zij haar doel: haar gezonde pizzabodems kwamen in het schap van Albert Heijn. In rap tempo kon Magioni gaan samenwerken met nagenoeg elke supermarkt in Nederland. Duitsland, België en Spanje volgden, en recentelijk sloot de Engelse Waitrose zich aan bij haar klantenkring. Dagelijks gaan er 13.000 Magioni-pizza(bodem)s de toonbank over.

Geschiedenisleraar Jacob Visser heeft een huis op een woonerf, een dochter die gaat trouwen en een vrouw die na de dood van hun eerste dochtertje van hem is vervreemd. Wanneer hij tijdens een van zijn lessen iets ondoordachts zegt, komt zijn leven in een maalstroom terecht. Een groepje neonazi's vat zijn uitspraken op als een oproep om tot actie over te gaan en benoemt hem tot hun leider; in een gekraakte concertzaal wordt hij als held ingehaald, en een oude boer durft hem eindelijk te laten zien welk vreemd schilderij hij al jaren op zolder verborgen houdt. Hartverscheurende roman over een man die zijn houvast verliest Terwijl de wereld om hem heen steeds vreemdere vormen aanneemt, ziet Visser zich geconfronteerd met pijnlijke herinneringen aan zijn gestorven kind en wordt hij nauwlettend in de gaten gehouden door een journalist die vroeger met hem bevriend was, maar nu vastbesloten is hem aan de schandpaal te nagelen. Visser is een hartverscheurende roman over ironie, onmacht en onverwerkt verdriet, en betekent een grote stap in het inmiddels imposante oeuvre van Rob van Essen.

Couverture Page de titre AVANT-PROPOS CHAPITRE 1 LE LO SHU CHAPITRE 2 LE CARRÉ DU TEMPLE DE KHAJURAHO CHAPITRE 3 UN MATHÉMATICIEN DE GÉNIE CHAPITRE 4 LES CARRÉS LATINS CHAPITRE 5 LA CONJECTURE D'EULER CHAPITRE 6 DES CARRÉS DE PLUS EN PLUS MAGIOUES CHAPITRE 7 LE RETOUR DU LO SHU CHAPITRE 8 UN PRIX POUR UNE ÉNIGME CHAPITRE 9 LE SAINT GRAAL CHAPITRE 10 LE MYSTÈRE FRANKLIN CHAPITRE 11 LES SUDOKUS ANNEXES BIBLIOGRAPHIE INDEX

"The Buddhist Trader" introduces you to a new, expansive view on trading psychology and behavioral finance. Traditional Buddhist wisdom taught for millennia what science is proving now: Your reality is purely driven from the inside. You will be introduced to radically new concepts of trading and investment psychology and behavioral finance which will empower you, the trader and investor. Discover insights into the workings of your trading mind and learn how you create your trading reality from important experiments in neuro science, and how you can use this knowledge to improve your trading. Successful trading with consistency is 90% mental and only 10% strategy. Learning about yourself is the highest knowledge you can possess. Discover how to use your feelings, perceptions and trading emotions to give you feedback about your trading psychology. Your reactions to trading events and not the events themselves dictate how you create your long term trading success. Even many experienced traders fail to see this wisdom. There are two keys to consistent trading profits:1) Your Trading Mind Set, this includes your ability to focus clearly 2) Your "BEing". Trading mastery is a way of "BEing" If your trading system only contributes 10 % to your overall trading success doesn't it make sense to spend more time on learning about your trading emotions? "The Buddhist Trader" shows you how to understand feelings and emotions and handle your trading emotions in a new way. When you shift into a higher state of "BEing" your trading shifts to another level. We are in a major transition from one large cycle to another which will last for years and affects all of us. Market volatility presents challenges to your trading mind: Uncertainty about the future brings suppressed anxieties to the fore. Learn to handle fear and anxiety and trade in the zone. Traders tap into the collective mood believing that these feelings and thoughts are their own. Nothing could be further from the truth though. "The Buddhist Trader" shows you how to become emotionally detached from the collective mood and perceive it without processing it is if it where yours. "The Buddhist Trader" teaches you how to expand awareness and change habitual beliefs and unresourceful trading behavior. Getting to know yourself is the biggest investment you can make in your trading career. Self knowledge improves trading confidence and improves your trading results. The benefits can be life transforming and will spill over into other areas of your life too. Discover your personal level of cognitive development and what the different cognitive development stages mean for your personal trading style. Fear and anxiety are big issues for over 50% of traders. "The Buddhist Trader" shows you how to face your fears and anxieties and be comfortable with uncertainty. When you have learned to face your trading fears, they automatically start falling away. Your mind feels more spacious and calm, your ability to take in more information increases. "The Buddhist Trader" helps you to focus without attachment to an outcome. Non attachment to the outcome of your trading positions is a trait of master traders. Discover how to tune into your own feelings and emotions without judgement and be more sensitive to the moods of the markets. This ability will assist you greatly in anticipating market direction at an intuitive level. Very few books teach you this invaluable skill. Discover cutting edge energy psychology techniques and learn how to clear the most common mental blocks to trading success. Learning to distinguish between your conditioned thoughts and your true feelings and emotions eliminates conditioned thinking that you have unwittingly transferred onto your trading decisions and will free up trading success and happiness too.words : 72902

<p>The volume offers a number of representative papers on cognitive models that are invoked when people deal with questions of social identity, political and economic manipulation, and more general issues such as the genomic discourse.<br></p><p>In line with the well-known volume Cultural Models in Language and Thought by Holland and Quinn (1987), the volume shows that Cognitive Linguistics has further explored the idea that we think about social reality in terms of models - 'cognitive/cultural models' or 'folk theories'. As in cultural models, the present volume demonstrates that the technical apparatus of Cognitive Linguistics can be used to analyze the various ways our conception of social reality is shaped by underlying cognitive and/or cultural models or patterns of thought, and also looks into how this is done. The new inroad the volume wants to pursue is the deliberate and explicit orientation towards a cognitive sociolinguistics, or more generally, a cognitive semiotics.<br></p>

Elke dag pizza en toch genoeg groenten! Manon van Essen is de oprichter van Magioni: gezonde pizzabodems op basis van groenten. Want wie wil er nou niet zonder schuldgevoel genieten van een pizza? In dit kookboek leer je hoe je zelf groentenpizzabodems kunt maken én wat de beste en lekkerste toppings zijn. De recepten zijn snel, makkelijk én lekker. Ideaal voor drukbezette huishoudens met all time favorites en klassiekers, maar ook voor zo nu en dan een echte sinner en aangevuld met lekkere bijgerechten. Voortaan is pizza your healthy pleasure! Zoals bijna elk goed verhaal begon ook dat van Manon van Essen in de kroeg, met vriendinnen filosoferend over een wereld waarin pizza net zo voedzaam zou kunnen zijn als een salade. Na eindeloos proberen en hard werken in een pizzeria om de kneepjes van het vak te leren kennen, ontdekte ze het ultieme recept voor de Magioni-pizzabodem. De bodems bestaan voor 40% uit groenten (zoals bloemkool, biet of courgette) en bevatten 30% minder koolhydraten en calorieën. Ook de toppings van de pizza's maakt Manon het liefst een stuk gezonder. Manon van Essen begon op haar twintigste met ondernemen. Ze was zeer succesvol met de app Handwriter, maar besloot het over een andere boeg te gooien. Haar uitgangspunt werd om met gezond eten aan de slag te gaan. Het ultieme massaproduct 'pizza' leek haar de ideale manier om de wereld te kunnen veroveren. Na een pittige periode van vallen en opstaan bereikte zij haar doel: haar gezonde pizzabodems kwamen in het schap van Albert Heijn. In rap tempo kon Magioni gaan samenwerken met nagenoeg elke supermarkt in Nederland. Duitsland, België en Spanje volgden, en recentelijk sloot de Engelse Waitrose zich aan bij haar klantenkring. Dagelijks gaan er 13.000 Magioni-pizza(bodem)s de toonbank over. Bron: Flaptekst, uitgeversinformatie.

Visser van Rob van Essen is een hartverscheurende roman over ironie, onmacht en onverwerkt verdriet. Geschiedenisleraar Jacob Visser heeft een huis op een woonerf, een dochter die gaat trouwen en een vrouw die van hem is vervreemd. Wanneer hij tijdens een van zijn lessen iets ondoordachts zegt, komt zijn leven in een maalstroom terecht. Een groepje neonazi's vat zijn uitspraken op als een oproep om tot actie over te gaan en benoemt hem tot hun leider. Terwijl de wereld om hem heen steeds vreemdere vormen aanneemt, ziet Visser zich geconfronteerd met pijnlijke herinneringen aan zijn gestorven kind en wordt hij nauwlettend in de gaten gehouden door een journalist die vroeger met hem bevriend was, maar nu vastbesloten is hem aan de schandpaal te nagelen."Visser' stond op de shortlist van de Libris Literatuur Prijs 2009, en zijn laatste roman "De goede zoon' werd bekroond met de Libris Literatuur Prijs 2019.Recensie:Dit verhaal over geschiedenisleraar Jacob Visser heeft absurde trekken. De uiterlijke verhaallijn zou goed kunnen plaatsvinden, maar toch ook weer niet zo gemakkelijk: wanneer hij tijdens een van zijn lessen iets ondoordachts zegt, komt zijn leven in een maalstroom terecht; een groepje neonazi's vat zijn uitspraken op als een oproep om tot actie over te gaan en benoemt hem tot hun leider. Wat Jacob echter van binnen meemaakt, is zeer herkenbaar. Zijn verdriet, zijn pech, zijn stommiteiten soms zijn menselijk en doen ons voortdurend aan onszelf denken. Daarmee is het geen vrolijk boek geworden, maar wel aangrijpend. Een boek voor wat oudere lezers. De schrijfstijl is eenvoudig en prettig leesbaar. De schrijver (1963) publiceerde al vier romans. Tevens recenseert hij Engelstalige literatuur voor NRC Handelsblad. Vrij kleine druk.(NBD|Biblion recensie, Drs. E.A. van Kemenade)