Mark Allen Group
The Mark Allen Group is a dynamic media company which delivers high-quality content through market-leading journals, magazines, books, events, exhibitions and websites.
View Rights PortalThe Mark Allen Group is a dynamic media company which delivers high-quality content through market-leading journals, magazines, books, events, exhibitions and websites.
View Rights PortalStep & Step Alliance is a children’s book publisher under the Beijing Huirui Times Culture Group (established in January 2008), supporting children’s comprehensive development. Step & Step Alliance is positioned in the domestic high-end children’s book market and develops and produces high-quality board books and novelty books, sound books, puzzle books and games, non-fiction books, interactive books, pop-up books, picture books meant for international coproductions through a smart, young and efficient international sales Team. Love to play, love to read and following step by step childhood and development! An open door to knowledge connecting the world!
View Rights PortalEdmund Spenser famously conceded to his friend Walter Raleigh that his method in The Faerie Queene 'will seeme displeasaunt' to those who would 'rather have good discipline delivered plainly in way of precepts, or sermoned at large'. Spenser's allegory and Elizabethan biblical exegesis is the first book-length study to clarify Spenser's comparison by introducing readers to the biblical typologies of contemporary sermons and liturgies. The result demonstrates that 'precepts ... sermoned at large' from lecterns and pulpits were themselves often 'clowdily enwrapped in allegoricall devises'. In effect, routine churchgoing prepared Spenser's first readers to enjoy and interpret The Faerie Queene. A wealth of relevant quotations invites readers to adopt an Elizabethan mindset and encounter the poem afresh. The 'chronicle history' cantos, Florimell's adventures, the Souldan episode, Mercilla's judgment on Duessa and even the two stanzas that close the Mutabilitie fragment, all come into sharper focus when juxtaposed with contemporary religious rhetoric.
Any reader who has ever visited Asia knows that the great bulk of Western-language fiction about Asian cultures turns on stereotypes. This book, a collection of essays, explores the problem of entering Asian societies through Western fiction, since this is the major port of entry for most school children, university students and most adults. In the thirteenth century, serious attempts were made to understand Asian literature for its own sake. Hau Kioou Choaan, a typical Chinese novel, was quite different from the wild and magical pseudo-Oriental tales. European perceptions of the Muslim world are centuries old, originating in medieval Christendom's encounter with Islam in the age of the Crusades. There is explicit and sustained criticism of medieval mores and values in Scott's novels set in the Middle Ages, and this is to be true of much English-language historical fiction of the nineteenth and early twentieth centuries. Even mediocre novels take on momentary importance because of the pervasive power of India. The awesome, remote and inaccessible Himalayas inevitably became for Western writers an idealised setting for novels of magic, romance and high adventure, and for travellers' tales that read like fiction. Chinese fictions flourish in many guises. Most contemporary Hong Kong fiction reinforced corrupt mandarins, barbaric punishments and heathens. Of the novels about Japan published after 1945, two may serve to frame a discussion of Japanese behaviour as it could be observed (or imagined) by prisoners of war: Black Fountains and Three Bamboos.
Hryhorii Skovoroda's fables are philosophical miniatures, reflections on congenial work, fulfilling one's vocation, happiness, and gratitude. While these elements should fill the life of a wise person and are worthy of reflection, these Fables are, first and foremost, good and funny stories about animals enjoyable for readers of all ages. Skovoroda's fables will teach young readers important lessons, including: Not limiting oneself to the exteriority of things but also focusing on their inner essence. Pursuing activities that fulfill one's vocation. Avoiding deception of others. Recognizing the value of time. The fables were arranged and adapted for children by one of the foremost experts on Skovoroda's works, Leonid Ushkalov. From 6 to 9 years, 5850 words Rightsholders: n.miroshnyk@vivat.factor.ua
The hardworking and studious Reed is a well-known "wild child" in the fishing village. Influenced by the legend, he and his sister, He Ju, had the whimsical idea of learning the outstanding swimming skills from the porpoise, and thus became interested in the endangered species of porpoise. The porpoise, which had been repeatedly disturbed, always avoided them... By chance, the siblings, with their excellent swimming skills, rescued a baby porpoise that had been trapped by garbage. This cute porpoise has since become an exotic friend who plays the game with them ...
Penny politics offers a new way to read early Victorian popular fiction such as Jack Sheppard, Sweeney Todd, and The Mysteries of London. It locates forms of radical discourse in the popular literature that emerged simultaneously with Brittan's longest and most significant people's movement. It listens for echoes of Chartist fiction in popular fiction. The book rethinks the relationship between the popular and political, understanding that radical politics had popular appeal and that the lines separating a genuine radicalism from commercial success are complicated and never absolute. With archival work into Newgate calendars and Chartist periodicals, as well as media history and culture, it brings together histories of the popular and political so as to rewrite the radical canon.
A vivid illustration of contemporary Chinese society. The frst realist novel from renowned Chinese writer Liu Xinwu. A novel of reality. A novel of allegory. Pang Qi swears he’ll kill someone if he gets back onto the streets, but no one knows his target or his motive. Filled with suspense, Bay Window begins with this dramatic announcement, before slipping back into the seemingly mundane lives of a cast of characters drawn from all ranks of Chinese society: the mysterious and cunning Maye, whose wealth and power are kept secret; the robust and loyal bodyguard Pang Qi, whose transformation drives the development of the narrative; the retired engineer Xue Quji, a representative of contemporary China's intelligentsia. Through the intimate portrayal of more than thirty characters,their struggles and the choices, they face on a daily basisthe author exposes a darkness hidden by economic development and social transformation, constructing a panoramic picture of contemporary China. Peeking through the Bay Window, we as readers are both spectators and participants of this picture.
This book is an allegory of flat strokes, whose slopes reveal tridimensional bugs, blissful to show us their transparent shapes. A reading that goes beyond the visual and takes us away from these tiny beings whose geometry increases before our eyes. The line takes us through their folds and extensions, and over to the pages which will be swarming with bugs!
Through the Fiction of Phebe Gibbes places this prolific, newly recovered English writer at the centre of the revolutionary period. Gibbes's novels mark the struggles of women for agency in an expanding British empire, from the Seven Years' War to revolutions in American, Haiti and France. With Gibbes as a nexus in a lineage of women writers from Aphra Behn to Jane Austen, Kathryn S. Freeman offers a valuable perspective on the 'long eighteenth century', with Gibbes' own evolution mirroring that of the larger period. The study traces the development of Gibbes' authorial voice from satire to irony through a range of female characters subverting patriarchal oppression. Freeman guides the reader through patterns of narrative voice, concerns with gender and sexuality, and elements of wordplay through detailed discussion of five novels representing Gibbes' evolving representation of a subversive female subjectivity.
Legend of Nancun is the latest long fairy tale created by Tang Sulan, a famous children literature writer. Stories in the book all happen in a place called “Nancun”. (The place is similar to Never Land in Peter Pan. Different from Never Land, a place inhabited by children only, Nancun is a paradise on the Earth, where humans, animals, spirits and immortals can live together.) Some animals in forests of Nancun are very special. They like dressing themselves in the way humans do. Some of them can even cultivate their vital energy to become immortal. Stories of these animals are intertwined with those of humans in Nancun to form the Legend of Nancun. The book consists of four separate but interconnected beautiful and imaginary stories, including Sheshen Stone, Teenager and Boa, Fox Son-in-Law, and Grandma Ding.
The deep experience of every generation is hidden within their parables. They contain basic knowledge that every child should understand. Through the parables collected in this book, you will help children to understand truth and lies, love and indifference, joy and anger, as well as the importance of learning. And from these instructive short stories, the young reader will learn how to distinguish what good and evil are, and how to take decisions independently. Thanks to this book children will appreciate and respect their parents and will build good relationships with others. This book will help any adult wishing to explore the deeper truths and values in life with children. From 6 to 9 years, 106,000 words. Rightsholders: Anastasiia Taran, tarannnastia@gmail.com,
Aoife Lennon-Ritchie, literary agent and author, brings out the first title in her humorous Viking-fantasy teen series, A Viking Legend: The Violaceous Amethyst. This winter, siblings Ruairi and Dani Miller visit their grandmother in the legendary Viking island of Yondersaay. In less than twenty-four hours of their arrival, Ruairi is mistaken for the lost Boy King of Denmark, kidnapped by Vikings, and scheduled to be sacrificed at sundown. Granny isn’t very pleased. But when they are the only ones in town who fail to go “Viking,” the three turn to Granny’s extremely epic tales of the legends of Yondersaay, The Gifts of Odin, and King Dudo the Mightily Impressive for clues. But not all stories end happily, and Ruari, Dani, and Granny will have to write their own happy ending if things are to return to normal. The Princess Bride meets Vikings in this enchanted tale of high adventure, buried treasure, villainous treachery, violent ends, and true love.
This story is a recreation of a fable originally written in “Kalila and Demna”, an ancient book with Indian roots. In the original story, an old egret tricks the fish into thinking that they are being taken to a safe lake, but they are in fact becoming the egret’s food. Until one day, the crab also asks the egret to take him to the lake and sees the remaining fish bones while riding on his back. He then returns and informs the others. “Believe Me, I’m not an Egret!” is a parody of the original fable, encouraging the children to think about and question what they hear.
The short fiction that flourished in nineteenth-century France has attracted relatively little critical attention compared with the novel. This study focuses on some key stories by major authors of contes and nouvelles from the late 1820s to the 1890s, taking as a starting-point, aspects of narrative technique as a way of exploring not just characteristic strategies of short fiction, but also the ends to which they were put: recurrent themes, and the vision of mankind. Each chapter looks in some detail at three or four stories, referring briefly to other tales for illustration. The underlying point that emerges from this study is that the interest of a tale lies in the telling, not the events. ;
Sold over 1,600,000 copies!Under the guidance of 7th Lord Silver Dust, Qi Ling gradually gets to know this fantastic, magnificent world of sorcery. However, he accidentally breaks into the soul graveyard alone and the Utul Ruins, Aslan's forbidden area. Qi Ling gets acquainted with the 6th disciple A-D-F and the 5th disciple B-D-E (Ghost Mountain Lotus Spring), and together they embark on a more fantastic adventure. In the darkness, however, an unknown secret is breeding little by little, and a bloody hunting net has been spread over their head..
In this study, Kathryn Walls challenges the standard identification of Una with the post-Reformation English Church, arguing that she is, rather, Augustine's City of God - the invisible Church, whose membership is known only to God. Una's story (its Tudor resonances notwithstanding) therefore embraces that of the Synagogue before the Incarnation as well as that of the Church in the time of Christ and thereafter. It also allegorises the redemptive process that sustains the true Church. Una is fallible in canto I. Subsequently, however, she comes to embody divine perfection. Her transformation depends upon the intervention of the lion as Christ. Convinced of the consistency and coherence of Spenser's allegory, Walls offers fresh interpretations of Abessa (as Synagoga), of the fauns and satyrs (the Gentiles), and of Una's dwarf (adiaphoric forms of worship). She also reinterprets Spenser's marriage metaphor, clarifying the significance of Red Cross as Una's spouse in the final canto.