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At the beginning of this masterpiece of African literature, Clarence, a white man, has been shipwrecked on the coast of Africa. Flush with self-importance, he demands to see the king, but the king has just left for the south of his realm. Traveling through an increasingly phantasmagoric landscape in the company of a beggar and two roguish boys, Clarence is gradually stripped of his pretensions, until he is sold to the royal harem as a slave. But in the end Clarence’s bewildering journey is the occasion of a revelation, as he discovers the image, both shameful and beautiful, of his own humanity in the alien splendor of the king.
At the beginning of this masterpiece of African literature, Clarence, a white man, has been shipwrecked on the coast of Africa. Flush with self-importance, he demands to see the king, but the king has just left for the south of his realm. Traveling through an increasingly phantasmagoric landscape in the company of a beggar and two roguish boys, Clarence is gradually stripped of his pretensions, until he is sold to the royal harem as a slave. But in the end Clarence’s bewildering journey is the occasion of a revelation, as he discovers the image, both shameful and beautiful, of his own humanity in the alien splendor of the king.
Ildiko has always known her only worth to the royal family lay in a strategic marriage. Resigned to her fate, she is horrified to learn that her intended groom isn't just a foreign aristocrat but the younger prince of a people neither familiar nor human. Bound to her new husband, Ildiko will leave behind all she's known to embrace a man shrouded in darkness but with a soul forged by light. Two people brought together by the trappings of duty and politics will discover they are destined for each other, even as the powers of a hostile kingdom scheme to tear them apart.
The Encyclopedia of the Novel is the first reference book that focuses on the development of the novel throughout the world. Entries on individual writers assess the place of that writer within the development of the novel form, explaining why and in exactly what ways that writer is importnant. Similarly, an entry on an individual novel discusses the importance of that novel not only form, analyzing the particular innovations that novel has introduced and the ways in which it has influenced the subsequent course of the genre. A wide range of topic entries explore the history, criticism, theory, production, dissemination and reception of the novel. A very important component of the Encyclopedia of the Novel is its long surveys of development of the novel in various regions of the world.
Examines the Mesopotamian influence on Greek mythology in literary works of the epic period, concentrating in particular on journey myths. A major contribution to the understanding of the colourful myths involved.
At the 2006 annual meeting of the Society of Biblical Literature, the Prophetic Texts in their Ancient Contexts section devoted a session to the theme "The Aesthetics of Violence." Participants were invited to explore multiple dimensions of prophetic texts and their violent rhetoric. The results were rich-- engaging discussion of violent images in ancient Near Eastern art and in modern film, as well as advancing our understanding of the poetic skill required for invoking terror through words. This volume collects those essays as well as others especially commissioned for its creation. As a collection, they address questions that are at once ancient and distressingly-modern: What do violent images do to us? Do they encourage violent behavior and/or provide an alternative to actual violence? How do depictions of violence define boundaries between and within communities? What readers can and should readers make of the disturbing rhetoric of violent prophets? Contributors include Corrine Carvahlo, Cynthia Chapman, Chris Franke, Bob Haak, Mary Mills, Julia O'Brien, Kathleen O'Connor, Carolyn Sharp, Yvonne Sherwood, and Daniel Smith-Christopher.
Anchored in postcolonial theory, this book highlights the concept of “postcolonial soliloquies” as an original idea in analyzing West African literature. It uses the political theory of “dialogue” to broaden the reader’s understanding of history, culture, identity and indigenous memories. The book shows how the novels of T. Obinkaram Echewa plunge into the known territory of colonial history with new boundaries.