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"Courtesy Fiction."
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Pirates can be polite
\"The pirates aboard the Golden Duck have forgotten their manners. Without \"please,\" \"thank you,\" and basic courtesy, the captain is at his wit's end. An enemy attack brings the pirates together and makes them realize the importance of politeness towards each other. The story is brought to life through colorful illustrations that will spark the imagination of young readers. This book is an enjoyable read that will help readers recognize how and why to be polite and appreciative.\"--Publisher's description.
Book
Pícaro and cortesano
In this book on the relationship between pícaro and cortesano, Felipe E. Ruan argues that these two cultural figures are linked by a shared form of deportment centered on prudent self-accommodation. This behavior is generated and governed by a courtly ethos or habitus that emerges as the result of the growth and influence of the court in Madrid. Ruan posits that both pícaro and cortesano, and their respective books, conduct manual and picaresque narrative, tacitly engage questions of identity and individualism by highlighting the valued resources or forms of capital that come to fashion and sustain self-identity. He places the books of the pícaro and cortesano within the larger polemic of early modern identity and individualism, and offers an account of the individual as agent whose actions are grounded on objective social relations, without those actions being simply the result of mechanistic adherence to the social order.
eBook
Please Mr. Panda
The animals would like a doughnut from Mr. Panda, but it takes a small lemur to realise that the magic word is \"please.\"
Book
Shakespeare's Festive Comedy
In this classic work, acclaimed Shakespeare critic C. L. Barber argues that Elizabethan seasonal festivals such as May Day and Twelfth Night are the key to understanding Shakespeare's comedies. Brilliantly interweaving anthropology, social history, and literary criticism, Barber traces the inward journey--psychological, bodily, spiritual--of the comedies: from confusion, raucous laughter, aching desire, and aggression, to harmony. Revealing the interplay between social custom and dramatic form, the book shows how the Elizabethan antithesis between everyday and holiday comes to life in the comedies' combination of seriousness and levity.
\"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture.\"--C. L. Barber, in the Introduction
This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing thatShakespeare's Festive Comedyis as vital today as when it was originally published.
eBook
The fox and the stork
When sly Mr. Fox invites hungry Miss Stork to lunch but tricks her out of her portion, she devises a way to get the last laugh.
Book
The plum in the golden vase or, Chin P'ing Mei
In this third volume of a planned five-volume series, David Roy provides a complete and annotated translation of the famousChin P'ing Mei, an anonymous sixteenth-century Chinese novel that focuses on the domestic life of His-men Ch'ing, a corrupt, upwardly mobile merchant who maintains a harem of six wives and concubines. This work, known primarily for its erotic realism, is also a landmark in the development of narrative art--not only from a specifically Chinese perspective but also in a world-historical context.
Written during the second half of the sixteenth century and first published in 1618,The Plum in the Golden Vaseis noted for its surprisingly modern technique. With the possible exception ofThe Tale of Genji(ca. 1010) andDon Quixote(1605, 1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens ofBleak House, the Joyce ofUlysses, or the Nabokov ofLolitathan anything in earlier Chinese fiction, has not yet received adequate recognition. This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This translation and its annotation aim to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth.
Replete with convincing portrayals of the darker side of human nature, it should appeal to anyone interested in a compelling story, compellingly told.
eBook
Thank you
Use the finger puppet to act out Puppy's story, and learn all about using a very imporant word!
Book
The plum in the golden vase or, Chin P’ing Mei, volume four
This is the fourth and penultimate volume in David Roy's celebrated translation of one of the most famous and important novels in Chinese literature.The Plum in the Golden Vaseor,Chin P'ing Meiis an anonymous sixteenth-century work that focuses on the domestic life of Hsi-men Ch'ing, a corrupt, upwardly mobile merchant in a provincial town, who maintains a harem of six wives and concubines. The novel, known primarily for its erotic realism, is also a landmark in the development of the narrative art form--not only from a specifically Chinese perspective but in a world-historical context.
Written during the second half of the sixteenth century and first published in 1618, ThePlum in the Golden Vaseis noted for its surprisingly modern technique. With the possible exception ofThe Tale of Genji(ca. 1010) andDon Quixote(1605, 1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens ofBleak House, the Joyce ofUlysses, or the Nabokov ofLolitathan anything in earlier Chinese fiction, has not yet received adequate recognition. This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This complete and annotated translation aims to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth.
eBook
Please
\"Use the finger puppet to act out Bear's story, and learn all about using a very important word!\"--Page [4] cover.
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After Every War
They are nine women with much in common—all German speaking, all poets, all personal witnesses to the horror and devastation that was World War II. Yet, in this deeply moving collection, each provides a singularly personal glimpse into the effects of war on language, place, poetry, and womanhood.
After Every War is a book of translations of women poets living in Europe in the decades before and after World War II: Rose Ausländer, Elisabeth Langgässer, Nelly Sachs, Gertrud Kolmar, Else Lasker-Schüler, Ingeborg Bachmann, Marie Luise Kaschnitz, Dagmar Nick, and Hilde Domin. Several of the writers are Jewish and, therefore, also witnesses and participants in one of the darkest occasions of human cruelty, the Holocaust. Their poems, as well as those of the other writers, provide a unique biography of the time—but with a difference. These poets see public events through the lens of deep private losses. They chart the small occasions, the bittersweet family ties, the fruit dish on a table, the lost soul arriving at a railway station; in other words, the sheer ordinariness through which cataclysm is experienced, and by which life is cruelly shattered. They reclaim these moments and draw the reader into them.
The poems are translated and introduced, with biographical notes on the authors, by renowned Irish poet Eavan Boland. Her interest in the topic is not abstract. As an Irish woman, she has observed the heartbreaking effects of violence on her own country. Her experience has drawn her closer to these nine poets, enabling her to render into English the beautiful, ruminative quality of their work and to present their poems for what they are: documentaries of resilience—of language, of music, and of the human spirit—in the hardest of times.
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