Paul Hoffmann Boeken

Written during and right after World War I, this volume pairs two short story collections from Karel Capek, considered one of the greatest Czech writers. The first collection, "Wayside Crosses," presents an agonized and unsuccessful search for God and truth. These metaphysical tales are not about finding God as much as they are about discovering man's limitations, his terror and helplessness, and understanding the value of the ongoing search. The second collection, "Painful Tales," contains more realistic stories of characters being forced to make choices in which one good conflicts with another.

When Steven Grlscz saves a young woman from throwing herself in front of a train he finds himself consumed by a love affair which transforms her into a happy and beautiful young woman. Then she vanishes without trace. George Winnicott, wakes from a nightmare screaming that he knows the meaning of life. How are these events linked?

The memoir recounts the experiences of Paul Hoffman, an Austrian Jewish refugee who arrived in Shanghai in 1938. Over 13 years, he navigated life in a city teeming with cultural diversity and foreign influence, capturing the essence of old Shanghai during its final years of foreign dominance. Hoffman's reflections provide a unique perspective on resilience, adaptation, and the vibrant community that emerged amidst the challenges of displacement.

'Listen. The Sanctuary of the Redeemers is named after a damned lie for there is no redemption that goes on there and less sanctuary.'The Sanctuary of the Redeemers: vast, desolate, hopeless. Where children endure brutal cruelty and violence in the name of the One True Faith.Lost in the Sanctuary's huge maze of corridors is a boy: his age uncertain, his real name unknown. They call him Cale. He is strange and secretive, witty and charming - and violent. But when he opens the wrong door at the wrong time he witnesses an act so horrible he must flee, or die.The Redeemers will go to any lengths to get Cale back.Not because of the secret he has discovered.But because of a more terrifying secret that lies undiscovered in himself.

Musik und Strafrecht scheint auf den ersten Blick ein Begriffspaar ohne näheren Zusammenhang zu sein. Die Beiträge dieses Buches verknüpfen aber beide Themen, indem sie die Konflikte beleuchten, in denen die Musik als Kunstform strafrechtlich Anstoß erregt oder umgekehrt rechtlich anstößig angegangen wird: Sie kann nämlich sowohl aktiv "Täter" (z.B. durch beleidigende Texte) als auch passiv "Opfer" (etwa bei Plagiaten) von Delikten sein. Zwischen Musik und Strafrecht steht in diesem Band somit die Kunstfreiheit als "Vermittler" im Mittelpunkt und ist zentraler Bestandteil der Diskussion über das Verhältnis dieser beiden Welten. Zwischen diesen Sphären stehen noch die Fälle' in denen Kriminalität als Inspiration der Musik dient. Der Lehrstuhl für Strafrecht, Strafprozessrecht und Kriminologie von Prof. Dr. Dr. Uwe Scheffler befasst sich seit Jahren mit dem Thema "Kunst und Strafrecht", das breite Spektrum der Beiträge dieses Werkes zeigt den Facettenreichtum dieser Forschung.