Furaha Publishers founded in 2014 is an independent children’s book publishing house based in Kigali Rwanda. It publishes 30 to 40 titles a year in both Kinyarwanda and English. Two titles were among the top 10 favorite children’s books in 2017.
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Furaha Publishers founded in 2014 is an independent children’s book publishing house based in Kigali Rwanda. It publishes 30 to 40 titles a year in both Kinyarwanda and English. Two titles were among the top 10 favorite children’s books in 2017.
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In one school bathroom, four soaps decide to take action after being ignored by children for many years. They become police soaps.
For many years, Mr. Eagle had been feeding on little chickens until he met a happy family of chickens... What does he do when he meets them?
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This picture book originally written in Kinyarwanda is suitable for ages 0 to 3. Simon does not like to share his book, one day when he stepped out, the family cat stole it. The cat wanted to read it too.
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Al is an unusual elephant born with the ability to change into different things, including turning into human. His magic tricks helps save other elephants from poachers.
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In one faraway land, before fruits were eaten by people, they lived on their own in the Fruit Kingdom. The tale teaches children the health benefits of eating various fruits.
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On her ninth birthday, a lonely orphan named Bella gets a visit from a giraffe. The giraffe later takes her to Giraffe Land to meet the queen. While in Giraffe Land, Bella breaks the spell of of a witch who had planned on destroying Giraffe Land.
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One day, twin baby owls leave their nest to go look for their mother who had gone to look for food and they got lost...
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This picture book describes what some baby animals call their mothers. The book is suitable for ages 0-3.
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Alice is a young girl who out of curiosity, follows a tourist car and eventually gets lost. She lives in the forest on her own until she is found by kind gorillas.
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Fifi la footballeuse est une histoire pour enfants qui parle d’une jeune fille passionnée de football.
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In one village called the Sneezing Village, everyone there sneezed. Children and adults sneezed all the time. The book tells a story of the relationship between people that lived in that village and three unique parrots.
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This baby picture book teaches young children the names of some baby animals and how thier mothers are called. It is suitable for ages 0-3.
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Nina likes to look up in the sky. She sees a number of things up in the sky. This baby picture book is suitable for ages 0-3.
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It is a coming-of-age story for Generation Z. How to grow up or even live in a world where no steady jobs are available, you can’t pay your rent and can’t afford medical or living expenses. Moreover, it touches on how to be a socially engaged artist in such a world, and more so, a woman in a post-me too world? Dijana, a daughter of working-class immigrants, tells the story of her difficult childhood and adolescence, how should became a journalist and later a writer in a society full of prejudices, glass ceilings and obstacles. How she gradually became a stereotypical ‘success story’, even though she still struggles with writing, because she can’t afford a ‘room of her own’. Dijana is a daughter of working-class immigrants, who came to Slovenia in the eighties in search of a better future. The family is building a house but is made redundant from the local factory when Yugoslavia is in the midst of an economic crisis. When her parents get divorced, Dijana, her older sister and mother struggle with basic needs. She is ashamed of their poverty, her classmates bully her because of her immigrant status, but mostly because of her being ‘white trash’. In the local school she meets teachers with prejudices against immigrants, but is helped by a librarian who spots her talent. When Dijana goes to secondary school, she moves in with her older sister who lives in Ljubljana, the capital of Slovenia. Her sister is into rave culture and Dijana starts to explore experimenting with drugs, music and dance. At the secondary school, she is again considered ‘the weird kid’, as she isn’t enough of a foreigner for other immigrant kids because she is from the country, yet she isn’t Slovenian enough for other native kids. She falls even deeper into drug addiction, fails the first year of school and has to move back to live with her mother. She takes on odd jobs to make ends meet. Whilst working as a waitress she encounters sexism and sexual violence from customers and abuse from the boss. She finishes night school and graduates. She meets many ‘lost’ people of her generation along the way, who tell her their stories about precarious, minimum wage jobs, lack of opportunities, expensive rent, etc. Dijana writes for numerous newspapers but loses or quits her job, because she isn’t allowed to write the stories she wants or because of the bad working conditions or the blatant sexual harassment. Due to the high rent in the capital, Dijana has to move to the countryside to live with her mother. She feels lonely there, struggles with anxiety and cannot write a second book, because she is constantly under pressure to make a living. She realises that she must persevere regardless of the obstacles, she must follow her inner truth and by writing about it, try to create a community of like-minded people, a community of people who support each other – all literature/art is social.
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The pastor in print explores the phenomenon of early modern pastors who chose to become print authors, addressing ways authorship could enhance, limit or change clerical ministry and ways pastor-authors conceived of their work in parish and print. It identifies strategies through which pastor-authors established authorial identities, targeted different sorts of audiences and strategically selected genre and content as intentional parts of their clerical vocation. The first study to provide a book-length analysis of the phenomenon of early modern pastors writing for print, it uses a case study of prolific pastor-author Richard Bernard to offer a new lens through which to view religious change in this pivotal period. By bringing together questions of print, genre, religio-politics and theology, the book will interest scholars and postgraduate students in history, literature and theological studies, and its readability will appeal to undergraduates and non-specialists.
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The Civilization of Paper in Villages: An Investigation and Research on the Culture of Papercutting of Ethnic Minorities in China is a monographic series presenting the field research studies on Chinese traditional papercut conducted by the Intangible Cultural Heritage Research Center of the Central Academy of Fine Arts for 15 years. The series has 8 volumes, archiving for the first time the research information about Chinese papercut, a world-class intangible cultural heritage and more than 20 ethnic minorities such as Tibetan, Dai, Hani, and Bulang. With a total of more than 2 million Chinese words and nearly 10,000 pictures, it shows the readers the diversity of ethnic culture and paper-cutting art in China.
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She is Hua Yaya, a little apprentice who wants to learn paper-cutting. But the master she wants to learn from is a bit strange. As an apprentice for three years, Hua Yaya spends a year in watering flowers, another year in sharpening a pair of scissors and a third year in visiting the market. Finally, her strange master flies into her paper-cut by riding a golden bird. Can she cut out lifelike patterns such as flowers, birds, leaves and characters?
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DEKEL PUBLISHING GROUP: A BRIEF PROFILE Dekel Publishing House was established in 1975, initially as an academic publisher for university students, but it quickly expanded to include more popular genres under its imprint Tamar Books. Within a few years, Dekel became one of Israel’s leading publishing houses with both fiction, such as novels and thrillers, and nonfiction titles, mainly related to hobbies, cooking, and various sports and leisure activities. In the nineties, Dekel first entered the international publishing scene, taking part in most of the Frankfurt Book Fairs and the London Book Fairs, as well as many Book Expo America, the Salon du Livre in Paris, and also the Beijing Book Fair. Dekel maintains friendly collaboration with many overseas publishers in various languages to whom it licenses their own language rights or co-publishing agreements. It also publishes both digital and print titles via its American imprint in Monterey, California, and its German imprint in Frankfurt. Dekel’s bestselling Krav Maga series, which focuses on the original Israeli renowned self-defense system, has been translated and published in many languages, most with successive reprints, including Japanese, Korean, and Chinese. Recently, Dekel has developed titles in the high-tech and start-up domain, including fiction & nonfiction. Despite its dynamic activity, Dekel is a family-owned company managed by father and son Zvi and Dory Morik. Their company often proves itself to be a pioneer in the international publishing industry in promoting new and intriguing themes. CONTACT: Imprints: Samuel Wachtman’s Sons, Lindenfels von Pressel Verlag Post: P.O. Box 16109, Tel Aviv 6116002, Israel Tel/Fax: 972-3-6044627 E-mail: zvimor@dekelpublishing.com Managing Director: Mr. Zvi Morik Export Manager: Mr. Dory Morik
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The book selects 300 works (groups) of painting, sculpture, grottoes, architecture, craft and other art works from the "13th Five-Year Plan" national key publications publishing planning project and the National Publishing Fund funded project "World Buddhist Art Atlas", closely related to auspicious themes in different periods and traditional Chinese cultural elements. Highlighting the development history of Chinese civilization and the radiation spread to neighboring countries and regions. Through appreciating the works of art, the manuscript analyzes their cultural connotation, expresses the auspicious vision of the ancient working people in health, reunion, peace, harvest, wealth and other aspects, reveals the far-reaching influence of Chinese culture, and has the function of art appreciation and cultural popularization.
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The white paper felt sad for being left blank. But its feelings changed when it saw the writer’s hand waking the sleeping pen up, and drawing letters and words on its white page.
