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.

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