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Edmund 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.
The Guys of Manday ,1950s is based in the years just after independence . After Myanmar became independent from English , there were several armed conflicts in Ethnic Areas all over the world. Sein Da Myone ( Golden Dagger) was a leader of a robber gang base in Mandalay ,upper Myanmar . Nobody knows the real life of Mr Golden Dagger and he lived under the face of a gentleman . This book is related to The Guys of Rangoon 1930 as well and they have some links in stories.
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The Guys of Rangoon , 1930 is a record breaking bestseller book from Myanmar . It sold 16000 copies within one day during the pre order period. More than one hundred thousand copies have been sold so far. Film rights, several merchandise rights, comic rights already sold.It was based in Yangon , Myanmar during the colonial period. The main character is Pho Thoke who was a gangster and managed a lot of business by himself and his gang. He is very close with politicians as well and he is involved in several dirty political movements in Myanmar . This story is based on real characters and events.
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Base in Yangon. A girl met with a puppet and sharing the experience each other. A heart warm charming stories with beautiful collage illustrations.
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Basics of Interesting Paper-cut: Basics of Interesting Paper-cut is a book for guiding children to have fun origami. The strength of DIY ability directly reflects the flexibility of the brain, so improving children's DIY ability is an important way to promote intellectual development, while hand craft is a good way to fully develop children's intelligence.
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Chosen peoples demonstrates how biblical themes, ideas and metaphors shaped racial, national and imperial identities in the long nineteenth century. Even as radical new ideas challenged the historicity of the Bible, biblical notions of lineage, descent and inheritance continued to inform understandings of race, nation and empire. European settler movements portrayed 'new' territories across the seas as lands of Canaan, but if many colonised and conquered peoples resisted the imposition of biblical narratives, they also appropriated biblical tropes to their own ends. These innovative case-studies throw new light on familiar areas such as slavery, colonialism and the missionary project, while forging exciting cross-comparisons between race, identity and the politics of biblical translation and interpretation in South Africa, Egypt, Australia, America and Ireland.
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All books have either writing, pictures or both in it, but the book that Ellen got as a gift has neither. It does, however, have extraordinary recording powers. Like in so many of Sandro’s stories, in The Strange Book it is completely natural for dreams to merge with reality. Through the matter-of-fact occurrence of unlikely events, The Strange Book tells a story of growing up without abandoning the inner child.
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Children of the World Illustrate the Bible It all began when we were looking forward to the fiftieth year Jubilee of the State of Israel. We were looking for a way, something unconventional, to bring Israel to the attention of hundreds of millions of people throughout the world. And so we came up with the idea, rather self-evident: The Bible. The Book of Books, which speaks to each and every one in dozens of countries and countless cultures. We asked ourselves: Who will bring this message? And then the idea came up: A worldwide competition among children to draw the stories of the Bible. We did not limit the subjects. Anything would be accepted as long as it was in line with the stories of the Bible. And wonder of wonders: Just like a fire in a field of thorns, the message went from country to country, from city to city, from school to school, from family to family: The children of the world are drawing the Bible. And the project reached 91 countries. Hundreds of thousands of drawings reached us. Only a handful of the thousands are brought in this album, which is the first in the series of titles flowing from the illustrations that were sent to Israel and were chosen by our staff of curators. And indeed from this handful we can already see their uniqueness. We all know the stories of the Bible, but here they materialize before our very eyes. As the children from five continents described them in their imagination, it seems that even the authors of the Bible themselves would not believe how alive and full were their heroes, as depicted with the brushes of these little children. Not only did we find a drawing of a story, but also a wide rainbow of emotions, notions, beliefs and outlooks of the world. And above all: Personal expression and riveting exposition without filters, analysis or criticism. We conducted the project throughout the world for three years, and at the end, when the thousands of drawings began streaming to the country, we were astounded by this enormous and absorbing crop. We could not avoid falling captives to the charm, strength of expression and intensity of experience that flowed from these drawings. It seems that thanks to the remarkable coming to the rescue by the children of the world, the stories of the Bible won an inspiring, artistic revival. Amos Rolnik This book was previously published by Mallmedia Publishing House& Rolnik Publishing, Something Different In 2002. 273 Pages, 25X32 cm, Color Illustrations,
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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.
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At once pervasive and marginal, appealing and repellent, exemplary and atypical, the women of the Bible provoke an assortment of readings across early modern literature. Biblical women in early modern literary culture, 1550-1700 draws attention to the complex ways in which biblical women's narratives could be reimagined for a variety of rhetorical and religious purposes. Considering a confessionally diverse range of writers, working across a variety of genres, this volume reveals how women from the Old and New Testaments exhibit an ideological power that frequently exceeds, both in scope and substance, their associated scriptural records. The essays explore how the Bible's women are fluidly negotiated and diversely redeployed to offer (conflicting) comment on issues including female authority, speech and sexuality, and in discussions of doctrine, confessional politics, exploration and grief. As it explores the rich ideological currency of the Bible's women in early modern culture, this volume demonstrates that the Bible's women are persistently difficult to evade. ;
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David and Bathsheba presents a modernised edition of George Peele's explosive biblical drama about the tangled lives, deadly liaisons, and twisted histories of Ancient Israel's royal family. Martin's critical edition is the first modern single-volume edition of the play since 1912 and opens up this unduly neglected gem of English Renaissance drama to student and scholar alike. The introduction examines such topics as the play's treatment of its biblical and poetic sources, its engagement with Elizabethan politics, and its forceful representations of religious fanaticism, genocide, and sexual violence. Its commentary notes clarify the text's meaning and staging, guide the reader through the play's dramatisation of the turbulent Davidic period of Ancient Israel's history, and place the play in its broader cultural and artistic milieu. Martin's edition aims to encourage new contemporary critical study of Peele's powerful and disturbing drama.
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David and Bathsheba presents a modernised edition of George Peele's explosive biblical drama about the tangled lives, deadly liaisons, and twisted histories of Ancient Israel's royal family. Martin's critical edition is the first modern single-volume edition of the play since 1912 and opens up this unduly neglected gem of English Renaissance drama to student and scholar alike. The introduction examines such topics as the play's treatment of its biblical and poetic sources, its engagement with Elizabethan politics, and its forceful representations of religious fanaticism, genocide, and sexual violence. Its commentary notes clarify the text's meaning and staging, guide the reader through the play's dramatisation of the turbulent Davidic period of Ancient Israel's history, and place the play in its broader cultural and artistic milieu. Martin's edition aims to encourage new contemporary critical study of Peele's powerful and disturbing drama.
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This book presents a selection of articles in the Civil Code that are relevant to teenagers, and it explains the Civil Code in a question-and-answer format through comic and specific cases. The combination of fun and knowledge in the format prevents readers from becoming intimidated by the legal language. Each case is closely related to social hot topics, and each issue is professionally explained by legal scholars to provide legal countermeasures, which not only facilitates teenagers' learning and understanding, but also makes it easy for them to apply their knowledge to solve legal problems in their lives. Through the youth-friendly ways to promote legal education, to help them better understand and use the law as a tool.
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Adopting the story-within-a-story structure of Arabian Nights, author Osama Alaysa weaves together a collection of stories portraying centuries of oppression endured by the Palestinian people. This remarkable novel eloquently brings together fictional characters alongside real-life historical figures in a complex portrayal of Bethlehem and the Dheisheh Refugee Camp in the West Bank. The common thread connecting each tale is madness, in all its manifestations. Psychological madness, in the sense of clinical mental illnesses such as schizophrenia, finds expression alongside acts of social and political madness. Together, these accounts of individuals and communities provide a gateway into the histories of the city of Bethlehem and Palestine. They paint a picture of the centuries of political oppression that the Palestinian people have endured, from the days of the Ottoman Empire to the years following the Oslo Accords, and all the way to 2012 (when the novel was written). The novel is divided into three sections, each containing multiple narratives. The first section, “The Book of a Genesis,” describes the physical spaces and origins of Bethlehem and Dheisheh Refugee Camp. These stories span the 19th and 20th centuries, transitioning smoothly from one tale to another to offer an intricate interpretation of the identity of these places. The second section, “The Book of the People Without a Book”, follows parallel narratives of the lives of the patients in a psychiatric hospital in Bethlehem, the mad men and women roaming the streets of the city, and those imprisoned by the Israeli authorities. All suffer abuse, but they also reaffirm their humanity through the relationships, romantic and otherwise, that they form. The third and final section, “An Ephemeral Book,” follows individuals—Palestinian and non-Palestinian—who are afflicted by madness following the Oslo Accords in 1993. These stories give voice to the perspectives of the long-marginalized Palestinian population, narrating the loss of land and the accompanying loss of sanity in the decades of despair and violence that followed the Nakba, the 1948 eviction of some 700,000 Palestinians from their homes. The novel’s mad characters—politicians, presidents, doctors, intellectuals, ordinary people and, yes, Dheisheh and Bethlehem themselves—burst out of their narrative threads, flowing from one story into the next. Alaysa’s crisp, lucid prose and deft storytelling chart a clear path through the chaos with dark humor and wit. The result is an important contribution to fiction on the Palestinian crisis that approaches the Palestinians, madness, and Palestinian spaces with compassion and depth.
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In his first YA novel, cultural journalist and author Abdo Wazen writes about a blind teenager in Lebanon who finds strength and friendship among an unlikely group. Growing up in a small Lebanese village, Bassim’s blindness limits his engagement with the materials taught in his schools. Despite his family’s love and support, his opportunities seem limited. So at thirteen years old, Bassim leaves his village to join the Institute for the Blind in a Beirut suburb. There, he comes alive. He learns Braille and discovers talents he didn’t know he had. Bassim is empowered by his newfound abilities to read and write. Thanks to his newly developed self-confidence, Bassim decides to take a risk and submit a short story to a competition sponsored by the Ministry of Education. After winning the competition, he is hired to work at the Institute for the Blind. At the Institute, Bassim, a Sunni Muslim, forms a strong friendship with George, a Christian. Cooperation and collective support are central to the success of each student at the Institute, a principle that overcomes religious differences. In the book, the Institute comes to symbolize the positive changes that tolerance can bring to the country and society at large. The Boy Who Saw the Color of Air is also a book about Lebanon and its treatment of people with disabilities. It offers insight into the vital role of strong family support in individual success, the internal functioning of institutions like the Institute, as well as the unique religious and cultural environment of Beirut. Wazen’s lucid language and the linear structure he employs result in a coherent and easy-to-read narrative. The Boy Who Saw the Color of Air is an important contribution to a literature in which people with disabilities are underrepresented. In addition to offering a story of empowerment and friendship, this book also aims to educate readers about people with disabilities and shed light on the indispensable roles played by institutions like the Institute.
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Kuwaiti children’s book author Lateefa Buti’s well-crafted and beautifully illustrated children’s book, Hatless, encourages children (ages 6-9) to think independently and challenge rigid traditions and fixed rituals with innovation and creativity. The main character is a young girl named Hatless who lives in the City of Hats. Here, all of the people are born with hats that cover their heads and faces. The world inside of their hats is dark, silent, and odorless. Hatless feels trapped underneath her own hat. She wants to take off her hat, but she is afraid, until she realizes that whatever frightening things exist in the world around her are there whether or not she takes off her hat to see them. So Hatless removes her hat. As Hatless takes in the beauty of her surroundings, she cannot help but talk about what she sees, hears, and smells. The other inhabitants of the city ostracize her because she has become different from them. It is not long before they ask her to leave the City of Hats. Rather than giving up or getting angry, Hatless feels sad for her friends and neighbors who are afraid to experience the world outside of their hats. She comes up with an ingenious solution: if given another chance, she will wear a hat as long it is one she makes herself. The people of the City of Hats agree, so Hatless weaves a hat that covers her head and face but does not prevent her from seeing the outside world. She offers to loan the hat to the other inhabitants of the city. One by one, they try it on and are enchanted by the beautiful world around them. Since then, no child has been born wearing a hat. The people celebrate by tossing their old hats in the air. By bravely embracing these values, Hatless improves her own life and the lives of her fellow citizens. Buti’s language is eloquent and clear. She strikes a skilled narrative balance between revealing Hatless’s inner thoughts and letting the story unfold through her interactions with other characters. Careful descriptions are accompanied by beautiful illustrations that reward multiple readings of the book.
