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View Rights PortalThe "Oracle Bone Picture Book" series introduces children aged 5-10 to Chinese characters. It explains the connection between character shapes and meanings of the ancient oracle bone script and showcases their real-life applications, helping children understand Chinese characters from their roots and fostering an appreciation for the script, making learning fun and engaging. It contains 10 books: "A Big Deal", "Amazing Mom", "Lessons from Animals", "The Heart of Plants", "Their Family", "Feast and Song", "Under the Sky, Between Mountains and Seas", "At Your Home, At Mine", "Off to the Hunt", "Face Stories".
Nearly fifty symbols of traditional Chinese culture with strong symbolism, high recognition and extensive influence are selected in this book, whose connotation covers the fields like architecture, collection, dress and personal adornment, military affairs, health preservance and folk arts. The symbols are of special postion and meaning in the history of traditional Chinese culture since they are stereo, multidimensional, and full of fresh color and life with profound historical origins and cultural significance; therefore they not only bring people a visional impact and enjoyment, but conform with the Chinese aesthetic ideas and cultural complex in their innermost hearts; furthermore created originally by the Chinese ethnic peoples, they have a very deep brand of traditional Chinese aesthetic sentiment and historical memory, meanwhile they make a great effect on the development of culture and arts of mankind. With a view to make the panoramic scan of “traditional Chinese cultural symbols” this time, the compilers intend to display the essence of the culture of Chinese symbols and record the new growth of traditional Chinese culture truthfully through plentiful exqusite pictures in the lively and concise language on the basis of the principle of respecting history and deep exploration.
Post-photographic research, which explores traces of a traumatic historical event in everyday practices and in contemporary landscape and tests the limits of photography as a medium in trauma representation. The starting point of this project was the personal sense of guilt which accompanies the acts of throwing food away. This feeling is common in contemporary Ukrainian culture and originates in our postmemory - it was imprinted into our generation’s behavioral patterns by the stories of our grandparents - survivors of the man-made famine of 1932-33 in Soviet Ukraine called the Holodomor, which killed millions. The ink prints document the thrown-away food while fragments of found black-and-white photographs of unrecognisable landscapes demonstrate the lack of the famine’s traces in the landscape – unlike many collective traumas which have exact geographic locations and present in the landscape in the form of ‘places of memory’.
1978-2018, a big era. Reform and opening up have profoundly affected the changes in the way of life of the Chinese people. The manuscript replays the development of social life in China over the past 40 years of reform and opening up. It mainly sorts out the great changes in our lives in the past 40 years from the aspects of clothing, food, housing, market, love, and play. Adhering to the purpose of "a magazine and the body temperature of an era", the manuscript has a unique perspective and rich details, which can be regarded as a brief history of alternative life with warmth in this era.
Feodora + Gino present: Bibbi Feodora goes to the market with her mom, where she meets Gino. A grumpy honeybee attracts the attention of the two dino children. She seems to have a problem that's really putting her in a bad mood. Now, Feodora and Gino are curious to find out how they can help the little bee. Educational approach: What does the book Bibbi aim to express? Even if you sometimes feel the impression that something is too diffcult or overwhelming and you're tempted to give up. You should take time to think things through might not be so bad after all! Picture book cinema This book by Meggie Berns has also been published as a movie in our picture book cinema. This means that it is 100% identical to “Bibbi - the movie”. Children who want to learn or practise reading can therefore read along word for word in the corresponding book.
"The Classic of Mountains and Seas (Picture Version)" is a children's traditional cultural enlightenment book with a fresh perspective. Selected representative and interesting chapters in "The Classic of Mountains and Seas" were drawn into the book, which depicts a series of images in "The Classic of Mountains and Seas" such as water systems, mountains, vegetations, trees, mountain gods, sacred beasts, water monsters, etc. In this imaginative picture book, images are vivid and the story theme is ups and downs. The author extracts nourishment from the profound ancient myths, and then creates new stories that children can understand. The whole book takes a retro and creative form with concise and simple text and simple and freehand ink painting through the mountain and sea scriptures, depicting a mythical world where the heavens and the earth are prevalent and the gods and monsters are in chaos.
For ages 3+ ‘‘My Little Picture Book of Animals (From A to Z)’’ helps children identify animals in their environment. It contains both domestic and wild animals. The animals are placed in alphabetical order to ease the learning process.
There is a pervading idea, both in the east and west, that "big boys don't cry". To reach some cultural ideal of a "real man", boys are too often pushed to be tough and stoic and suppress their emotions. The Picture Books about Emotion Management for Boys challenges this old tradition. Of course boys cry, and we should let them cry! The series contains five books. I Want to Cry encourages boys to express their vulnerable feelings in appropriate ways. I Don't Want to Hit Back encourages boys to follow their hearts and stick up for themselves in the way they like. I am a Coward talks about self-acceptance. I Don't Want to be a Big Brother is for boys experiencing issues with new siblings. I Didn't Hear You talks about protecting boys' own little worlds. All five stories came from author Le Fan's real experiences of raising two sons as a mother. While the books are certainly children's books, they could even be viewed as parent handbooks of sorts. The author has written their parents and other adults in little boys' eyes, and calls for parents and society to raise boys differently and understandingly so they can grow in positive, healthy ways.
Ukraine: from Ancient Times to the Present is an express guide to the past of our country from historians Maria Takhtaulova and Sergiy Zhukov. The book can be divided into two parts. The first part contains brief information on significant historic events (settlement of the first people, the formation of Kyivan Rus, the Cossacks, etc.); the second gives a general idea of the cultural achievements of Ukrainians (language, architecture, traditions, and much more). A simple presentation of information and many illustrations make the book ideal for familiarizing children with the history and culture of Ukraine, as well as contribute to the interest in this science.
While growing up, girls are more likely than boys to receive contradictory expectations from different aspects of their lives: parents, teachers, peers, society, and themselves. They could be rebellious but at the same time remain "good girls". They could express anger against bullies at school while simultaneously meeting teachers' expectations of nonaggressive behavior. They could be powerful and competitive at the same time that they worry about being considered "unfeminine". Girls struggle with these conflicting messages in their everyday lives, trying to please all these other people and losing track of themselves. Writer Le Fan, who has experienced the same contradictions as growing up, hopes that girls could love themselves, put themselves first a little more. So here comes the Picture Books about Emotion Management for Girls. The series contains five stories of five courageous little girls who were experiencing confusion in their lives. Little Le Fan in I am not Just a Good Girl tried to find the balance between two sides of herself—a cool girl and a good girl. Xiaoxiao in I love myself learned to be more confident and accepted her new look after her baby teeth fell out. Jiang in I'm so Jealous learned to deal with jealousy towards her best friend. A timid girl Xiao in I can Say No strived to express herself and stop the little boy's bullies. Feng in I Really Want to Win embraced her inner "tomboy" with daddy's encouragement. All the five little girls, though struggling, broke out of cultural and societal stereotypes swirling around them and became their true selves.
Fuxi was recounted by ancient children's literature writer Zhou Jing and contemporary painter Wu Haijia, the latter recarving stories and characters in the style of Chinese painting. The integration of the poetry of the text and the richness of the painting is a wonderful interpretation of ancient myths, which expresses the unique Chinese charm and Chinese spirit. The story of this book is an in-depth description of the mythical figure of Fuxi, and unfolds the legendary Fuxi's contribution to humanity. The book tells the stories of Fuxi started making fire, portray, and divination, fishing with nets, breeding, singing, and dancing, etc. Using repeated techniques, the author applies the poetic deconstruction of traditional elements in the book. By depicting the image of Fuxi, the book celebrates the creativity and self-improvement of the Chinese nation.
Every year on January 16th of the lunar calendar, the Xibo people celebrate a unique festival -- the “Face-blackening Festival”. This peculiar festival that features with smearing each other's faces has a magical origin. This book uses the unique legends of the Xibo people to describe the origin of the “Face-blackening Festival”. Behind that legend is the Xibo people’s yearning for a bumper harvest, their resistance to natural disasters, and their praise of the virtues of diligence and thrift. They use a vivid and interesting story to express their best wishes and safeguard notes to future generations while planting the seeds of kindness and frugality in the details of life.
This collection brings together studies of popular performance and politics across the nineteenth century, offering a fresh perspective from an archivally grounded research base. It works with the concept that politics is performative and performance is political. The book is organised into three parts in dialogue regarding specific approaches to popular performance and politics. Part I offers a series of conceptual studies using popular culture as an analytical category for social and political history. Part II explores the ways that performance represents and constructs contemporary ideologies of race, nation and empire. Part III investigates the performance techniques of specific politicians - including Robert Peel, Keir Hardie and Henry Hyndman - and analyses the performative elements of collective movements.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from Broadway musicals to educational theatre, from Somali drama to grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. Science in performance is essential reading for researchers, students and practitioners working between science and the arts within fields such as theatre and performance studies, science communication, interdisciplinary arts and health humanities.
‘‘So he thought of writing a play inspired by the residents' strike, which was in full swing. He was in his fifth year of medical school and his future was directly affected by the outcome of this movement, for which he was enthusiastic. However, when he wanted to take an interest in the nuts and bolts, the details he could incorporate into his art, an indefinable discomfort overcame him, and he couldn't quite grasp the cause. The project remained at half-mast in a corner of his mind, and the end of the strike finished by gathering the dust of oblivion on it.’’ Dj. R. Touati The one is multiple, and that which unites, after the moment of egregore, becomes that which divides; irreconcilably. At a time when the failure of the intuition of diversity has never been so prevalent, so widespread, it seemed salubrious to the author to show - without seeking to demonstrate - through the painting of an aesthetic reality, that if a historical moment has given rise to debate and division within the same class, then nothing is more absurd - or more specious - than the claim to unanimity within an entire people. Against the schizophrenic false identification, attempting to grasp the totality appears to be the only way to confront totalitarianism, which is, as those who denounce it pretend to ignore in order to exonerate themselves, THE PART THAT TAKES ITSELF FOR THE WHOLE. On stage, Molière, Brecht, Kateb, Alloula and others play out history... against a backdrop of burgundy-red curtains, where a dialogue of the deaf imposes blindness on the actors in action. Far from the imposing “noise” of movement, La scène et l'histoire, like a “socio-temporal” filter, sets the historical record straight: curtain up. Theater teacher Nadji, on the lookout for the old days, Rahim and Lamia, the pretenders of a politically better future, and all the others... followers of culture, that's us..., (are) beating the floor of the present.
This is the first major study of Britain's pioneering graphic satirist, Sir Francis Carruthers Gould (1844-1925), the first staff political cartoonist on a daily newspaper in Britain, and the first of his kind to be knighted. Written by the distinguished media historian, Colin Seymour-Ure, it is essential reading for anyone interested in cartoons, caricature and illustration and will also be welcomed by students of history, politics and the media. It examines Gould's career in Fleet Street until his retirement after the First World War. It also discusses his illustrations for magazines and books and there is an analysis of his use of symbolism and literary allusion to lampoon such eminent politicians as Gladstone and Joseph Chamberlain. As Lord Baker says in his Foreword, this book is 'a major contribution to our knowledge of British cartooning.'