Kha bugu iyi yavhudi i neaho mafulufulu, Mufumakadzana wa lunako wa Afrika Tshipembe, Shudufhadzo Musida, u ri anetshela tshiori tsha he a thoma hone; tsha u imba na u tshina na musidzana a ambesaho a bvaho kusini ku vhidzwaho nga la Ha Vhangani, o tangwaho nga lufuno nahone zwihulusa nga mme awe na makhulu wawe.

Zwithu zwo khakhea kha Shudu musi a tshi pfulutshela doroboni ntswa he a do tambudzwa nga vhane a dzhena navho kilasini.

Vhalani uri Shudu o kunda hani matungu awe na dzikhaedu, na uri a vha musidzana, mualuwa, we a guda u difuna ene mune!

William Dunbar is a poet whose virtuosity is often praised, but rarely analyzed. This first major study of his work to be published in over ten years examines his view of himself as a major poet, or "makar," and the way he handles various poetic genres. It challenges the over-simplified and reductive views purveyed by some critics, that Dunbar is primarily a moralist or no more than a talented virtuoso. New emphasis is placed on the petitions, or begging-poems, and their use for poetic introspection. There is also a particularly full study of Dunbar's under-valued comic poems, and of the modes most congenial to him--notably parody, irony, "flyting" or invective, and black dream-fantasy. Taking account of recent scholarship, Priscilla Bawcutt explores the complex literary traditions available to Dunbar, both in Latin and the vernaculars, including "popular" and alliterative poetry as well as that of Chaucer and his followers. This original, learned, and critically searching book is set to become the leading analysis of one of the most fascinating and accomplished of medieval poets.

‘Sharing food is one of the purest human acts'

Food has always been an integral part of Stanley Tucci’s life: from stracciatella soup served in the shadow of the Pantheon, to marinara sauce cooked between rehearsals and costume fittings, to home-made pizza eaten with his children before bedtime.

In What I Ate in One Year, Tucci records twelve months of eating, in restaurants, kitchens, film sets, press junkets, at home and abroad, with friends, with family, with strangers, and occasionally just by himself.

Shining Bright Lights in Dark Places is a recount of the time spent in prison by the Television Presenter Ashley Blake. Taken directly from the diary he wrote in prison day by day, capturing his feelings, both personal and those expressed by others at the time. The rights or wrongs of his situation where not the point, but the futility, frustration, and the deprivation of liberty which he experienced he felt compelled to tell in this bare bones autobiography.

An annual collection of studies on individuals who have made contributions to the development of geography and geographical thought. Each paper describes the geographer's education, life and work, discusses their influence and spread of academic ideas and includes a bibliography of their work.

Africa Writes Back was published in 2008 to coincide with the 50th anniversary of the publication of Chinua Achebe's Things Fall Apart - the novel which provided the impetus for the foundation of the Heinemann African Writers Series in 1962 with Chinua Achebe as the Editorial Adviser. With the 50th anniversary of the AWS being celebrated in 2012, James Currey's book has a new resonance. '... not only the story of a publishing enterprise of great significance; it is also a large part of the story of African literature and its dissemination in the latter half of the twentieth century. The manuscript is full of the drama of that enterprise, the drama of dealing with the mother house, William Heinemann, of dealing with the often intractable political constraints dominating the intellectual space across Africa, and not least of all dealing with the writers themselves - with their ambitions, their temperaments, their financial needs and, at time, their perception of a colonial relationship between themselves and a European publishing house.' - Clive Wake, Emeritus Professor of Modern Languages, University of Kent at Canterbury. North America: Ohio U Press; South Africa: Wits U Press; Nigeria: HEBN; Kenya: EAEP; Zimbabwe: Weaver Press

This original and innovative study is the first systematic exploration of Racine's theatricality. It is based on a close examination of all Racine's plays and on evidence for performance of them from the seventeenth century to the present day. David Maskell considers, with the help of illustrations, the relationship between verbal and visual effects. He shows how the decor in plays such as Andromaque, Britannicus and Berenice is significant for the action, and indicates the rich, often symbolic implication of stage properties and physical gestures, particularly in Mithridate, Phedre, and Athalie. Racine's usually neglected single comedy, Les Plaideurs, is shown to cast light on the theatrical language of his eleven tragedies. Some familiar topics of tragedy - moral ambiguity, error, and transcendence - emerge in a fresh light, and the concept of the tragic genre is critically examined from the theatrical standpoint. This study challenges many long-established views of Racine and lays the foundation for a reassessment of his role in French drama. It also opens new perspectives on his relationship with dramatists writing in other languages.

Augustine's City of God, written in the aftermath of the Gothic sack of Rome in AD 410, is one of the key works in the formation of Western culture. This book provides a detailed running commentary on the text, with chapters on the political, social, literary, and religious background. Through a close reading of Augustine's masterpiece the author provides an accessible guide to the cosmology, political thought, theory of history, and biblical interpretation of the greatest Christian Latin writer of late antiquity.

Jonathan Edwards (1703-58) is widely recognized as America's greatest religious mind. A torrent of books, articles, and dissertations on Edwards have been released since 1949, the year that Perry Miller published the intellectual biography that launched the modern explosion of Edwards studies. This collection offers an introduction to Edwards's life and thought, pitched at the level of the educated general reader. Each chapter serves as a general introduction to one of Edwards's major topics, including revival, the Bible, beauty, literature, philosophy, typology, and even world religions. Each is written by a leading expert on Edwards's work. The book will serve as an ideal first encounter with the thought of "America's theologian."

The Oxford Handbook of Chinese Linguistics offers a broad and comprehensive coverage of the entire field from a multi-disciplinary perspective. All chapters are contributed by leading scholars in their respective areas. This Handbook contains eight sections: history, languages and dialects, language contact, morphology, syntax, phonetics and phonology, socio-cultural aspects and neuro-psychological aspects. It provides not only a diachronic view of how languages evolve, but also a synchronic view of how languages in contact enrich each other by borrowing new words, calquing loan translation and even developing new syntactic structures. It also accompanies traditional linguistic studies of grammar and phonology with empirical evidence from psychology and neurocognitive sciences. In addition to research on the Chinese language and its major dialect groups, this handbook covers studies on sign languages and non-Chinese languages, such as the Austronesian languages spoken in Taiwan.

One of America's most celebrated poets, Emily Dickinson was virtually unpublished in her lifetime. When a slim volume of her poems emerged on the American scene in 1890, her work created shockwaves that have not subsided yet. Famously precise and sparse, Emily Dickinson's poetry is often described as philosophical, both because her poetry grapples with philosophical topics like death, spirituality, and the darkening operations of the mind, and because she approaches those topics in a characteristically philosophical manner: analyzing and extrapolating from close observation, exploring alternatives, and connecting thoughts into cumulative demonstrations. But unlike Lucretius or Pope, she cannot be accused of producing versified treatises. Many of her poems are unsettling in their lack of conclusion; their disparate insights often stand in conflict; and her logic turns crucially on imagery, juxtaposition, assonance, slant rhyme, and punctuation. The six chapters of this volume collectively argue that Dickinson is an epistemically ambitious poet, who explores fundamental questions by advancing arguments that are designed to convince. Dickinson exemplifies abstract ideas in tangible form and habituates readers into productive trains of thought-she doesn't just make philosophical claims, but demonstrates how poetry can make a distinct contribution to philosophy. All essays in this volume, drawn from both philosophers and literary theorists, serve as a counterpoint to recent critical work, which has emphasized Dickinson's anguished uncertainty, her nonconventional style, and the unsettled status of her manuscripts. On the view that emerges here, knowing is like cleaning, mending, and lacemakingL a form of hard, ongoing work, but one for which poetry is a powerful, perhaps indispensable, tool.

The Methuen Drama Student Edition of Twelve Angry Men is the first critical edition of Reginald Rose's play, providing the play text alongside commentary and notes geared towards student readers. In New York, 1954, a man is dead and the life of another is at stake. A 'guilty' verdict seems a foregone conclusion, but one member of the jury has the will to probe more deeply into the evidence and the courage to confront the ignorance and prejudice of some of his fellow jurors. The conflict that follows is fierce and passionate, cutting straight to the heart of the issues of civil liberties and social justice. Ideal for the student reader, the accompanying pedagogical notes include elements such as an author chronology; plot summary; suggested further reading; explanatory endnotes; and questions for further study. The introduction discusses in detail the play's origins as a 1954 American television play, Rose's re-working of the piece for the stage, and Lumet's 1957 film version, identifying textual variations between these versions and discussing later significant productions. The commentary also situates the play in relation to the genre of courtroom drama, as a milestone in the development of televised drama, and as an engagement with questions of American individualism and democracy. Together, this provides students with an edition that situates the play in its contemporary social and dramatic contexts, while encouraging reflection on its wider thematic implications.

Relief Chief is Mark Lowcock's behind-the-scenes account of his experience as the world's most senior humanitarian official-the UN Relief Chief. In his four years on the job, Lowcock coordinated the work of UN agencies, the Red Cross, and countless national and international humanitarian groups to save lives and protect the most vulnerable. Appointed in 2017, Lowcock was witness to the biggest explosion in humanitarian need in modern history. Wars, droughts, floods, storms, earthquakes, volcanoes, and then the COVID-19 global pandemic put humanitarian agencies under unprecedented strain. Long-standing crises like those in Syria, Yemen, and the Sahel got worse. New ones arose, in Ethiopia, Mozambique, Venezuela, and elsewhere. Over his tenure, Lowcock raised record amounts of money to tackle these problems, but this was not enough to prevent humanitarian agencies from being overwhelmed by the emergencies they were asked to deal with, as Lowcock documents from a personal, inside perspective. Part memoir and part manifesto for reform, Relief Chief depicts the brutality, misery and inhumanity inflicted on innocent people in crises. Lowcock recounts what people he met in dozens of countries-especially women and children-shared with him about their plight and the help they needed. He warns that crises will continue to get worse without a renewed global effort to tackle their causes. But Relief Chief is also an uplifting story of lives saved and suffering reduced, and a detailed, practical agenda for solving crises faster and better in the future.

Coleridge was a major critic of Shakespeare and a seminal influence on modern criticism. Earlier selections of his Shakespeare criticism are now out of print. This new selection is drawn largely from Professor Foakes' authoritative edition of Coleridge's Literary Lectures and it makes this material available in a format which allows the student to follow the development of Coleridge's ideas and the changes in his critical procedures. There is a considerable Introdcution. Professor Foakes teaches in the Department of English as the University of California in Los Angeles. He is the editor of Coleridge's Literary Lectures (1986) for the new Princeton Collected Coleridge.

Eliot is the rare case of a great poet who was also an academic philosopher. Donald Childs' study examines the relationship between Elliot's writing of poetry and his philosophical pursuits, in particular his lifelong occupation with the work of F.H. Bradley, Henri Bergson, and William James. This account also considers the reception of Eliot's writing in philosophy and argues that the study of this work has significantly entered recent Eliot criticism. Overall, this volume provides a new reading of Eliot's famous poems, his literary criticism, and social commentary.

Gustav Stresemann was the exceptional German political figure of his time. His early death in 1929 has long been viewed as the beginning of the end for the Weimar Republic and the opening through which Hitler was able to come to power. Stresemann's personality and talents as a politican held together the coalition that provided the only serious opposition to the Nazi party in the 1920s. On his death this opposition collapsed and along with it the only chance of establishing a stable and democratic Germany at the heart of a stable Europe.

A student edition of Mamet's Pulitzer Prize-winning play First staged in Britain in 1983, Glengarry Glen Ross is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film, starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992. "The finest American playwright of his generation" Sunday Times "A chillingly funny indictment of a world in which you are what you sell" Guardian "Nobody alive writes better American...Here at last, carving characters out of language, is a play with real muscle" Observer "David Mamet, screenwriter of The Verdict and The Postman Always Rings Twice, is alongside Sam Shepard and Michael Weller, one of the most distinctive voices on the contemporary American stage" Michael Coveney, Financial Times

Lew Geffen is destined to have an eventful life. Driven by a maverick spirit, he embarks on a wild ride of success, securing the local Sotheby’s International Realty license to become a major player in the property market.

Along the way he's fired by his mother, sells Mandela's house and navigates the fallout of a murder at his company's annual convention. Lew's extraordinary life is told with candour, warmth and laced by his wicked sense of humour.

Geffinitely a business memoir like no other.