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Of all the cultural "revolutions" brought about by the development of printing technology during the sixteenth century, perhaps the most remarkable but least understood is the purported rise of European vernacular languages. It is generally accepted that the invention of printing constitutes an event in the history of language that has profoundly shaped modernity, and yet the exact nature of this transformation—the mechanics of the event—has remained curiously unexamined. In The Prosthetic Tongue, Katie Chenoweth explores the relationship between printing and the vernacular as it took shape in sixteenth-century France and charts the technological reinvention of French across a range of domains, from typography, orthography, and grammar to politics, pedagogy, and poetics. Under François I, the king known in his own time as the "Father of Letters," both printing and vernacular language emerged as major cultural and political forces. Beginning in 1529, French underwent a remarkable transformation, as printers and writers began to reimagine their mother tongue as mechanically reproducible. The first accent marks appeared in French texts, the first French grammar books and dictionaries were published, phonetic spelling reforms were debated, modern Roman typefaces replaced gothic scripts, and French was codified as a legal idiom. This was, Chenoweth argues, a veritable "new media" moment, in which the print medium served as the underlying material apparatus and conceptual framework for a revolutionary reinvention of the vernacular. Rather than tell the story of the origin of the modern French language, however, she seeks to destabilize this very notion of "origin" by situating the cultural formation of French in a scene of media technology and reproducibility. No less than the paper book issuing from sixteenth-century printing presses, the modern French language is a product of the age of mechanical reproduction.
Winner of the Nebula Award, this science fiction adventure “features sound characterization, straightforward plotting, abundant world building detail, and almost as much humor” (Booklist). As the young ruler of a destitute province burdened by obsolete technology, Kamoj Argali must marry to save her people from starvation. She has managed to make peace with her betrothal to the arrogant leader of a wealthy neighboring province. Then Havyrl Lionstar, a mysterious visitor to their land, steps in to claim Kamoj as his wife, sowing chaos in their lives. In this science fictional retelling of a classic folk tale, Havryl appears as a beast to Kamoj’s people. But what is the truth behind his strange, erratic behavior? In dealing with the upheavals he brings to their world, Kamoj discovers that the universe is much larger than she ever understood. This new edition contains a revised, expanded version of the essay that appeared in the original book, in which Catherine Asaro explains how she found inspiration for The Quantum Rose while earning her doctorate at the Harvard-Smithsonian Center for Astrophysics, where she studied the quantum theory of scattering processes. “A freestanding page-turner as a romance, with a hard science fiction framework.” —Publishers Weekly “Bolsters [Asaro’s] reputation for skillfully putting classic romance elements in an sf setting.” —Booklist “Fans of futuristic romance will revel in the delights of a top notch romantic adventure set against an impeccably crafted, richly imagined background.” —Romantic Times “Sturdy and absorbing.” —Kirkus Reviews “Asaro plants herself firmly into that grand SF tradition of future history franchises favored by luminaries like Heinlen, Asimov, Herbert, Anderson, Dickson, Niven, Cherryh, and BaxterBaxter.” —Paul Di Filippo, Locus
Award-winning author Robin McKinley tells an enthralling story of magic, love, and redemption, based on the classic tale of Beauty and the Beast. Once upon a time, a wealthy merchant had three daughters. When his business failed, he moved his daughters to the countryside. The youngest daughter, Beauty, is fascinated by the thorny stems of a mysterious plant that overwhelms their neglected cottage. She tends the plant until it blossoms with the most beautiful flowers the sisters have ever seen—roses. Admiring the roses, an old woman tells Beauty, “Roses are for love.” And she speaks of a sorcerers’ battle many years ago that left a beast in an enchanted palace, and a curse concerning a family of three sisters . . . The Newbery Medal–winning author’s charming retelling of the classic fairy tale weaves a tangled story of sorcery, loyalty, and love that is sure to cast a spell on readers.
No one can complain that in this story Mr. Howells has taken his type from the commonplace. It is a study of life in New York, and the author has brought together such a gallery of odd and strongly differentiated characters as could perhaps be found in no other city on the continent, while the conditions and phases of social life represented are not less distinctive and peculiar. The Marches, it is true, are from Boston, but they serve the purpose of external points of observation, whence to note and sufficiently to emphasize those features of our city life which of necessity strike strangers and outsiders most forcibly and with the greatest freshness of suggestion. A new magazine is founded with the money of old Dryfoos, a "natural gas millionaire," whose primary object is to give his son Conrad — a youth of saint-like character and dominant altruism — opportunity to become a businessman. The prime mover of the venture is Fulkerson, a true Western Yankee, if the phrase be allowable, whose engaging impudence, fluent slang, indomitable assurance, and substantial loyalty and goodness of heart are sure to make him as great a favorite with the reader as he is with all who know him in the story. The Marches, too, are fantastic, and nowhere has Mr. Howells better presented that peculiar American humor which finds motives for half-sarcastic jest and quip in even the most serious things, less out of lightness of heart than from an almost desperate conscious ness of hopeless incongruities and perplexities inherent in the general scheme. The picture is in itself a condemnation of and protest against that rank growth of naked materialism which is the most depressing feature of our time. The character and the faults of society are shown plainly but temperately — the spirit of levity, the love of spectacle, the repugnance to serious thinking, the absence of jealousy of popular rights, constantly encroached upon, ignored and subordinated to selfish corporate or individual interests. The aspects of the city are also most graphically and admirably described in many a wandering of the Marches, and the book exhibits an amount of local study undertaken by the author which speaks well for his conscientiousness, and adds much to the charm and permanent interest of the story. There is, as we have intimated, an unwonted variety and an unwonted force in " A Hazard of New Fortunes." If it can hardly be said to have a dominant note, it is none the less a faithful and carefully elaborated study of New York life, and it presents some of the most salient characteristics of that life in a very impressive and artistic manner. Most readers will, we think, agree with us that the change in method here shown is a change for the better. Never, certainly, has Mr. Howells written more brilliantly, more clearly, more firmly, or more attractively, than in this instance. The reversion to these strong individualizations seems to have put new vigor into his hands, and he deals with the deeper tragedies, the graver emotions of life, with a power which may perhaps be regarded as a practical demonstration of the ultimate supremacy destined to be attained by Nature over Art ; by the true over the false Realism.
A haunting tribute to the heroic pioneers who shaped the American Midwest This powerful novel by Willa Cather is considered to be one of her finest works and placed Cather in the forefront of women novelists. It tells the stories of several immigrant families who start new lives in America in rural Nebraska. This powerful tribute to the quiet heroism of those whose struggles and triumphs shaped the American Midwest highlights the role of women pioneers, in particular. Written in the style of a memoir penned by Antonia’s tutor and friend, the book depicts one of the most memorable heroines in American literature, the spirited eldest daughter of a Czech immigrant family, whose calm, quite strength and robust spirit helped her survive the hardships and loneliness of life on the Nebraska prairie. The two form an enduring bond and through his chronicle, we watch Antonia shape the land while dealing with poverty, treachery, and tragedy. “No romantic novel ever written in America...is one half so beautiful as My Ántonia.” -H. L. Mencken Willa Cather (1873–1947) was an American writer best known for her novels of the Plains and for One of Ours, a novel set in World War I, for which she was awarded the Pulitzer Prize in 1923. She was elected a fellow of the American Academy of Arts and Sciences in 1943 and received the gold medal for fiction from the National Institute of Arts and Letters in 1944, an award given once a decade for an author's total accomplishments. By the time of her death she had written twelve novels, five books of short stories, and a collection of poetry.
When the young Swedish-descended Alexandra Bergson inherits her father's farm in Nebraska, she must transform the land from a wind-swept prairie landscape into a thriving enterprise. She dedicates herself completely to the land—at the cost of great sacrifices. O Pioneers! [1913] is Willa Cather's great masterpiece about American pioneers, where the land is as important a character as the people who cultivate it. WILLA CATHER [1873-1947] was an American author. After studying at the University of Nebraska, she worked as a teacher and journalist. Cather's novels often focus on settlers in the USA with a particular emphasis on female pioneers. In 1923, she was awarded the Pulitzer Prize for the novel One of Ours, and in 1943, she was elected to the American Academy of Arts and Sciences.
From the bestselling author of The Lamb's Supper comes an illuminating work on the Catholic Eucharist and its link to the Jewish Passover meal. “Read this book. And don’t just read it. Pray about it. Reflect on it. And share it with others.”—Brant Pitre, author of The Case for Jesus In this brilliant book—part memoir, part detective story, and part biblical study—Scott Hahn opens up new vistas on ancient landscapes while shedding light on his own enduring faith journey. The Fourth Cup not only tracks the author’s gradual conversion along the path of Evangelicalism to the doorsteps of the Catholic faith, but also explores the often obscure and misunderstood rituals of Passover and their importance in foreshadowing salvation in Jesus Christ. Revealing the story of his formative years as an often hot-headed student and earnest seeker in search of answers to great biblical mysteries, Hahn shows how his ardent exploration of the Bible’s Old Testament turned up intriguing clues connecting the Last Supper and Christ’s death on Calvary. As Hahn tells the story of his discovery of the supreme importance of the Passover in God’s plan of salvation, we too experience often-overlooked relationships between Abel, Abraham, and the Hebrews’ liberation from slavery in Egypt. Along the way, Hahn reveals how the traditional fourth cup of wine used in the concluding celebration of Passover explains in astonishing ways Christ’s paschal sacrifice. Rooted in Scripture and ingrained with lively history, The Fourth Cup delivers a fascinating view of the bridges that span old and new covenants, and celebrates the importance of the Jewish faith in understanding more fully Christ’s life, death, and resurrection.
First published in 1972, Vine Deloria Jr.'s God Is Red remains the seminal work on Native religious views, asking new questions about our species and our ultimate fate. Celebrating 3 decades in publication with a special 30th-anniversary edition, this classic work reminds us to learn ''that we are a part of nature, not a transcendent species with no responsibilities to the natural world.'' It is time again to listen to Vine Deloria Jr.'s powerful voice, telling us about religious life that is independent from Christianity and that reveres the interconnectedness of all living things.
Sometimes it’s best to leave the past alone. For when biographer Martin Nanther looks into the life of his famous great-grandfather Henry, Queen Victoria’s favorite physician, he discovers some rather unsettling coincidences, like the fact that the doctor married the sister of his recently murdered fiancée. The more Martin researches his distant relative, the more fascinated—and horrified—he becomes. Why did people have a habit of dying around his great grandfather? And what did his late daughter mean when she wrote that he’s done “monstrous, quite appalling things”? Barbara Vine (a.k.a. Ruth Rendell) deftly weaves this story of an eminent Victorian with a modern yarn about the embattled biographer, who is watching the House of Lords prepare to annul membership for hereditary peers and thus strip him of his position. Themes of fate and family snake throughout this teasing psychological suspense, a typically chilling tale from a master of the genre.