Reynard - a subversive, dashing, anarchic, aristocratic, witty fox from the watery lowlands of medieval East Flanders - is in trouble. He has been summoned to the court of King Noble the Lion, charged with all manner of crimes and misdemeanours. How will he pit his wits against his accusers - greedy Bruin the Bear, pretentious Courtoys the Hound or dark and dangerous Isengrim the Wolf - to escape the gallows? Reynard was once the most popular and beloved character in European folklore, as familiar as Robin Hood, King Arthur or Cinderella. His character spoke eloquently for the unvoiced and disenfranchised, but also amused and delighted the elite, capturing hearts and minds across borders and societal classes for centuries. Based on William Caxton's bestselling 1481 English translation of the Middle Dutch, but expanded with new interpretations, innovative language and characterisation, this edition is an imaginative retelling of the Reynard story. With its themes of protest, resistance and duplicity fronted by a personable, anti-heroic Fox making his way in a dangerous and cruel world, this gripping tale is as relevant and controversial today as it was in the fifteenth century.

At the height of the blues revival, Marina Bokelman and David Evans, young graduate students from California, made two trips to Louisiana and Mississippi and short trips in their home state to do fieldwork for their studies at UCLA. While there, they made recordings and interviews and took extensive field notes and photographs of blues musicians and their families. Going Up the Country: Adventures in Blues Fieldwork in the 1960s presents their experiences in vivid detail through the field notes, the photographs, and the retrospective views of these two passionate researchers. The book includes historical material as well as contemporary reflections by Bokelman and Evans on the times and the people they met during their southern journeys. Their notes and photographs take the reader into the midst of memorable encounters with many obscure but no less important musicians, as well as blues legends, including Robert Pete Williams, Mississippi Fred McDowell, Al Wilson (cofounder of Canned Heat), Babe Stovall, Reverend Ruben Lacy, and Jack Owens. This volume is not only an adventure story, but also a scholarly discussion of fieldwork in folklore and ethnomusicology. Including retrospective context and commentary, the field note chapters describe searches for musicians, recording situations, social and family dynamics of musicians, and race relations and the racial environment, as well as the practical, ethical, and logistical problems of doing fieldwork. The book features over one hundred documentary photographs that depict the field recording sessions and the activities, lives, and living conditions of the artists and their families. These photographs serve as a visual counterpart equivalent to the field notes. The remaining chapters explain the authors' methodology, planning, and motivations, as well as their personal backgrounds prior to going into the field, their careers afterwards, and their thoughts about fieldwork and folklore research in general. In this enlightening book, Bokelman and Evans provide an exciting and honest portrayal of blues field research in the 1960s.

A charming and beautifully illustrated book, first published in 1893, covering all aspects of the weather including: Times and Seasons, Months, Days of the week, Winter birds and times of their arrival, Sun, Moon and Stars, Wind, Clouds, Mists, Haze, Dew, Fog, Sky, Air, Sound, Sea, Tide, Heat, Rain, Rainbow, Frost, Hail, Snow, Ice, Thunder and Lightning. Measuring instruments include: Barometer, Thermometer, Hygrometer, Telescope, Spectroscope. Animals include: Quadrupeds, Birds, Fish, Molluscs, Reptiles, Insects, Plants etc. This new edition has been completely redesigned and is fully illustrated with reproductions of woodcuts, photographs and drawings throughout.

Die tradisie van die pryslied het in die afgelope paar jaar wyd bekend geraak. Hierdie bundle bevat 'n versameling liedere in hierdie genre, maar dis eiesoortig in die sin dat dit spesifiek deur Basotho-trekarbeiders geskep is en deur hulle uitgevoer word. Dit gee die leser 'n wye blik op die verskeurde wereld van hierdie swerwer-sangers. Aan die een kant is daar die ervarings van hul landelike wereld van herkoms. Daar is liriese beskrywings van die natuur en die vanselfsprekende intergrasie tussen die mens, die tasbare leefwereld en die magiese sfeer. Wanneer die sanger uit nood besluit om sy brood om die myne to gaan verdien, lei dit tot 'n ontwortelde swerwerbestaan gekenmerk deur vervreemding en identiteitsverlies. Die werker-sanger is iemand wat tussen twee werelde leef en nie werklik aan een van die twee behoort nie. Die sekerste van die twee, maar ook die ontredderendste, is die van die mynwerker. Hier word hy in werklikheid gereduseer tot 'n implement of 'n stuk gereedskap: "Ek is die kruiptrekker van die myn, manne"; en "My identiteit het aan my skopgraaf vasgegroei." Die nuwe realiteit is die van die ontsetting van mynongelukke, die verbrokkeling van die huislike sfeer, die verlies van 'n geliefde weens ontrou.

DID YOU HEAR ABOUT THE KIDS WHO FOUND A FERRARI BURIED IN THEIR GARDEN? WHAT ABOUT THE MAN WHO SUED SATAN? DO YOU KNOW THE LEGEND OF THE BUNNY MAN? Strange happenings, unsolved mysteries and seemingly supernatural events have gripped and shocked us for centuries, passed from person to person in whispers in classrooms, tales around the campfire and idle gossip among friends. Whether they're based on a grain of truth or a complete flight of fancy, the myths, legends and weird tales contained within this book will take you on a fascinating journey to the outer limits of plausibility, and dare you to believe the unbelievable.

In Frankenstein Was a Vegetarian: Essays on Food Choice, Identity, and Symbolism, Michael Owen Jones tackles topics often overlooked in foodways. At the outset he notes it was Victor Frankenstein's "daemon" in Mary Shelley's novel that advocated vegetarianism, not the scientist whose name has long been attributed to his creature. Jones explains how we communicate through what we eat, the connection between food choice and who we are or want to appear to be, the ways that many of us self-medicate moods with foods, and the nature of disgust. He presents fascinating case studies of religious bigotry and political machinations triggered by rumored bans on pork, the last meal requests of prisoners about to be executed, and the Utopian vision of Percy Bysshe Shelley, one of England's greatest poets, that was based on a vegetable diet like the creature's meals in Frankenstein. Jones also scrutinizes how food is used and abused on the campaign trail, how gender issues arise when food meets politics, and how eating preferences reflect the personalities and values of politicians, one of whom was elected president and then impeached twice. Throughout the book, Jones deals with food as symbol as well as analyzes the link between food choice and multiple identities. Aesthetics, morality, and politics likewise loom large in his inquiries. In the final two chapters, Jones applies these concepts to overhauling penal policies and practices that make food part of the pains of imprisonment, and looks at transforming the counseling of diabetes patients, who number in the millions.