My mind was whirling with the verses of bards' songs, finding only “Dragon,” knowing in my bones it was wrong. ... how I had thought of them ever since I heard the Song of the Winged Ones so many years ago, the song in the silence.
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Language: en
Pages: 384
Pages: 384
Lanen Kaelar has dreamed of dragons all her life. But not just dreaming, for Lanen believes in dragons. Her family mocks her that dragons are just a silly myth. A legend. But Lanen knows better. And she means to prove it. One day she sets out on a dangerous voyage
Language: en
Pages: 245
Pages: 245
The text and more than one hundred full-page color plates document Tibetan folk music (particularly work songs), and local life in the Sman shod Valley, Sde dge County, Dkar mdzes Tibetan Autonomous Prefecture, Sichuan Province, China. Bo nyed, a local elder, describes the situation that motivated this timely documentation, "In
Language: en
Pages: 288
Pages: 288
Around the world communities that have suffered the trauma of unspeakable violence--in Liberia, Somalia, West Africa, Columbia, and elsewhere--are struggling to recover and reconcile, searching for ways not just to survive but to heal. In When Blood and Bones Cry Out, John Paul Lederach, a pioneer of peace-building, and his
Language: en
Pages: 244
Pages: 244
Kafka's literary universe is organized around constellations of imprisonment. Freedom and Confinement in Modernity proposes that imprisonment does not signify a tortured state of the individual in modernity. Rather, it provides a new reading of imprisonment suggesting it allows Kafka to perform a critique of a modernity instead.
Language: en
Pages: 248
Pages: 248
Emily Harrington offers a new history of women’s poetry at the turn of the century that breaks from conventional ideas of nineteenth-century lyric, which focus on individual subjectivity. She argues that women poets conceived of lyric as an intersubjective genre, one that seeks to establish relations between subjects rather than