Search results for ""morality tales""

In this skillful analysis, Leslie Peirce delves into the life of a sixteenth-century Middle Eastern community, bringing to light the ways that women and men used their local law court to solve personal, family, and community problems. Examining one year's proceedings of the court of Aintab, an Anatolian city that had recently been conquered by the Ottoman sultanate, Peirce argues that local residents responded to new opportunities and new constraints by negotiating flexible legal practices. Their actions and the different compromises they reached in court influenced how society viewed gender and also created a dialogue with the ruling regime over mutual rights and obligations. Locating its discussion of gender and legal issues in the context of the changing administrative practices and shifting power relations of the period, Morality Tales argues that it was only in local interpretation that legal rules acquired vitality and meaning.

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With its flighty parables and skewed morality tales, The Wilderness Party is an unforgettable record of turbulent times. These are poems of finely-wrought musicality, bristling energy and playful excess. From cream cakes on Shetland to Camberwick Green, from Lyuba the Siberian mammoth to the madness of Franz Xaver Messerschmidt, A.B. Jackson approaches personal and historical events with a mixture of wit and wonder. Included in the opening section of individual lyrics is 'Treasure Island', winner of the Edwin Morgan International Poetry Competition. The series 'Natural History' takes a spirited linguistic tour through Pliny the Elder in Elizabethan translation to uncover the myths, mysteries, and uncanny familiarities of animal behaviour. In the twenty-one short fictions of 'Apocrypha', high ideals cavort with low befuddlement as re-cast Biblical characters attempt to make sense of the modern world. The Wilderness Party is Jackson's long-awaited follow-up to his Forward Prize-winning first collection Fire Stations. Poetry Book Society Recommendation. .

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'Once upon a time in mid-winter, when the snowflakes were falling from the sky like down, a queen was sitting and sewing at a window ...' The tales gathered by the Grimm brothers are at once familiar, fantastic, homely, and frightening. They seem to belong to no time, or to some distant feudal age of fairytale imagining. Grand palaces, humble cottages, and the forest full of menace are their settings; and they are peopled by kings and princesses, witches and robbers, millers and golden birds, stepmothers and talking frogs. Regarded from their inception both as uncosy nursery stories and as raw material for the folklorist the tales were in fact compositions, collected from literate tellers and shaped into a distinctive kind of literature. This translation mirrors the apparent artlessness of the Grimms, and fully represents the range of less well-known fables, morality tales, and comic stories as well as the classic tales. It takes the stories back to their roots in German Romanticism and includes variant stories and tales that were deemed unsuitable for children. In her fascinating introduction, Joyce Crick explores their origins, and their literary evolution at the hands of the Grimms.

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Unmasks the horrors of a social order reproduced and maintained by the violence of police Year after year the crisis churns: graft and corruption, violence and murder, riot cops and armored vehicles claim city streets. Despite promises of reform, police operate with impunity, unaccountable to law. In The Horror of Police, Travis Linnemann asks why, with this open record of violence and corruption, policing remains for so many the best, perhaps only means of security in an insecure world. Drawing on the language and texts of horror fiction, Linnemann recasts the police not only as self-proclaimed “monster fighters” but as monsters themselves, a terrifying force set loose in the world. Purposefully misreading a collection of everyday police stories (TV cop dramas, detective fiction, news media accounts, the direct words of police) not as morality tales of innocence avenged and order restored but as horror, Linnemann reveals the monstrous violence at the heart of liberal social order. The Horror of Police shows that police violence is not a deviation but rather a deliberate and permanent fixture of U.S. “law and order.” Only when viewed through the refracted motif of horror stories, Linnemann argues, can we begin to reckon the limits of police and imagine a world without them.

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Unmasks the horrors of a social order reproduced and maintained by the violence of police Year after year the crisis churns: graft and corruption, violence and murder, riot cops and armored vehicles claim city streets. Despite promises of reform, police operate with impunity, unaccountable to law. In The Horror of Police, Travis Linnemann asks why, with this open record of violence and corruption, policing remains for so many the best, perhaps only means of security in an insecure world. Drawing on the language and texts of horror fiction, Linnemann recasts the police not only as self-proclaimed “monster fighters” but as monsters themselves, a terrifying force set loose in the world. Purposefully misreading a collection of everyday police stories (TV cop dramas, detective fiction, news media accounts, the direct words of police) not as morality tales of innocence avenged and order restored but as horror, Linnemann reveals the monstrous violence at the heart of liberal social order. The Horror of Police shows that police violence is not a deviation but rather a deliberate and permanent fixture of U.S. “law and order.” Only when viewed through the refracted motif of horror stories, Linnemann argues, can we begin to reckon the limits of police and imagine a world without them.

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Japanese fairy tales - enchanting, enigmatic stories of animals, human beings and the great natural world. Dark and innocent, sublime and whimsical, Miyazawa's stories have the ageless feel of the best fairy tales. There are animal allegories such as 'The Ungrateful Rat' where a rude rodent insults all the objects he meets - until he meets the Rat Trap/ There are morality tales such as 'The Restaurant of Many Orders', where two hunters become the hunted. There are also transcendent stories of childhood and mortality like Miyazawa's best-known 'Night Train to the Stars', where a magical steam train carries children through the night and up to the heavens.These stories reveal the unique brilliance of one of Japan's most beloved early twentieth-century writers.WITH A FOREWORD BY DAVID MITCHELL AND AN INTRODUCTION BY KAORI NAGAI'Kenji Miyazawa fables are international-class' David Mitchell'For readers who relish the disturbing material of fairy tale, the specificity and surprise of tanka, collisions of the everyday with the supernatural and glimpses of Japan right on the brink of industrialization, Kenji Miyazawa's masterly stories will be a delight' New York Times'Few works have given me so much pleasure (and hard work) as the tales of Miyazawa Kenji [...] more genuine originality, and a more universal appeal, than almost anything else I have done.' John Bester, translator

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In Enchanted Islands, renowned art historian Mary D. Sheriff explores the legendary, fictional, and real islands that filled the French imagination during the ancien regime as they appeared in royal ballets and festivals, epic literature, paintings, engravings, book illustrations, and other objects. Some of the islands were mythical and found in the most popular literary texts of the day--islands featured prominently, for instance, in Ariosto's Orlando furioso, Tasso's Gerusalemme liberata, and Fenelon's, Telemachus. Other islands--real ones, such as Tahiti and St. Domingue--the French learned about from the writings of travelers and colonists. All of them were imagined to be the home of enchantresses who used magic to conquer heroes by promising sensual and sexual pleasure. As Sheriff shows, the theme of the enchanted island was put to many uses. Kings deployed enchanted-island mythology to strengthen monarchical authority, as Louis XIV did in his famous Versailles festival Les Plaisirs de l'ile enchantee. Writers such as Fenelon used it to tell morality tales that taught virtue, duty, and the need for male strength to triumph over female weakness and seduction. Yet at the same time, artists like Boucher painted enchanted islands to portray art's purpose as the giving of pleasure. In all these ways and more, Sheriff demonstrates for the first time the centrality of enchanted islands to ancient regime culture in a book that will enchant all readers interested in the art, literature, and history of the time.

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'Once upon a time in mid-winter, when the snowflakes were falling from the sky like down, a queen was sitting and sewing at a window ...' The tales gathered by the Grimm brothers are at once familiar, fantastic, homely, and frightening. They seem to belong to no time, or to some distant feudal age of fairytale imagining. Grand palaces, humble cottages, and the forest full of menace are their settings; and they are peopled by kings and princesses, witches and robbers, millers and golden birds, stepmothers and talking frogs. Regarded from their inception both as uncosy nursery stories and as raw material for the folklorist the tales were in fact compositions, collected from literate tellers and shaped into a distinctive kind of literature. This new translation mirrors the apparent artlessness of the Grimms, and fully represents the range of less well-known fables, morality tales, and comic stories as well as the classic tales. It takes the stories back to their roots in German Romanticism and includes variant stories and tales that were deemed unsuitable for children. In her fascinating introduction, Joyce Crick explores their origins, and their literary evolution at the hands of the Grimms. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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What does democracy look like? And when should we cause trouble to pursue it?Troublemakers fuses photography and history to demonstrate how racial and economic inequality gave rise to a decades-long struggle for justice in one American city. In dialogue with 275 of Art Shay’s photographs, Erik S. Gellman takes a new look at major developments in postwar US history: the Second Great Migration, “white flight,” and neighborhood and street conflicts, as well as shifting party politics and the growth of the carceral state. The result is a visual and written history that complicates—and even upends—the morality tales and popular memory of postwar freedom struggles. Shay himself was a “troublemaker,” seeking to unsettle society by illuminating truths that many middle-class, white, media, political, and businesspeople pretended did not exist. Shay served as a navigator in the US Army Air Forces during World War II, then took a position as a writer for Life Magazine. But soon after his 1948 move to Chicago, he decided to become a freelance photographer. Shay wandered the city photographing whatever caught his eye—and much did. His lens captured everything from private moments of rebellion to era-defining public movements, as he sought to understand the creative and destructive energies that propelled freedom struggles in the Windy City. Shay illuminated the pain and ecstasy that sprung up from the streets of Chicago, while Gellman reveals their collective impact on the urban fabric and on our national narrative. This collaboration offers a fresh and timely look at how social conflict can shape a city—and may even inspire us to make trouble today.

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Since the early 2000s, the phenomenon of the “down low”—black men who have sex with men as well as women and do not identify as gay, queer, or bisexual—has exploded in news media and popular culture, from the Oprah Winfrey Show to R & B singer R. Kelly’s hip hopera Trapped in the Closet. Most down-low stories are morality tales in which black men are either predators who risk infecting their unsuspecting female partners with HIV or victims of a pathological black culture that repudiates openly gay identities. In both cases, down-low narratives depict black men as sexually dangerous, duplicitous, promiscuous, and contaminated. In Nobody Is Supposed to Know, C. Riley Snorton traces the emergence and circulation of the down low in contemporary media and popular culture to show how these portrayals reinforce troubling perceptions of black sexuality. Reworking Eve Sedgwick’s notion of the “glass closet,” Snorton advances a new theory of such representations in which black sexuality is marked by hypervisibility and confinement, spectacle and speculation. Through close readings of news, music, movies, television, and gossip blogs, Nobody Is Supposed to Know explores the contemporary genealogy, meaning, and functions of the down low. Snorton examines how the down low links blackness and queerness in the popular imagination and how the down low is just one example of how media and popular culture surveil and police black sexuality. Looking at figures such as Ma Rainey, Bishop Eddie L. Long, J. L. King, and Will Smith, he ultimately contends that down-low narratives reveal the limits of current understandings of black sexuality.

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"Let's go!" With that, the boyish, grinning Yuri Gagarin launched into space on April 12, 1961, becoming the first human being to exit Earth's orbit. The twenty-seven-year-old lieutenant colonel departed for the stars from within the shadowy world of the Soviet military-industrial complex. Barbed wires, no-entry placards, armed guards, false identities, mendacious maps, and a myriad of secret signs had hidden Gagarin from prying outsiders—not even his friends or family knew what he had been up to. Coming less than four years after the Russians launched Sputnik into orbit, Gagarin's voyage was cause for another round of capitalist shock and Soviet rejoicing. The Cosmonaut Who Couldn't Stop Smiling relates this twentieth-century icon's remarkable life while exploring the fascinating world of Soviet culture. Gagarin's flight brought him massive international fame—in the early 1960s, he was possibly the most photographed person in the world, flashing his trademark smile while rubbing elbows with the varied likes of Nehru, Castro, Queen Elizabeth II, and Italian sex symbol Gina Lollobrigida. Outside of the spotlight, Andrew L. Jenks reveals, his tragic and mysterious death in a jet crash became fodder for morality tales and conspiracy theories in his home country, and, long after his demise, his life continues to provide grist for the Russian popular-culture mill. This is the story of a legend, both the official one and the one of myth, which reflected the fantasies, perversions, hopes and dreams of Gagarin's fellow Russians. With this rich, lively chronicle of Gagarin's life and times, Jenks recreates the elaborately secretive world of space-age Russia while providing insights into Soviet history that will captivate a range of readers.

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