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Colors! / Colores!
Jorge Luján; Illustrated by Piet Grobler; Translated by John Simon, Rebecca Parfitt
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R282
Discovery Miles 2 820
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Ships in 12 - 17 working days
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Noted poet Jorge Lujan and South Africa's illustrious illustrator
Piet Grobler teamed up to produce this exquisite celebration of
color. As day turns into night, we are given fleeting, evocative
glimpses of the qualities inherent in a range of colors. An
antelope and some children are pictured inhabiting this delicate
world. This bilingual, bicultural book presents us with a beautiful
vision of a planet in which nature, words, and the rising and
setting of the sun and the moon exist in harmony. Correlates to the
Common Core State Standards in English Language Arts:
CCSS.ELA-LITERACY.RL.K.5 Recognize common types of texts (e.g.,
storybooks, poems). CCSS.ELA-LITERACY.RL.K.6 With prompting and
support, name the author and illustrator of a story and define the
role of each in telling the story. CCSS.ELA-LITERACY.RL.1.4
Identify words and phrases in stories or poems that suggest
feelings or appeal to the senses.
These artful new translations of nine of Arthur Schnitzler's most
important stories and novellas-including "Dream Story," on which
Stanley Kubrick based his widely acclaimed film Eyes Wide
Shut-reinforce the Viennese author's remarkable achievement as
literary modernist, depth psychologist, and prose stylist. The
psychologically complex and morally ambiguous tales of love and
adultery, dream and reality, desire and death in Night Games prove
Schnitzler to be fully the equal of his great contemporaries Kafka,
Rilke, and Musil, and justify Freud's praise of his knowledge of
depth psychology. The collection includes powerful early works such
as "The Dead Are Silent" and "Geronimo and His Brother" as well as
late masterpieces such as "Night Games" and "Dream Story."
Schnitzler creates memorable characters and makes original and
masterful use of inner monologue, "stream of consciousness," and
unrealiable narrator-techniques that he was among the first, if not
the first, to use-to explore the complexities of their inner lives
even as he delineates their social world with elegance and wit. The
results are comic, tragic, powerful, and psychologically compelling
tales of love, sex, and death that often surprise. They are as
fresh and relevant to us today, a century later, as when they were
first written.
Looking at zoological gardens, private menageries, circuses, and
natural history museums, this fascinating account explores the
surprising extent of the exotic-animal trade in 19th-century
England and its colonies. Filled with entertaining anecdotes--from
the tiger that prowled down St. George's Street in London with a
boy in its mouth and the polar bear that killed a dog in Liverpool
to the kangaroos hopping around the lawns of stately homes and the
boa constrictor who got loose in Tunbridge Wells--this book also
shares how the animals played a key role in the project to ensure
that leisure was educational. As it demonstrates how the trade was
intimately connected with the tides of Empire, it will be of
interest to academics and general readers alike.
A light-hearted account of an improbable side of Victorian England,
this history tells of the pet wombat owned by Pre-Raphaelite
painter Dante Gabriel Rossetti and the late-19th century fad of
owning Australian animals as pets. This examination also looks at
the way a wombat participated in the delicate relationships between
the men and women in the Pre-Raphaelite circle--particularly
Rossetti's emotional affair with Jane Morris, wife of his friend
and colleague William. Fully illustrated with drawings and etchings
of the period, this work will appeal to those with an interest in
Victorian England, the Pre-Raphaelites, as well as wombat lovers
the world over.
This title was first published in 2002. "Moderatus" was an
Elizabethan romance, probably the first published work of the
16th-century Welsh gentleman Robert Parry; it was produced in 1595
by the bookseller, publisher, and printer Richard Jones. In this
volume John Simons offers in modern typography an edition of this
now-scarce text, with explanatory notes and an extensive
introduction that places the work in its historical context. He
also presents what biographical information is known about the
author of "Moderatus" and what is known of the book's publication
history, and discusses such pertinent issues as the travel
experience of Elizabethans, their knowledge of other languages than
English, and their experience of translating and translations.
Simons demonstrates how works like "Moderatus" do impel us to look
more carefully at the inter-relationships of writers and readers
and teach us a good deal about the habits of mind which those
readers brought to more familiar texts.
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Moderatus (Hardcover)
John Simons
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R2,676
R2,399
Discovery Miles 23 990
Save R277 (10%)
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Ships in 12 - 17 working days
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This title was first published in 2002. "Moderatus" was an
Elizabethan romance, probably the first published work of the
16th-century Welsh gentleman Robert Parry; it was produced in 1595
by the bookseller, publisher, and printer Richard Jones. In this
volume John Simons offers in modern typography an edition of this
now-scarce text, with explanatory notes and an extensive
introduction that places the work in its historical context. He
also presents what biographical information is known about the
author of "Moderatus" and what is known of the book's publication
history, and discusses such pertinent issues as the travel
experience of Elizabethans, their knowledge of other languages than
English, and their experience of translating and translations.
Simons demonstrates how works like "Moderatus" do impel us to look
more carefully at the inter-relationships of writers and readers
and teach us a good deal about the habits of mind which those
readers brought to more familiar texts.
The book surveys medieval literature from both a critical and an
historical standpoint. Medieval literature is increasingly seen as
an area of intense specialism which is to be treated differently
from other areas of English studies. The essays collected here try
to overturn this perception in two ways. Firstly, there is a
demonstration of the ways in which modern critical approaches and
perspectives work with the medieval text. Secondly, the idea of the
medieval is shown, historically, to be a discourse which has been
given different symbolic values and served different social
purposes. In the first half of the book will be found essays on
feminist and structural approaches to the medieval text as well as
a polemical evaluation of post-structuralist criticism and an
introduction to modern approaches to manuscript studies. In the
second half medievalism is analyzed through case studies from the
Renaissance, the 18th-century and the 19th-century.
For the first time, fish became our companions and a corner of many
a Victorian parlour was given over to housing tiny fragments of
their world enclosed in glass. The experience of seeing a fish
swimming in a glass tank is one we take for granted now but in
Victorian England this was a remarkable sight. People had simply
not been able to see fish as they could with the invention of the
aquarium and everything that went with it. Goldfish in the Parlour
looks at the Victorian-era boom in the building of public
aquariums, as well as the craze for home aquariums and visiting the
seaside. Furthermore, this book considers how people see and meet
animals and, importantly, in what institutions and in what contexts
these encounters happen. John Simons uncovers the sweeping
consequences of the Victorian obsession with marine animals by
looking at naturalist Frank Bucklands Museum of Economic Fish
Culture and the role of fish in the Victorian economy, the
development of angling as a sport divided along class lines, the
seeding of Empire with British fish and comparisons with aquarium
building in Europe, USA and Australia. Goldfish in the Parlour
interrogates the craze that took over Victorian England when
aquariums introduced fish to parks, zoos and parlours.
Worship leader Neil Bennetts and theologian Simon Ponsonby share a
concern that modern worship is growing self-indulgent: more about
performance, less about an encounter with the divine.
They believe that this is a real and worrying trend in modern
worship. To correct it, they explore the Bible's teaching on
worship, addressing four key concerns: Worship as entertainment;
worship which lacks wonder and awe; worship as irrelevant to
mission; and worship which gratifies the worshipper rather than
honoring the Almighty.
The authors each contribute six chapters, tackling worship and
holiness; worship with passion; worship and the danger of idolatry.
How, they ask, can we rediscover the mystery of an encounter with
God, in corporate worship? How can leaders open themselves and
their congregations to the heart of God, releasing his presence and
power? How should we craft the unique dynamic of a people gathered
to sing to God?
Twelve essays address a central concern of medieval romance, the
matter of identity. Identity is a central concern of medieval
romance. Here it is approached through essays on issues of origin
and parentage, transformation and identity, and fundamental
questions of what constitutes the human. The construction of
knightly identity through education and testing is explored, and
placed in relation to female identity; the significance of the
motif of doubling is studied. Shifting perceptions of identities
are traced through the histories of specific texts, and the
identity of romance itself is the subject of several essays
discussing ideas of genre (the overlap between romance and
hagiography is a theme linking a number of articles in the
collection). Medieval romanceis shown as a marketable commodity in
the printed output of William Copland, and as an opportunity for
literary experimentation in the work of John Metham. The texts
discussed include: Chevalere Assigne, Sir Gowther, Sir Ysumbras,
Beves of Hamtoun, Robert of Cisyle, the Fierabras romances, Breton
lays, Thomas's Tristan and Marie de France's Eliduc. Contributors:
W.A. DAVENPORT, JOANNE CHARBONNEAU, CORINNE SAUNDERS, AMANDA
HOPKINS, MORGAN DICKSON, MARIANNE AILES, JUDITH WEISS, JOHN SIMONS,
RHIANNON PURDIE, MALDWYN MILLS, A.S.G. EDWARDS, ROGER DALRYMPLE.
Obaysch: A Hippopotamus in Victorian London tells the remarkable
story of Obaysch the hippopotamus, the first 'star' animal to be
exhibited in the London Zoo. In 1850, a baby hippopotamus arrived
in England, thought to be the first in Europe since the Roman
Empire, and almost certainly the first in Britain since prehistoric
times. Captured near an island in the White Nile, Obaysch was
donated by the viceroy of Egypt in exchange for greyhounds and
deerhounds. His arrival in London was greeted with a wave of
'hippomania', doubling the number of visitors to the Zoological
Gardens almost overnight. Delving into the circumstances of
Obaysch's capture and exhibition, John Simons investigates the
phenomenon of 'star' animals in Victorian Britain against the
backdrop of an expanding British Empire. He shows how the entangled
aims of scientific exploration, commercial ambition, and imperial
expansion shaped the treatment of exotic animals throughout the
nineteenth and early twentieth centuries. Along the way, he
uncovers the strange and moving stories of Obaysch and the other
hippos who joined him in Europe as the trade in zoo animals grew.
'A fascinating microscopic and telescopic look at the life of
Victorian England's most famous animal. John Simons' richly
exhaustive account of nineteenth-century hippomania engages with
imperialism, Orientalism, progress, and the cultural history of
Europe where Obaysch, captured from an island in the Nile River,
had the misfortune to spend his life as a blockbuster attraction at
the London Zoo. Poignant and empathetic, this account of an
animal's appropriation and exploitation is one of those books that
unfurls more about its moment in time than you could have imagined
when you picked it up.' Professor Randy Malamud, Georgia State
University
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