Emma loves spending time with her Grandma. And it’s even more fun when it includes cooking! Emma is finally old enough to help make a birthday meal for her dad. But will everything turn out okay? Emma is deaf and often uses sign language to communicate, and this early chapter book includes additional information on British sign language.

Emma loves animals, and she can’t wait to foster a cat! But what will happen when she brings the cat home? Will Emma and the cat get along? Will Emma’s fish and the cat get along? Emma is deaf and often uses sign language to communicate, and this early chapter book includes additional information on British sign language.

It’s time to try something new, and Emma loves art. But Emma has never tried pottery before. It’s a lot harder than it looks! Will Emma keep trying or give up before her project is done? Emma is deaf and often uses sign language to communicate, and this early chapter book includes additional information on British sign language.

Emma and her family are taking a trip. And this trip includes going on a plane! Emma is excited about flying on the plane, but she is also nervous. Will Emma like flying? Emma is deaf and often uses sign language to communicate, and this early chapter book includes additional information on British sign language.

The notion of what it means to "distort" a text is here explored through a rich variety of individual case studies. Distortion is nearly always understood as negative. It can be defined as perversion, impairment, caricature, corruption, misrepresentation, or deviation. Unlike its close neighbour, "disruption", it remains resolutely associatedwith the undesirable, the lost, or the deceptive. Yet it is also part of a larger knowledge system, filling the gap between the authentic event and its experience; it has its own ethics and practice, and it is necessarily incorporated in all meaningful communication. Need it always be a negative phenomenon? How does distortion affect producers, transmitters and receivers of texts? Are we always obliged to acknowledge distortion? What effect does a distortive process have on the intentionality, materiality and functionality, not to say the cultural, intellectual and market value, of all textual objects? The essays in this volume seek to address these questions,They range fromthe medieval through the early modern to contemporary periods and, throughout, deliberately challenge periodisation and the canonical. Topics treated include Anglo-Saxon manuscripts, Reformation documents and poems, Global Shakespeare, the Oxford English Dictionary, Native American spiritual objects, and digital tools for re-envisioning textual relationships. From the written to the spoken, the inhabited object to the remediated, distortion is demonstrated to demand a rich and provocative mode of analysis. Elaine Treharne is Roberta Bowman Denning Professor of Humanities, Professor of English, Director of the Centre for Spatial and Textual Analysis, and Director of Stanford Technologies at Stanford University; Greg Walker is Regius Professor of Rhetoric and English Literature at the University of Edinburgh. Contributors: Matthew Aiello, Emma Cayley, Aaron Kelly, Daeyeong (Dan) Kim, Sarah Ogilvie, Timothy Powell, Giovanni Scorcioni, Greg Walker, Claude Willan.

Cutting-edge and fresh new outlooks on medieval literature, emphasising the vibrancy of the field. New Medieval Literatures is an annual of work on medieval textual cultures, aiming to engage with intellectual and cultural pluralism in the Middle Ages and now. Its scope is inclusive of work across the theoretical, archival, philological, and historicist methodologies associated with medieval literary studies, and embraces the range of European cultures, capaciously defined. Essays in this volume engage with a wide range of subject matter, from as far back as Livy (d.c.AD 12/18) to Erwin Panofsky (d. 1968). They demonstrate that medieval textual cultures is a radically negotiable category and that medieval understandings of the past were equally diverse and unstable.They reflect on relationships between history, texts, and truth from a range of perspectives, from Foucault to "truthiness", a twenty-first-century media coinage. Materiality and the technical crafts with which humans engage withthe natural world are recurrent themes, opening up new insights on mysticism, knighthood, and manuscript production and reception. Analysis of manuscript illuminations offers new understandings of identity and diversity, while a survey of every thirteenth-century manuscript that contains English currently in Oxford libraries yields a challenging new history of script. Particular texts discussed include Chretien de Troyes's Conte du Graal, Richard Rolle's Incendium amoris and Melos amoris, and the Middle English verse romances Lybeaus Desconus, The Erle of Tolous, Amis and Amiloun, and Sir Gawain and the Green Knight.

In 1963, at the height of the southern civil rights movement, Cecil Brathwaite (1936-2014), under the pseudonym Cecil Elombe Brath, published a satire of Black leaders entitled Color Us Cullud! The American Negro Leadership Official Coloring Book. The book pillories a variety of Black leaders-from political figures like Adam Clayton Powell and Whitney Young to civil rights activists like Martin Luther King, Bayard Rustin, and John Lewis, and even entertainers like Sammy Davis Jr., Lena Horne, and Dick Gregory-critiquing the inauthenticity of movement leaders while urging a more radical approach to Black activism. Despite the strong illustrations and unique commentary presented in the coloring book, it has virtually disappeared from histories of the movement. The Artistic Activism of Elombe Brath restores the coloring book and its creator to a place of prominence in the historiography of the Black left. It begins with an analysis of Brath's influences, describing his life and work including his development as a Black nationalist thinker and Black satirist. The volume includes Brath's early works-illustrations for DownBeat magazine and Beat Jokes, Bop Humor, & Cool Cartoons-as well as the full run of his comic strip "Congressman Carter and Beat Nick Jackson" from the New York Citizen-Call and a complete edition of Color Us Cullud! itself. These illustrations are followed by annotations that frame and contextualize each of the coloring book's entries. The book closes with selections from Brath's art and political thinking via archival material and samples of his written work. Ultimately, this volume captures and restores a unique perspective on the civil rights movement often omitted from the historiography but vital to understanding its full scope.

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The decisions a corporation makes affect more than just its stakeholders and can have wide social, environmental, and economic consequences. This facilitates a business environment built around the practical regulations and transparency necessary to ensure ethical and responsible business practice. Corporate Social Responsibility for Valorization of Organizations is a critical scholarly resource that examines organizational management through a new perspective that considers corporate social responsibility within the relationship between companies and society. Featuring coverage on a broad range of topics, such as organizational innovation, corporate strategy, and cultural enterprises, this book is geared towards professionals, economists, students of business and finance, policy makers, and government agencies.