This title features beautiful works of art specially selected to accompany delightful pieces of verse and prose. It includes classic poetry by Chaucer, Shakespeare, Spencer, Tennyson, and Milton, amongst others, as well as anonymous rhymes, folk songs and fairy lore passed down through the centuries. The chapters include Famous Fairies; Fairy Tricks and Good Turns; Fairy Possessions, Feasts and Sports; Fairy Homes; and Fairy Lovers. It is a book that celebrates these elusive creatures, with poetry and tales of their exploits, and evocative pictures which capture their entrancing, fragile charm. It is a beautiful gift anthology to keep or give away. In folklore and tales fairies come in many forms: ethereal queens, beautiful enchantresses; house fairies and woodland sprites, the tiny spirits of flowers and trees; mischievous pixies; elves and nymphs. In whatever form they appear to those who believe in them, fairies are always mysterious, magical and secretive. They live in a curious half-world, which exists in the mists just beyond human perception but is always rooted in nature. In art and literature fairies often appear to the innocent or the lost, to children or questing knights, and they can be found at twilight in woodland glades, inside fairy rings, or on deserted moonlit beaches. This book brings together classic works of art, and much-loved and quoted poetry and prose, to celebrate these elusive creatures and create a celebration of the land of faerie and its inhabitants.
The first monograph to examine the depiction of reading women in French art of the early Third Republic, Women Readers in French Painting 1870-1890 evaluates the pictorial significance of this imagery, its critical reception, and its impact on notions of femininity and social relations. Covering a broad range of paintings, prints, and sculptures, this book shows how the liseuse was subjected to unprecedented levels of pictorial innovation by artists with widely differing aesthetic aims and styles. Depictions of readers are interpreted as contributions to changing notions of public and private life, female agency, and women's participation in cultural and political debates beyond the domestic household. This highly original book explores images of women readers from a range of social classes in both urban and rural settings. Such images are shown to have articulated concerns about the impact of female literacy on labour environments and family life while, in many cases, challenging conventions of gendered reading. Kathryn Brown also presents an alternative way of conceiving of modernity in relation to nineteenth-century art, a methodological departure from much recent art historical literature. Artists discussed range from Manet, Cassatt and Degas, to less familiar figures such as Lavieille, Carriere, Toulmouche and Tissot.
The purposes of this book are rooted in the move from invisibility to visibility and silence to voice. This work uses auto ethnography as an enterprise to break down traditional barriers that support the invisibility of diverse epistemologies (Altheide & Johnson,2011). The reality of invisibility and silence has plagued scholars of colour in their attempt to make known the cultural significance found in the planning and execution of research. As a result, this book purposes to support the visibility and voice of scholars of colour who conduct auto ethnographic research from a racial, gendered, and critical theoretical framework. This work further supports the research community as it examines and re-examines culturally indigenous epistemologies as a viable vehicle for rigorous and authentic inquiry (Dillard, 2000). The significance of this book can be grafted from its attention to new ways of thinking about doing research. While much of the previous scholarship on auto ethnography highlights the importance of personal narrative and voice, this book includes the latter but also examines the concept of race and culture as undisputable factors in the doing of research. Burdell & Swadener (1999) contends that auto ethnography should interrogate the subjective nature and question master narratives and empirical assumptions. Spry (2011) emphasizes auto ethnography as a moral discourse that foster intimate experiences grounded in historical processes. Authoethnographic research then, has the potential to provide a lens by which researchers can delve into research with a greater sense of personal experiences and critical understanding of the inquiry context.
Follow-up to The Devil's Serum. In the astonishing finale of the Alexis Beaureparie series, Moses, Armond and Lisette once again come face to face with the alluring, sinister Alexis Beaureparie and her evil plans to have them finished once and for all. With the help of her murderous lover, will she succeed in killing the detective or will she be undone?
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