Rice at a wedding? Dropped fingernails? Here's the ultimate compendium on superstitions and odd beliefs from ancient times to the present, the world over. Covers birds, human hair, snakes, water, dreams, disease, luck, curses, and lots more.
On their farm nestled in upstate New York, veterinarian Austin McKenzie and his wife Madeline keep themselves busy looking after ailing farm animals and pets in poor health. But while they may be able to mend creatures great and small, they have yet to find a cure for murder. Before milk inspector Melvin Staples was found dead in a 400-gallon milk vat, the ladies’ man got the goat of many a Summersville resident. Possible suspects include his discus-champion, jealous wife; his paramours’ vengeful husbands; and the ancient, cane-wielding owner of Tre Sorelle goat-cheese dairy. To crack this case, Dr. McKenzie and Madeline will have to learn all they can about goats, local politics, and how to get through to the crotchety Italian widow. And along the way, the vet might just save some bleating hearts.
A Choice Outstanding Academic Title 2016 Satire has been used in ceramic production for centuries. Historically, it occurred as a slogan or proverb written into the ceramic surface; as pictorial surface imagery; or as a satirical figurine. The use of satire in contemporary ceramics is a rapidly evolving trend, with many artists subverting or otherwise rethinking familiar historic forms to make a political point. Claudia Clare examines the relationship between ceramics, social politics, and political movements and the way both organisations and individual artists have used pots - predominantly domestic objects - to agitate among the masses or simply express their ideas. Ninety colour illustrations of various subversive, satirical and campaigning works illustrate her arguments and enliven debate. Claudia Clare explores work by artists from twenty-one different countries, from 500 BC to the present day. These range range from the French artist Honoré Daumier and the enslaved African-American potter David Drake to contemporary artists including Lubaina Himid, Virgil Ortiz and Shlomit Bauman, whose work and the means of its production has addressed or commented upon issues such as disputed homelands, identify, race, gender and colonialism.
This book tells the story of how the monarchy aimed at creating a new capital city in a remote and forgotten area of the empire. It also shows how the local Creole bourgeoisie rapidly assumed the role of urban developers, and enhanced their economic status by investing in and controlling the Buenos Aires’ property market. In a short period, from 1776 to 1810, the urban transformation of Buenos Aires helped increase the Crown’s revenues and considerably reduced contraband trade. Nevertheless, urban changes generated an internal struggle for power for the control of the city between the Spanish loyalist and the local wealthier Creoles. As this book concludes, for an empire such as the Spanish, which was built upon a network of cities, the Crown’s loss of the control of Buenos Aires’ urban space was a serious threat to its power that foreshadowed Argentina’s wars of independence.
This book explores the origins of superstitions that grew out of folklore and legends, including animals, plants, water, dreams, numbers, and wedding rituals.
Ancient artefacts that comprise the private collections of Malta came largely from the Phoenician and later Punic burial grounds of the archipelago. In many respects, the perception of the island's ancient population as depicted in recent historic accounts has suffered from a limited knowledge of what has been found in the islands over the last few centuries. Co-authored with Isabelle Vella Gregory and Anton Bugeja, this book forms a companion volume to Claudia Sagona's “The Archaeology of Punic Malta (2002, Peeters) and “Punic Antiquities of Malta and Other Ancient Artefacts Held in Ecclesiastic and Private Collections (2003, Peeters). More than 700 objects, many brought into the public arena for the first time, are documented in this volume. The artefacts are held in three collections: that of Joseph Attard Tabone, of the Palazzo Parisio (Naxxar) and of St George's Parish Church (Qormi). While much of the material is characteristically Phoenician and Punic, imported Cypriot, Greek, Italian and other wares demonstrate that the islands were drawn into the ancient economic and political exchanges of the Mediterranean region.
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