Virginia Woolf’s Unwritten Histories explores the interrelatedness of Woolf’s modernism, feminism and her understanding of history as a site of knowledge and a writing practice that enabled her to negotiate her heritage, to find her place among the moderns as a female artist and intellectual, and to elaborate her poetics of the "new": not as radical rupture but as the result of a process of unwriting and rewriting "traditional" historiographical orthodoxies. Its central argument is that unless we comprehend the genealogy of Woolf’s historical thought and the complexity of its lineage, we cannot fully grasp the innovative thrust of her attempt to "think back through our mothers." Bringing together canonical texts such as Orlando (1928), A Room of One’s Own (1929), Three Guineas (1938) or Between the Acts (1941) and under-researched ones — among which stand Woolf’s essays on historians and reviews of history books and her pieces on literary history and nineteenth-century women’s literature — this book argues that Woolf’s textual "conversations" with nineteenth-century writers, historians and critics, many of which remain unexplored, are interwoven with her historiographical poiesis and constitute the groundwork for her alternative histories and literary histories: "unwritten," open-textured, unacademic and polemical counter-narratives that keep track of the past and engage politically with the future.
When the queen gets tired of her dragon, Harry, and starts to look for a replacement, the royal parrot tries to help him reclaim the queen's affections.
Nakagami Kenji is today regarded as one of the most important and influential Japanese post-war writers. Born in 1946 in the burakumin ghetto of the small coastal town of Shingu in southern Wakayama prefecture, Nakagami sailed up as a rising star on the literary skies in the mid-seventies when he became the first writer born after the Second World War to win the prestigious Akutagawa prize. He was also the first writer of the burakumin background to receive wide literary acclaim and recognition from critics and from the literary establishment. The reception of Nakagami's literature has placed him simultaneously both at the avant-garde of modern Japanese literature and near the nostalgic roots of Japan's literary origins. For while his engagement with the Japanese traditional narrative, the monogatari does indeed often seem to bring him disturbingly close to an almost reactionary nostalgia, fissures in his narrative – both in voice, structure, and theme – will at the same time dismantle this nostalgic return. Focusing on one novel, Nakagami's masterpiece Kiseki (Miracles) from 1989, this study traces his pendulous movement from nostalgia to avant-garde and back again. At the heart of the study lies the concept of negotiation – a negoti ation of cultures, languages, and borders. Nakagami is a minority writing against the constraints of a language and literature that has throughout history contributed to the discrimination of his minority group. Facing this challenge head on, Nakagami engages the literary genres that lie at the root of this discrimination, thus laying bare the difficulties facing anyone trying to break free of the bonds of culture, history, and literature.
How Japanese coastal residents and transnational conservationists collaborated to foster relationships between humans and sea life Drawing the Sea Near opens a new window to our understanding of transnational conservation by investigating projects in Okinawa shaped by a “conservation-near” approach—which draws on the senses, the body, and memory to collapse the distance between people and their surroundings and to foster collaboration and equity between coastal residents and transnational conservation organizations. This approach contrasts with the traditional Western “conservation-far” model premised on the separation of humans from the environment. Based on twenty months of participant observation and interviews, this richly detailed, engagingly written ethnography focuses on Okinawa’s coral reefs to explore an unusually inclusive, experiential, and socially just approach to conservation. In doing so, C. Anne Claus challenges orthodox assumptions about nature, wilderness, and the future of environmentalism within transnational organizations. She provides a compelling look at how transnational conservation organizations—in this case a field office of the World Wide Fund for Nature in Okinawa—negotiate institutional expectations for conservation with localized approaches to caring for ocean life. In pursuing how particular projects off the coast of Japan unfolded, Drawing the Sea Near illuminates the real challenges and possibilities of work within the multifaceted transnational structures of global conservation organizations. Uniquely, it focuses on the conservationists themselves: why and how has their approach to project work changed, and how have they themselves been transformed in the process?
William Kelly (1821-1906) was much more than a Brethren theologian who was a leader of the Moderate Exclusive Brethren movement, and also much more than an indiscriminate follower of John Nelson Darby (1800-1882). He was highly regarded not only within the Brethren but also by Christian leaders of other denominations. In this book Dr. Critchlow examines Kelly's lively and scholarly appraisal of the German "School of Higher Criticism" and his commentary on a range of works of contemporary Anglican and non-conformist theologians. She argues that Kelly's exegesis was meticulous and scholarly and demonstrated his understanding of the whole canon of Scripture. Despite his ecclesiology, his theology was nuanced and cannot easily be stereotyped. As an expositor of the controversial topics, "the Atonement" and "the After-Life," he can be described as a Biblical literalist, but in his understanding of Biblical language and literary genre and philosophy, he can be seen as a conservative intellectual. While belonging to the evangelical school of thought, his theology shows itself to be much more complex than many of his evangelical contemporaries and gives him links with later Christian traditions. Through his deep spirituality, Kelly can inspire the reader's own spiritual aspirations.
In the 1630s the Netherlands was gripped by tulipmania: a speculative fever unprecedented in scale and, as popular history would have it, folly. We all know the outline of the story—how otherwise sensible merchants, nobles, and artisans spent all they had (and much that they didn’t) on tulip bulbs. We have heard how these bulbs changed hands hundreds of times in a single day, and how some bulbs, sold and resold for thousands of guilders, never even existed. Tulipmania is seen as an example of the gullibility of crowds and the dangers of financial speculation. But it wasn’t like that. As Anne Goldgar reveals in Tulipmania, not one of these stories is true. Making use of extensive archival research, she lays waste to the legends, revealing that while the 1630s did see a speculative bubble in tulip prices, neither the height of the bubble nor its bursting were anywhere near as dramatic as we tend to think. By clearing away the accumulated myths, Goldgar is able to show us instead the far more interesting reality: the ways in which tulipmania reflected deep anxieties about the transformation of Dutch society in the Golden Age. “Goldgar tells us at the start of her excellent debunking book: ‘Most of what we have heard of [tulipmania] is not true.’. . . She tells a new story.”—Simon Kuper, Financial Times
This book introduces readers to the cultural imaginings of borders: the in-between spaces in which transnationalism collides with geopolitical cooperation and contestation. Recent debates about the "refugee crisis" and the spread of the COVID-19 pandemic have politicized culture at and of borders like never before. Border culture is no longer culture at the margins but rather culture at the heart of geopolitics, flows, and experience of the transnational world. Increasingly, culture and borders are everywhere yet nowhere. In border spaces, national narratives and counter-narratives are tested and evaluated, coming up against transnational culture. This book provides an extensive and critical vision of border culture on the move, drawing on numerous examples worldwide and a growing international literature across border and cultural studies. It shows how border culture develops in the human imagination and manifests in human constructs of "nation" and "state", as well as in transnationalism. By analyzing this new and expanding cultural geography of border landscapes, the book shows the way to a fresh, broader dialogue. Exploring the nature and meaning of the intersection of border and culture, this book will be an essential read for students and researchers across border studies, geopolitics, geography, and cultural studies.
All is happening next door, where the menacing Mr Wizer lives. What is going on? Tim is on the case, and he's determined to get to the bottom of the mystery.
A poor couple have a son. But the baby, Ju-Long, is a frog Ju-Long believes that he can win his country's war for the emperor. How can a frog beat an army?
Monkey See, Monkey Do', written by Anne Adeney and illustrated by Christina Bretschneider, is one in a series of brightly illustrated, fun, stories aimed at children age 5+.
In the Variety Stage 8 books, Anne Adeney describes the adventures of Una the unicorn who helps the good Timberlins to avoid the mischief of the nasty Grumps, and Frances Usher tells the story of Moneypenny, the Yorkshire terrier, who is a small dog with very big ideas. Variety books provide a support and an extension of reading skills acquired from reading Duck Green School Stories. They are divided into consolidation stories (Una's Spelling Test, Grizzlegrump's Revenge, First Leaf Festival) and extension stories (Moneypenny Goes Camping, Moneypenny and the Pond, Moneypenny's Big Walk). They can be used for Shared or Guided Reading in the Literacy Hour.
In the Variety Stage 8 books, Anne Adeney describes the adventures of Una the unicorn who helps the good Timberlins to avoid the mischief of the nasty Grumps, and Frances Usher tells the story of Moneypenny, the Yorkshire terrier, who is a small dog with very big ideas. Variety books provide a support and an extension of reading skills acquired from reading Duck Green School Stories. They are divided into consolidation stories (Una's Spelling Test, Grizzlegrump's Revenge, First Leaf Festival) and extension stories (Moneypenny Goes Camping, Moneypenny and the Pond, Moneypenny's Big Walk). They can be used for Shared or Guided Reading in the Literacy Hour.
In the Variety Stage 8 books, Anne Adeney describes the adventures of Una the unicorn who helps the good Timberlins to avoid the mischief of the nasty Grumps, and Frances Usher tells the story of Moneypenny, the Yorkshire terrier, who is a small dog with very big ideas. Variety books provide a support and an extension of reading skills acquired from reading Duck Green School Stories. They are divided into consolidation stories (Una's Spelling Test, Grizzlegrump's Revenge, First Leaf Festival) and extension stories (Moneypenny Goes Camping, Moneypenny and the Pond, Moneypenny's Big Walk). They can be used for Shared or Guided Reading in the Literacy Hour.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.