This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

This book addresses the challenges of living together after empire in many post-colonial cities. It is organized in two sections. The first section focuses on efforts by people of multiple faiths to live together within their contexts, including such efforts within a neighborhood in urban Manchester; the array of attempts at creating multi-faith spaces for worship across the globe; and initiatives to commemorate divisive conflict together in Northern Ireland. The second section utilizes particular postcolonial methods to illuminate pressing issues within specific contexts-including women's leadership in an indigenous denomination in the variegated African landscape, and baptism and discipleship among Dalit communities in India. In the context of growing multiculturalism in the West, this volume offers a postcolonial theological resource, challenging the epistemologies in the Western academy.

In Bartleby & Co., an enormously enjoyable novel, Enrique Vila-Matas tackles the theme of silence in literature: the writers and non-writers who, like the scrivener Bartleby of the Herman Melville story, in answer to any question or demand, replies: "I would prefer not to." Addressing such "artists of refusal" as Robert Walser, Robert Musil, Arthur Rimbaud, Marcel Duchamp, Herman Melville, and J. D. Salinger, Bartleby & Co. could be described as a meditation: a walking tour through the annals of literature. Written as a series of footnotes (a non-work itself), Bartleby embarks on such questions as why do we write, why do we exist? The answer lies in the novel itself: told from the point of view of a hermetic hunchback who has no luck with women, and is himself unable to write, Bartleby is utterly engaging, a work of profound and philosophical beauty.

The Oxford Handbook of Head and Neck Anatomy offers a succinct yet comprehensive quick reference guide with over 400 schematic colour and grey-scale illustrations. It tackles the notoriously difficult three-dimensional anatomy of the head and neck and provides essential clinico-anatomical correlates, etymology and background insight to help the reader easily remember complex features. Written and illustrated throughout with an awareness of the difficulties faced in linking the anatomy on the page with real cases seen in day-to-day clinical practice, this handbook is an essential resource for trainees and students at all levels.

Corpus analysis can be expanded and scaled up by incorporating computational methods from natural language processing. This Element shows how text classification and text similarity models can extend our ability to undertake corpus linguistics across very large corpora. These computational methods are becoming increasingly important as corpora grow too large for more traditional types of linguistic analysis. We draw on five case studies to show how and why to use computational methods, ranging from usage-based grammar to authorship analysis to using social media for corpus-based sociolinguistics. Each section is accompanied by an interactive code notebook that shows how to implement the analysis in Python. A stand-alone Python package is also available to help readers use these methods with their own data. Because large-scale analysis introduces new ethical problems, this Element pairs each new methodology with a discussion of potential ethical implications.

This book addresses the challenges of living together after empire in many post-colonial cities. It is organized in two sections. The first section focuses on efforts by people of multiple faiths to live together within their contexts, including such efforts within a neighborhood in urban Manchester; the array of attempts at creating multi-faith spaces for worship across the globe; and initiatives to commemorate divisive conflict together in Northern Ireland. The second section utilizes particular postcolonial methods to illuminate pressing issues within specific contexts-including women's leadership in an indigenous denomination in the variegated African landscape, and baptism and discipleship among Dalit communities in India. In the context of growing multiculturalism in the West, this volume offers a postcolonial theological resource, challenging the epistemologies in the Western academy.

“These miraculous poems of everyday matter magnified by forty reveal our world in all its pristine glory – reminiscent of Pablo Neruda’s household odes, but stranger. Her sketches of waterfalls are extraordinary, as if we are witnessing the birth of water and every inch hallucinatory. Her magnifying eye probes the roots of matter and spirit, where they intertwine and dance with light. Tsvetanka Elenkova has a mystic’s eye, an inventive vision honed with surgical precision.” —Pascale Petit “In Magnification Forty, Tsvetanka Elenkova turns her piercing poetic intelligence upon the small things of the world. She lifts them up to us in all their revelatory and spiritual power. Elenkova is a visionary, who makes quietness speak and who reminds us that the miracle of embodiment is realised not only in the exceptional but in what’s humble and quotidian. This deeply mindful book is a call for us to pay attention to what we experience. It’s also a masterclass in the lucid and economical poetics that have made Elenkova into a leading European poet.” —Fiona Sampson

"The world according to Tsvetanka Elenkova is both lucid and hieratic. In it, a lover’s eye is `a disc on a chain /with the god of the sun /the window casts on the wall’; but love itself is an `Altar’ on which the lovers are `lying crosswise’. The poet’s own narrative eye keeps shifting viewpoint – and perspective – not for the sake of it but to create depth and meaning: `The other side of perspective /is dimension’. It’s all expressed with economy and the utmost clarity: yet that clarity is deceptive. These poems, too, depend on your point of view: `Reflection is capture’ indeed, and reflection may be not only the untroubled mirror image, but the pause and re-handling of meditation. Another way to say all this is that Elenkova is a religious mystic; […] She lives in the world of cars, mobile phones and city parks, and has an imagination stuffed with cultural riches, […b]ut she also lives in a poetic world […] of religious mystery, mortality, love and desire. This mystical verse dives repeatedly into the given, and discovers there a world of symbol and – perhaps above all – movement. It is not Gerard Manley Hopkins’s search for `inscape’, but instead an apprehension that from moment to moment forms itself into symbolic codes – and then releases those codes into the material, sensual world." —Fiona Sampson