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THE LAND BEYOND the MAGIC MIRROR by E
GREYHAWK CASTLE DUNGEON MODULE EX2 THE LAND BEYOND THE MAGIC MIRROR by E. Gary Gygax AN ADVENTURE IN A WONDROUS PLACE FOR CHARACTER LEVELS 9-12 No matter the skill and experience of your party, they will find themselves dazed and challenged when they pass into The Land Beyond the Magic Mirror! Distributed to the book trade in the United States by Random House, Inc. and in Canada by Random House of Canada Ltd. Distributed to the toy and hobby trade by regional distributors. Distributed in the United Kingdom by TSR Hobbies (UK) Ltd. AD&D and WORLD OF GREYHAWK are registered trademarks owned by TSR Hobbies, Inc. ©1983 TSR Hobbies, Inc. All Rights Reserved. TSR Hobbies, Inc. TSR Hobbies (UK) Ltd. POB 756 The Mill, Rathmore Road Lake Geneva, Cambridge CB14AD United Kingdom Printed in U.S.A. WI 53147 ISBN O 88038-025-X 9073 TABLE OF CONTENTS This module is the companion to Dungeonland and was originally part of the Greyhawk Castle dungeon complex. lt is designed so that it can be added to Dungeonland, used alone, or made part of virtually any campaign. It has an “EX” DUNGEON MASTERS PREFACE ...................... 2 designation to indicate that it is an extension of a regular THE LAND BEYOND THE MAGIC MIRROR ............. 4 dungeon level—in the case of this module, a far-removed .................... extension where all adventuring takes place on another plane The Magic Mirror House First Floor 4 of existence that is quite unusual, even for a typical AD&D™ The Cellar ......................................... 6 Second Floor ...................................... 7 universe. This particular scenario has been a consistent ......................................... -
"Animals in Saki's Short Stories Within the Context of Imperialism: a Non
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature ANIMALS IN SAKI’S SHORT STORIES WITHIN THE CONTEXT OF IMPERIALISM: A NON-ANTHROPOCENTRIC APPROACH Adem Balcı Master’s Thesis Ankara, 2014 ANIMALS IN SAKI’S SHORT STORIES WITHIN THE CONTEXT OF IMPERIALISM: A NON-ANTHROPOCENTRIC APPROACH Adem Balcı Hacettepe University Graduate School of Social Sciences Department of English Language and Literature Master’s Thesis Ankara, 2014 iii To my family iv ACKNOWLEDGMENTS First and foremost, I would like to express my heartfelt gratitude to my supervisor Assist. Prof. Dr. Sinan AKILLI for his encouragement, friendship, and academic guidance. Without his never-ending support, encouragement, constructive criticism, unwavering belief in me, unending patience, genuine kindness, suggestions, meticulous feedbacks and comments, this thesis would not be what it is now. I would also like to express my deepest gratitude to Prof. Dr. Burçin EROL, the Head of the Department of English Language and Literature, for her endless support, warm welcome, motivation and encouragement whenever I needed. I wish to express my sincere gratitude to the distinguished members of the Examining Committee who contributed to this thesis through their constructive comments and meticulous feedback. Firstly, I would like to thank Prof. Dr. Deniz BOZER for her suggestions, invaluable comments, and academic guidance in each step of this thesis. I would also like to thank Prof. Dr. Serpil OPPERMANN wholeheartedly for introducing me to the posthumanities and animal studies, for helping me to write my thesis proposal and finally for her contribution to the development of this thesis with her invaluable comments, her books, and feedbacks. -
Saki / H.H. Munro 1870-1916 Bios
Saki / H.H. Munro 1870-1916 Bios http://www.litgothic.com/Authors/saki.html Up to now, little has been known about Hector Hugh Munro except that he used the pen name “Saki”; that he wrote a number of witty short stories, two novels, several plays, and a history of Russia; and that he was killed in World War I. His friend Rothay Reynolds published “A Memoir of H. H. Munro” in Saki’s The Toys of Peace (1919), and Munro’s sister Ethel furnished a brief “Biography of Saki” for a posthumous collection of his work entitled The Square Egg and Other Sketches (1924). A. J. Langguth’s Saki is the first full-length biography of the man who, during his brief writing career, published a succession of bright, satirical, and sometimes perfectly crafted short stories that have entertained and amused readers in many countries for well over a half-century. Hector Munro was the third child of Charles Augustus Munro, a British police officer in Burma, and his wife Mary Frances. The children were all born in Burma. Pregnant with her fourth child, Mrs. Munro was brought with the children to live with her husband’s family in England until the child arrived. Frightened by the charge of a runaway cow on a country lane, Mrs. Munro died after a miscarriage. Since the widowed father had to return to Burma, the children — Charles, Ethel, and Hector — were left with their Munro grandmother and her two dominating and mutually antagonistic spinster daughters, Charlotte (“Aunt Tom”) and Augusta. This situation would years later provide incidents, characters, and themes for a number of Hector Munro’s short stories as well as this epitaph for Augusta by Ethel: “A woman of ungovernable temper, of fierce likes and dislikes, imperious, a moral coward, possessing no brains worth speaking of, and a primitive disposition. -
In Commemoration of Hector Munro, 'Saki' Transcript
The grinning shadow that sat at the feast: In commemoration of Hector Munro, 'Saki' Transcript Date: Tuesday, 14 November 2006 - 12:00AM The Grinning Shadow that sat at the Feast: an appreciation of the life and work of Hector Munro 'Saki' Professor Tim Connell Hector Munro was a man of many parts, and although he died relatively young, he lived through a time of considerable change, had a number of quite separate careers and a very broad range of interests. He was also a competent linguist who spoke Russian, German and French. Today is the 90th anniversary of his death in action on the Somme, and I would like to review his importance not only as a writer but also as a figure in his own time. Early years to c.1902 Like so many Victorians, he was born into a family with a long record of colonial service, and it is quite confusing to see how many Hector Munros there are with a military or colonial background. Our Hector’s most famous ancestor is commemorated in a well-known piece at the Victoria and Albert Museum. Tippoo's Tiger shows a man being eaten by a mechanical tiger and the machine emits both roaring and groaning sounds. 1 Hector's grandfather was an Admiral, and his father was in the Burma Police. The family was hit by tragedy when Hector's mother was killed in a bizarre accident involving a runaway cow. It is curious that strange events involving animals should form such a common feature of Hector's writing 2 but this may also derive from his upbringing in the Devonshire countryside and a home that was dominated by the two strangest creatures of all - Aunt Augusta and Aunt Tom. -
Orecchio Acerbo Rights List Spring 2021
orecchio acerbo editore Foreign rights catalog Winner of the BoP · Best Children’s PuBlisher of the Year 2017, euroPe Spring 2021 picture books daybrEak NEW by Daniel Fehr illustrations Elena Rotondo for children 4 years and older pp. 28 | cm. 23 x 21 ISBN 9788832070651 | July 2021 today NEW by Daniel Fehr big quEstioNs | grEat advENturEs illustrations Simone Rea WaitiNg for Walt for children 4 years and older by Daniel Fehr The story is about a young boy and his father. pp. 64 | cm. 17 x 24 illustrations Maja Celjia In the middle of the night they leave their house. ISBN 9788832070590 | April 2021 for children 5 years and older For the boy it is the first time that he leaves home pp. 32 | cm. 24 x 32 | May 2020 at this time of the night when normally uNdEr thE gazE of timE | rEcouNtiNg thE prEsENt he is asleep. As they walk through the forest storiEs of thE visioNary aNd thE absurd laughtEr aNd smilEs the flashlight of the boy “turns on” part A father who is leaving. Two brothers. A long wait. of the vegetation and at the same time the rest But together it is easier, together it is easy disappear. He turns off the flashlight and “turns on” to be strong. The older brother reads books Two kids are waiting for Walt. But who is Walt? all his senses: he experiences the darkness, to the younger one who can’t read yet but can And, if Walt was there with them, what would the sounds of the forest, the sound of his father, at least choose the book; then they go together they all do together? They would have a lot the roughness of the ground, the smells… on a secret mission: is every mission of spies of fun, because when he is there he always He dares not ask for the space and time secret? Then one goes to play football, the other has crazy ideas. -
ARTICLE: Jan Susina: Playing Around in Lewis Carroll's Alice Books
Playing Around in Lewis Carroll’s Alice Books • Jan Susina Mathematician Charles Dodgson’s love of play and his need for rules came together in his use of popular games as part of the structure of the two famous children’s books, Alice in Wonderland and Through the Looking-Glass, he wrote under the pseudonym Lewis Carroll. The author of this article looks at the interplay between the playing of such games as croquet and cards and the characters and events of the novels and argues that, when reading Carroll (who took a playful approach even in his academic texts), it is helpful to understand games and game play. Charles Dodgson, more widely known by his pseudonym Lewis Carroll, is perhaps one of the more playful authors of children’s literature. In his career, as a children’s author and as an academic logician and mathematician, and in his personal life, Carroll was obsessed with games and with various forms of play. While some readers are surprised by the seemingly split personality of Charles Dodgson, the serious mathematician, and Lewis Carroll, the imaginative author of children’s books, it was his love of play and games and his need to establish rules and guidelines that effectively govern play that unite these two seemingly disparate facets of Carroll’s personality. Carroll’s two best-known children’s books—Alice’s Adventures in Wonderland (1865) and Through the Looking- Glass and What Alice Found There (1871)—use popular games as part of their structure. In Victoria through the Looking-Glass, Florence Becker Lennon has gone so far as to suggest about Carroll that “his life was a game, even his logic, his mathematics, and his singular ordering of his household and other affairs. -
Beasts and Super-Beasts: by Saki Online
j1Zfo [E-BOOK] Beasts and Super-Beasts: by Saki Online [j1Zfo.ebook] Beasts and Super-Beasts: by Saki Pdf Free Saki Saki *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook 2017-01-07 2017-01-07File Name: B01NBSEDIW | File size: 52.Mb Saki Saki : Beasts and Super-Beasts: by Saki before purchasing it in order to gage whether or not it would be worth my time, and all praised Beasts and Super-Beasts: by Saki: 5 of 5 people found the following review helpful. Saki at his bestBy Robert GuttmanBeasts and Super-Beasts comprises thirty-seven short stories from the pen of the incomparable Saki, which was the pen-name for H. H. Munro. Saki's ironic and witty stories chronicled the British upper class during the Edwardian period, the era that represented the zenith of British power and complacency just before the cataclysm of World War I. The quality of his wit and satiric humor are of the very highest order, comparable to very best of Oscar Wilde and Ambrose Bierce. As with Bierce, a touch of cruelty was often present in Saki's humor. In addition, Saki also shared with Bierce a taste for the supernatural, a quality which comes across in many of the stories in this particular collection.Reading Saki is an absolute must for any aspiring writer, and an absolute pleasure for readers everywhere.0 of 0 people found the following review helpful. Gotta love Saki!By Kevin BeachyIf you like Mark Twain's particular strain of sarcastic humor, you gotta try Saki. -
Annihilating Nihilistic Nonsense Tim Burton Guts Lewis Carroll’S Jabberwocky
Annihilating Nihilistic Nonsense Tim Burton Guts Lewis Carroll’s Jabberwocky Alice in Wonderland seems to beg for a morbid interpretation. Whether it's Marilyn Manson's "Eat Me, Drink Me," the video game "American McGee's Alice," or Svankmajer's "Alice" and "Jabberwocky," artists love bringing out the darker elements of Alice’s adventures as she wanders among creepy creatures. The 2010 Tim Burton film is the latest twisted adaptation, featuring an older Alice that slays the Jabberwocky. However, unlike the other adaptations, Burton’s adaptation draws most of its grim outlook by gutting Alice in Wonderland of its fundamental core - its nonsense. Alice in Wonderland uses nonsense to liberate, offering frightening amounts of freedom through its playful use of nonsense. However, Burton turns this whimsy into menacing machinations - he pretends to use nonsense for its original liberating purpose but actually uses it for adult plots and preset paths. Burton takes the destructive power of Alice’s insistence for order and amplifies it dramatically, completely removing its original subversive release from societal constraints. Under the façade of paying tribute to Carroll’s whimsical nonsense verse, Burton directly removes nonsense’s anarchic freedom and replaces it with a destructive commitment to sense. This brutal change to both plot and structure turns Alice into a mindless juggernaut, slaying not only the Jabberwock, but also the realm of nonsense, non-linear narrative and real world empires. At first, nonsense in Lewis Carroll’s books seems to just a light-hearted play with language. Even before we come into Wonderland, the idea of nonsense as just a simple child’s diversion is given by the epigraph. -
The Musical Misadventures of a Girl Named Alice Book by JAMES DEVITA Music and Lyrics by BILL FRANCOEUR Based on the Novel Through the Looking Glass by LEWIS CARROLL
The Musical Misadventures of a Girl Named Alice based on the novel Through the Looking Glass by Lewis Carroll Book by JAMES DEVITA Music and Lyrics by BILL FRANCOEUR © Copyright 2002, JAMES DeVITA PERFORMANCE LICENSE The amateur acting rights to this play are controlled exclusively by PIONEER DRAMA SERVICE, INC., P.O. Box 4267, Englewood, Colorado 80155, without whose permission no performance, reading or presentation of any kind may be given. On all programs and advertising this notice must appear: “Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado.” COPYING OR REPRODUCING ALL OR ANY PART OF THIS BOOK IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. All other rights in this play, including those of professional production, radio broadcasting and motion picture rights, are controlled by Pioneer Drama Service, Inc., to whom all inquiries should be addressed. WONDERLAN D! The Musical Misadventures of a Girl Named Alice Book by JAMES DEVITA Music and Lyrics by BILL FRANCOEUR based on the novel Through the Looking Glass by LEWIS CARROLL CAST OF CHARACTERS ALICE .............................................. the same one that chased the rabbit down the hole TROUBADOUR* .............................. quite the singer MOTHER’S VOICE .......................... offstage RED KING ....................................... soporific monarch WHITE KING .................................... defender of the crown RED QUEEN .................................... vicious, nasty temper WHITE QUEEN ............................... -
Through the Looking-Glass: Translating Nonsense
Through the Looking-Glass: Translating Nonsense In 1871, Lewis Carroll published Through the Looking- Glass, and What Alice Found There, a sequel to his hugely popular Alice’s Adventures in Wonderland. In this sequel, Alice sees a world through her looking-glass which looks almost the same as her own world, but not quite. I'll tell you all my ideas about Looking-glass House. First, there's the room you can see through the glass – that's just the same as our drawing-room, only the things go the other way. [...] the books are something like our books, only the words go the wrong way[...] Alice goes through the mirror into the alternative world, which, not unlike Wonderland, is full of weird and wonderful characters. She finds a book there, which is “all in some language I don't know”. Below are the first few lines of the book – can you read it? Just the same, only things go the other way... ‘Some language I don’t know’, ‘the words go the wrong way’. Alice might almost be talking about the practice of translation, which makes a text accessible to a reader unfamiliar with the original language it was written in. And translation, too, can often feel like it is almost the same as the original, and yet somehow also different. We might say that translation is like Alice’s looking-glass: it reflects the original but in distorted and imaginative ways. Can you think of any other similes for translation? Translation is like ....................................................................................................................... because -
Lewis Carroll 'The Jabberwocky'
Lewis Carroll ‘The Jabberwocky’ 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe. "Beware the Jabberwock, my son The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!" He took his vorpal sword in hand; Long time the manxome foe he sought— So rested he by the Tumtum tree, And stood awhile in thought. And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back. "And hast thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!" He chortled in his joy. 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe. Rudyard Kipling ‘The Way Through The Woods’ They shut the road through the woods Seventy years ago. W eather and rain have undone it again, And now you would never know There was once a road through the woods Before they planted the trees. It is underneath the coppice and heath And the thin anemones. Only the keeper sees That, where the ring-dove broods, And the badgers roll at ease, There was once a road through the woods. Yet, if you enter the woods Of a summer evening late, When the night-air cools on the trout-ringed pools Where the otter whistles his mate, (They fear not men in the woods, Because they see so few) You will hear the beat of a horse’s feet, And the swish of a skirt in the dew, Steadily cantering through The misty solitudes, As though they perfectly knew The old lost road through the woods… But there is no road through the woods. -
Ambivalent Texts, the Borderline, and the Sense of Nonsense in Lewis Carroll’S “Jabberwocky”
International Journal of IJES English Studies UNIVERSITY OF MURCIA http://revistas.um.es/ijes Ambivalent texts, the borderline, and the sense of nonsense in Lewis Carroll’s “Jabberwocky” MICHAEL TEMPLETON Princess Nourah bint Abdulrahman University (Saudi Arabia) Received: 13/11/2017. Accepted: 18/08/2018. ABSTRACT Taking Carroll‘s ―Jabberwocky‖ as emblematic of a text historically enjoyed by both children and adults, this article seeks to place the text in what Kristeva defines as the borderline between language and subjectivity to theorize a realm in which ambivalent texts emerge as such. The fact that children‘s literature remains largely trapped in the literary–didactic split in which these texts are understood as either learning materials and primers for literacy, or as examples of poetic or historical modernist discourse. This article situates Carroll‘s text in the theories of language, subjectivity, and clinical discourse toward a more complex reading of a children‘s poem, one that finds a point of intersection between the adult and the child reader. KEYWORDS: Ambivalent text, The borderline, Children‘s literature, Nonsense poems. 1. INTRODUCTION Maria Nikolajeka demonstrates that children‘s literature occupies a middle place in the world of literary studies. Children‘s literature is either studied exclusively as a didactic tool—a literary form that exists entirely to provide stepping stones toward literacy for young readers—or else children‘s literature is understood as a projection of the author‘s imagination, a nostalgic portrait of some feature of the author‘s own youth. This is commonly referred to as the ―literary–didactic split‖ (Nikolajeka, 2005: xi).