They were fated to collide, Ella Bandita and the Wanderer. This complex fable about a predatory seductress and an adventurer frozen in grief explores the darkness of the human heart and the allure of erotic obsession over love. The story begins when an outcast young woman tries to kill herself. Yet a sorcerer intervenes with a last chance to change her destiny. But she must be his lover and give him her heart to transform into the immortal Ella Bandita. All his life, the Wanderer hears stories about Ella Bandita, the ruthless thief of hearts. But he never believes she lives and doesn't recognize her when they meet. Driven by lust, he follows Ella Bandita into a battle of wills that threatens to destroy him. The Wanderer wants nothing more than to avenge himself on a woman he loathes, the vagabond seductress who stole his heart.
In a comprehensive critical survey of Brazilian film production since the mid-1990s Lucia Nagib explores what has become known as the 'renaissance of Brazilian cinema'. Besides explaining the recent boom, this book explores the aesthetic tendencies of recent productions and their relationships to earlier works.
This book treats various areas of the phonetics, orthography, morphology, syntax, and lexica of artificial languages in an effort to determine what features such languages have in common, and how they differ. Among the topics dealt with are affricates, digraphs, stress, plural formation, demonstratives, prepositional case assignment, color terms, terms for beverages, and terms for meteorological phenomena. Data from many artificial languages, gathered from both primary and secondary sources, are presented in an attempt to give a picture of tendencies among them. The comparative examination of the languages considered in this book demonstrates that artificial languages are relatively uniform in some phonological aspects (e.g. nasals and affricates) while they show a considerable degree of variation in relation to some morphological categories (e.g. demonstratives and plurals). With regard to vocabulary from various lexical fields, in addition to the expected differences among a priori languages, different degrees of uniformity were found among a posteriori and mixed languages with respect to lexemes with particular meanings.
Verbal attacks against Israel for human rights violations have turned into physical attacks against the Jewish community worldwide. How has that happened? This book attempts to explain the phenomenon. Anti-Zionists, whose primary goal is destruction of the State of Israel, use accusations of the worst forms of human rights violations against Israel to delegitimize the state. These accusations criminalize the Jewish population worldwide for actual or presumed support of the State of Israel. The contemporary international human rights system and the existence of the State of Israel are twin legacies of the Holocaust. The failure of the human rights system to prevent attacks on Israel and the Jews is an aftershock of the Holocaust.
The topical and thought-provoking articles in this volume have been contributed by leading authorities and discuss some of the key issues currently facing the human rights community. The issues discussed include, among others, human rights and the Security Council, slavery, racism on the internet, and religion and human rights.
The hymns, therefore, of Damiani, and those of the few following centuries which precede the revival of classical literature, are to be regarded, not as unshackling themselves from the fetters of verse, but as continuing uninterruptedly, and developing to nobler uses indigenous Latin poetry, now that, with the decay of ancient learning, the authors of Greece, and their Roman imitators, had almost wholly disappeared from view. The addition of rhyme was a natural consequence of the entire abandonment of quantity, and is by no means to be attributed to Saracenic or Gothic influence. In Damiani's trochaics, as in Spanish verse, it is confined mostly to the final vowel; but the construction of all such tetrameter metre requires that it be limited, at all events, to the catalectic and final syllable. When, indeed, as soon afterwards, the verse was divided, the change required the disyllabic or trochee rhyme, which gives new grandeur to such hymns as the "Dies iræ," with the optional reservation of the latter portion of the line, consisting of seven syllables, for an intermitted cadence resembling the parœmiac of the Greek ?anap?æstic system, as in the "Stabat Mater." Besides the happy addition of rhyme, these rhythmical trochaics possess this superiority over those constr?cted on the Grecian model, that, losing at the same time a great deal of its monotony, they adapt themselves more readily to every emotion of the mind, by elevating or lowering the intensity of the arsis, though the character of the thought may be contemplative, sorrowful, or jubilant by turns. Severely addicted, as I must be supposed to be, to versification of the stricter and more classical order, I must confess my sympathy with those who take extreme delight in the sacred Latin poetry of the Middle Ages, in which that language seems for the first time to have put forth its full power, and, in wholly discarding imitation, to have become inimitable itself.? Theologically such compositions are entirely unobjectionable; for the finest examples, like Damiani's Hymn, are as uniformly evangelical, and as purely scriptural, as the readers of the pious effusions of Watts, or Wesley, or Author: John Newton, of which we are here so perpetually reminded, could themselves desire. They have little in common with the Church of ? Rome. They reflect none of her manifold corruptions; and she has done what she could to diminish their surpassing purity anal power.
