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A bittersweet memoir of growing up in Mali West Africa, being drawn to the promise of equality in Paris and the U.S., and looking at current problems of immigration and racism in the world.
Ella adopts Meatball, a bulldog abandoned at his mother's veterinarian office.
Tells the story of Viola Desmond, an African Canadian woman who, in 1946, challenged a Nova Scotia movie theater's segregation policy by refusing to move from her seat to an upstairs section designated for use by blacks.
Thirty years after leaving his native Mali, Manthia Diawara has a home in New York City, and more than a few acclaimed publications to his name. Still, he cannot shake the memories of his birth country-or of his first place of self-imposed exile: the heady streets of 1960s Paris. In this bittersweet memoir, Diawara recounts a year spent looking at how the assimilation process shapes the lives and dreams of immigrants everywhere. From the nightclubs of Bamako, to the cafes of Boulevard Montparnasse, to the black neighborhoods of 1970s Washington, D.C., this important and original book shatters many cherished notions about experiencing race in the world today. At turns humorous and harrowing, beautifully written and shrewdly argued, it offers an unsentimental view of African traditions at the same time that it confronts America's most deeply ingrained prejudices.
An exciting new series about those adorable pets that just won't behave--it's Marley & Me for middle-grade readers! Eric can't wait to get a dog he can run around and play with, like his friend Parker's golden retriever. But Meatball the bulldog doesn't seem to be the run-around-and-play type ... Even when they go for a walk, Meatball sits down on the sidewalk! Can Eric get this stubborn bulldog to get up and go?
Provides lyrics, music, and chord notation for work and protest songs and discusses each tune's significance in the labor movement
A portrait of a resilient African village, ruled until recently by magic and tradition, now facing modern problems and responding, often triumphantly, to change When Sarah Erdman, a Peace Corps volunteer, arrived in Nambonkaha, she became the first Caucasian to venture there since the French colonialists. But even though she was thousands of miles away from the United States, completely on her own in this tiny village in the West African nation of Côte d'Ivoire, she did not feel like a stranger for long. As her vivid narrative unfolds, Erdman draws us into the changing world of the village that became her home. Here is a place where electricity is expected but never arrives, where sorcerers still conjure magic, where the tok-tok sound of women grinding corn with pestles rings out in the mornings like church bells. Rare rains provoke bathing in the streets and the most coveted fashion trend is fabric with illustrations of Western cell phones. Yet Nambonkaha is also a place where AIDS threatens and poverty is constant, where women suffer the indignities of patriarchal customs, where children work like adults while still managing to dream. Lyrical and topical, Erdman's beautiful debut captures the astonishing spirit of an unforgettable community.
Contrastive lexical semantics was the main topic of an International Workshop at the University of Münster in May, 1997. It was addressed from different perspectives, from the pragmatic perspective of a corpus-oriented approach as well as from the model-oriented perspective of sign theoretic linguistics. Whereas the rule-governed model-oriented approach is necessarily restricted to subsets of vocabulary, the pragmatic approach aims to analyse and describe the whole vocabulary-in-use. After the pragmatic turn, lexical semantics can no longer be seen as a discipline on its own but has to be developed as an integral part of a theory of language use. Essential features of individual languages can be discovered only by looking beyond the limits of our mother languages and including a contrastive perspective. Within a pragmatic, corpus-oriented approach essential new ideas are discussed, mainly the insight that single words can no longer be considered to be the lexical unit. It is the complex multi-word lexical unit a pragmatic approach has to deal with.
In African Film: Re-imagining a Continent, Josef Gugler provides an introduction to African cinema through an analysis of 15 films made by African filmmakers. These directors set out to re-image Africa; their films offer Western viewers the opportunity to re-imagine the continent and its people. As a point of comparison, two additional films on Africa--one from Hollywood, the other from apartheid South Africa--serve to highlight African directors' altogether different perspectives. Gugler's interpretation considers the financial and technical difficulties of African film production, the intended audiences in Africa and the West, the constraints on distribution, and the critical reception of the films.