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Reproduced from the 1948 edition of The Home Place, the Bison Book edition brings back into print an important early work by one of the most highly regarded of contemporary American Writers.
This account in first-person narrative and photographs of the one-day visit of Clyde Muncy to “the home place” at Lone Tree, Nebraska, has been called “as near to a new fiction form as you could get.” Both prose and pictures are homely: worn linoleum, an old man’s shoes, well-used kitchen utensils, and weathered siding. Muncy’s journey of discovery takes the measure of the man he has become and of what he has left behind.
A well-established and respected series. Texts are in the original Middle English, and each has an introduction, detailed notes and a glossary. Selected titles are also available as CD recordings.
Six-hundred-year-old tales with modern relevance. As well as the complete text of the Merchant’s Prologue and Tale, the student will find illustrated information on Chaucer’s world, including a map of the Canterbury pilgrimage, a running synopsis of the action, an explanation of unfamiliar words, and a wide range of classroom-tested activities to help bring the text to life. Guided by the suggestions for study and the wide range of helpful information, students will readily appreciate Chaucer’s wit and sense of irony, his love of controversy and his delight in character portrayal.
Willa Cather’s third novel, The Song of the Lark, depicts the growth of an artist, singer Thea Kronborg, a character inspired by the Swedish-born immigrant and renowned Wagnerian soprano Olive Fremstad. Thea’s early life, however, has much in common with Cather’s own.
Set from 1885 to 1909, the novel traces Thea’s long journey from her fictional hometown of Moonstone, Colorado, to her source of inspiration in the Southwest, and to New York and the Metropolitan Opera House. As she makes her way in the world from an unlikely background, Thea distills all her experiences and relationships into the power and passion of her singing, despite the cost. The Song of the Lark presents Cather’s vision of a true artist.
The Story of A relates the history of the alphabet as a genre of text for children and of alphabetization as a social practice in America, from early modern reading primers to the literature of the American Renaissance.
Offering a poetics of alphabetization and explicating the alphabet’s tropes and rhetorical strategies, the author demonstrates the far-reaching cultural power of such apparently neutral statements as “A is for apple.” The new market for children’s books in the eighteenth century established for the “republic of ABC” a cultural potency equivalent to its high-culture counterpart, the “republic of letters,” while shaping its child-readers into consumers. As a central rite of socialization, alphabetization schooled children to conflicting expectations, as well as to changing models of authority, understandings of the world, and uses of literature.
“The Sioux Indians came into my life before I had any preconceived notions about them,” writes Mari Sandoz about the visitors to her family homestead in the Sandhills of Nebraska when she was a child. These Were the Sioux, written in her last decade, takes the reader far inside a world of rituals surrounding puberty, courtship, and marriage, as well as the hunt and the battle.
Translation and Opposition is an edited volume that brings together cultural and sociological perspectives by examining translation through the prism of linguistic/cultural hybridity and inter/intra-social agency. In a collection of diverse case studies, ranging from the translation of political texts to interpreting in concentration camps, the book explores issues of power struggle, ideology, censorship and identity construction. The contributors to the volume show how translators, interpreters and subtitlers as mediators put their specific professional and ethical competences to the test by treading the dividing lines between constellations of ‘in-groups’ and cultural or political ‘others’.
Translation and Opposition is an edited volume that brings together cultural and sociological perspectives by examining translation through the prism of linguistic/cultural hybridity and inter/intra-social agency. In a collection of diverse case studies, ranging from the translation of political texts to interpreting in concentration camps, the book explores issues of power struggle, ideology, censorship and identity construction. The contributors to the volume show how translators, interpreters and subtitlers as mediators put their specific professional and ethical competences to the test by treading the dividing lines between constellations of ‘in-groups’ and cultural or political ‘others’.
“Doing things by the book” acquires a whole new meaning in Brandon R. Schrand’s memoir of coming of age in spite of himself. The “works cited” are those books that serve as Schrand’s signposts as he goes from life as a hormone-crazed, heavy-metal wannabe in the remotest parts of working-class Idaho to a reasonable facsimile of manhood (with a stop along the way to buy a five-dollar mustard-colored M. C. Hammer suit, so he’ll fit in at college). The Adventures of Huckleberry Finn informs his adolescent angst over the perceived injustice of society’s refusal to openly discuss boners. The Great Gatsby serves as a metaphor for his indulgent and directionless college days spent in a drunken stupor (when he wasn’t feigning interest in Mormonism to attract women). William Kittredge’s Hole in the Sky parallels his own dangerous adulthood slide into alcoholism and denial.
With a finely calibrated wit, a good dose of humility, and a strong supporting cast of literary characters, Schrand manages to chart his own story—about a dreamer thrown out of school as many times as he’s thrown into jail—until he finally sticks his landing.
These essays written to celebrate the distinguished career of Renassiance scholar, Professor Malcolm Quainton, confirm the idea that the sixteenth-century in France was deeply marked by conflict, but readers expecting to find a volume wholly devoted to studies of war and religious disputation will be intrigued to discover that these rare not the only topics discussed.
A number of subtle analyses reveal the stresses of internal conflict experienced by writers and woven into the fabric of their compositions. The three sections focus respectively on living and writing in conflict, the Wars of Religion, and intertextuality as conflict. Subjects include Ronard, Baïf, Du Bellay, D’Aubigné, sonnets by Mary Queen of Scots and the political role of court festivities, while a previously unknown riposte to Clément Marot is first published here.
This book will appeal to scholars and students of French language, literature and culture, and sixteenth-century European history.
Does a word mean what it says? Sometimes – but not always. Everyone thinks that meaning is contained within words – like sardines in a tin, or milk in a bottle. After all, words are nice stable things that you can look up in a dictionary aren’t they? But dictionaries only take us so far… If you eavesdropped on a teenage conversation, rushing to a dictionary – with its definitions frozen in time – wouldn’t help much. Who’s using a word and to whom, in what context, for what purpose – all these influence the meaning of the language we use. The word’s origins and history (its ‘genetics’) also help. Try teaching yourself another language from a phrasebook and you’ll soon learn that you can be correct, in the formal sense, but still way behind the times in reality. In this book Wajnryb considers these and other questions to explore how and why our language works the way it does.
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