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As the anthology progresses, it delves into the historical narratives that have shaped the destinies of nations. Poems become a time machine, transporting readers to pivotal moments, revolutions, and the forging of national identities. The poets craft verses that illuminate the triumphs and struggles, capturing the spirit of resilience that characterizes the collective histories of countries. Cultural richness is a recurring theme in the anthology, with each poem offering glimpses into the traditions, customs, and artistic expressions that define a nation's cultural tapestry. The verses become windows into the soul of each country, showcasing the vibrant hues of festivals, the resonance of traditional music, and the visual poetry of indigenous art. Through these cultural narratives, readers gain a deeper understanding of the diverse ways in which countries express their uniqueness. The anthology also embraces human stories within countries, focusing on the people who contribute to the collective narrative. Poems become character sketches, capturing the spirit, aspirations, and challenges of individuals within the broader context of their national identities. Whether it's the bustling streets of Tokyo or the quiet villages of Ireland, the poets weave tales of human experience that transcend borders, fostering a sense of shared humanity.
Although Seifert lived through the many historic turns of his homeland, his was not a political poetry, except in its constant expression of love for his homeland, its beauties and its values. He was the great poet of Prague, of love, of the senses. His work was unpretentious, lyrical yet irreverent, earthy, charming. Seifert was known for the simplicity of his verse, yet his poems are full of surprises, never what at first they seem.
This study of popular songs offers a new hypothesis about the role of elite in popular culture and evidences how commercial publishing facilitated the rise of selective reading and imitation of texts in late-Ming China, creating a new basis for describing desire and the self.
The works of Jean de La Fontaine have invited an extraordinary variety of readings in the three centuries since their composition. By engaging selected fables and tales with contemporary notions of intertextuality, reader reception theory, and grammatology, Figures of the Text raises questions about what “reading La Fontaine” meant in the 17th century, and what it means today. The study integrates a theory of reading and a theory of textual production by drawing attention to those aspects of the text that figure writing and reading, for instance: scenes of reading; other modes of writing (emblems, hieroglyphics); inscriptions and epitaphs; proper names; and citation (proverbs, maxims, allusions); the relation of represented orality to textuality, of textuality to corporeality, and of textuality to the visual arts (ekphrasis); and the archaeology of textual figures, such as labyrinths, textiles, and veils.
This book represents a tapestry of my life and the raw profound emotions of each situation that I was dealing with at each point of my life. Putting words down on paper made me acquire a sense of solace which in turn, came with a freedom of comfort. My collection of poems will resonate, with someone. Our voices were not made to be stifled and quieten down. They are made to be heard. Let us not be afraid of the dark to come into the light, let our dreams become reality, break our shackles, let us all rise like the phoenix from the ashes.This book is about the awareness of emotions in all aspects of our lives and learning how to find and explore our coping mechanisms. Moreover, not to be too afraid to discover our different ranges of inner moods. Therefore, look and seek help. Share our experiences, and capture each other's imaginations.About The Author: My name is Pauline Gilman nee Hanson, I was born in the parish of St Elizabeth, Jamaica. I am a mother of three fine young men and a grandmother to one grandson.My mother and father are from the Windrush era. I arrived in England in 1970 alongside my mother and sister, at the tender age of three years and some months old. We settled in the northern town of Huddersfield, where I remained until 1992. I then relocated to the south for several years before returning to the north in 2000.I have fond memories of writing in primary school especially writing poems. Unfortunately, my creative writing skills lay dormant until my late thirties when the love of writing started to energise me again.
Dive into the heartfelt collection of poems within "Dear Kavita," where each verse is a tribute to the enduring bond of friendship. Across 111 poems, Shanky intricately weaves emotions, memories, and expressions of admiration for their dear friend, Kavita. From moments of joy to times of apology, and from praise to profound reflections, this book captures the essence of a cherished friendship. Through the rhythmic flow of words, readers will journey through the highs and lows of companionship, discovering the beauty of forgiveness, the power of shared experiences, and the warmth of unconditional support. Each poem is a testament to the kindness, attractiveness, versatility, incomparability, and trustworthiness of Kavita's soul, celebrating her presence as an awesome force in Shanky's life. With "Dear Kavita," readers will embark on a poetic odyssey filled with heartfelt sentiments, evocative imagery, and a profound appreciation for the invaluable gift of friendship. This book is a timeless reminder of the bonds that unite us and the beauty found in the connections we cherish.
No medieval writer reveals more about early English drama than John Lydgate, Claire Sponsler contends. Best known for his enormously long narrative poems The Fall of Princes and The Troy Book, Lydgate also wrote numerous verses related to theatrical performances and ceremonies. This rich yet understudied body of material includes mummings for London guildsmen and sheriffs, texts for wall hangings that combined pictures and poetry, a Corpus Christi procession, and entertainments for the young Henry VI and his mother. In The Queen's Dumbshows, Sponsler reclaims these writings to reveal what they have to tell us about performance practices in the late Middle Ages. Placing theatricality at the hub of fifteenth-century British culture, she rethinks what constituted drama in the period and explores the relationship between private forms of entertainment, such as household banquets, and more overtly public forms of political theater, such as royal entries and processions. She delineates the intersection of performance with other forms of representation such as feasts, pictorial displays, and tableaux, and parses the connections between the primarily visual and aural modes of performance and the reading of literary texts written on paper or parchment. In doing so, she has written a book of signal importance to scholars of medieval literature and culture, theater history, and visual studies.
THERE ARE FEW SUBJECTS IN HUMAN THOUGHT THAT RAISE SUCH STRONG EMOTIONS AS THE AFTERLIFE. What if anything, awaits us after we leave this physical world? Are we reincarnated to try to "get it right" through another life? Do we simply vanish? Do we enter some state of bliss or torment based on our good deeds or lack of them? It seems that there is no end of conjecture offered by human religion and philosophy on this subject. Yet, most of this seems to be nothing more than baseless speculation. As we have no evidence (indeed, we cannot have any physical evidence) of what becomes of us after our physical death, it appears that we have no choice but to pick the idea that is most appealing to us and go with it. It is true enough that we will ultimately pick the idea of the afterlife that we choose to believe to be correct, yet this is a matter of sufficiently great importance to warrant our choosing wisely. The source of information we choose to accept as the correct depiction of the afterlife is one of the most critical decisions we will ever make. While this will ultimately be a matter of belief, we owe it to ourselves to make our choice based on what these sources actually say and not on what we think they say or what others tell us they say. This book is presented as a look at the Bible's teaching on the subject of the afterlife and the choices available to us for an existence after this present life is over. The findings presented in this book are at considerable variance with the teachings of traditional institutional Christian church doctrine and dogma. It is the author's hope that the points presented here will give the reader a different perspective of the biblical view of life, death and afterlife.