Erika, a young girl, walking along a deserted beach, finds an injured and dying mermaid, carries her home, and nurses her back to health. Once her body is whole again, Maari, the mermaid is able to turn herself into a human girl. When she gets homesick, Erika and her Dad take her home to the island of Tiki-roa. Several years later Erika returns to Tiki-roa. They often play at the girls secret lagoon, in a cave of the ancient Maoris, and on Skull Mountain, where they encounter a huge flightless moa bird, and find a cave with pirates treasure of pearls. At the end of her stay Erika meets Maaris mother, the mermaid Cyrena, and her father, Jupiter, mighty ruler of all the oceans. In gratitude for saving their daughters life they bestow upon Erika the power to turn herself into a mermaid.
We no longer ascribe the term ’mermaid’ to those we deem sexually or economically threatening; we do not ubiquitously use the mermaid’s image in political propaganda or feature her within our houses of worship; perhaps most notably, we do not entertain the possibility of the mermaid’s existence. This, author Tara Pedersen argues, makes it difficult for contemporary scholars to consider the mermaid as a figure who wields much social significance. During the early modern period, however, this was not the case, and Pedersen illustrates the complicated category distinctions that the mermaid inhabits and challenges in 16th-and 17th-century England. Addressing epistemological questions about embodiment and perception, this study furthers research about early modern theatrical culture by focusing on under-theorized and seldom acknowledged representations of mermaids in English locations and texts. While individuals in early modern England were under pressure to conform to seemingly monolithic ideals about the natural order, there were also significant challenges to this order. Pedersen uses the figure of the mermaid to rethink some of these challenges, for the mermaid often appears in surprising places; she is situated at the nexus of historically specific debates about gender, sexuality, religion, the marketplace, the new science, and the culture of curiosity and travel. Although these topics of inquiry are not new, Pedersen argues that the mermaid provides a new lens through which to look at these subjects and also helps scholars think about the present moment, methodologies of reading, and many category distinctions that are important to contemporary scholarly debates.
*Includes "The Little Mermaid," now a major motion picture from Disney starring Halle Bailey and directed by Rob Marshall* Dive into centuries of mermaid lore with these captivating tales from around the world. A Penguin Classic Among the oldest and most popular mythical beings, mermaids and other merfolk have captured the imagination since long before Ariel sold her voice to a sea witch in the beloved Disney film adaptation of Hans Christian Andersen's "The Little Mermaid." As far back as the eighth century B.C., sailors in Homer's Odyssey stuffed wax in their ears to resist the Sirens, who lured men to their watery deaths with song. More than two thousand years later, the gullible New York public lined up to witness a mummified "mermaid" specimen that the enterprising showman P. T. Barnum swore was real. The Penguin Book of Mermaids is a treasury of such tales about merfolk and water spirits from different cultures, ranging from Scottish selkies to Hindu water-serpents to Chilean sea fairies. A third of the selections are published here in English for the first time, and all are accompanied by commentary that explores their undercurrents, showing us how public perceptions of this popular mythical hybrid--at once a human and a fish--illuminate issues of gender, spirituality, ecology, and sexuality. For more than seventy-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 2,000 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Let these captivating fairy tale retellings sweep you into happily ever after. Re-imagined as black, trans women, come along with Cinderella, Erika, and Belle as they find love and laughter at the ends of their stories. Ella’s stepmother insists she’s a boy, but the princess sees her for the woman she is. When Ella is dumped at the edge of the kingdom, she finds strength in herself to create a new life. Erika’s father sends her across the ocean to the New World, only for a suspicious deckhand to throw her overboard mid-journey. With help from princess Ariel, and a little bit of magic, Erika learns how to live and love under the sea without her voice. Belle has been harassed by Gaston for years, and escapes into her books and the abandoned castle in the woods to get away. It turns out, the castle isn’t abandoned, and the Guardian who lives there thinks Belle deserves the whole world.
Erika is transgender. She's known since she was young; being a woman just fit better. She loved to wear her mother's dresses and tight corsets, but that was before the disease took her mother away. Erika's father doesn't see a daughter, he sees a confused son that needs a new start in a new city across the ocean. Erika has no place to go, so with the last of her mother's dresses she packs for months on a sailing ship. Halfway across the ocean, Erika's life is forever altered. She sneaks on deck in her mother's dress in the dead of night and a superstitious deckhand throws her overboard, dress and all. But drowning at sea isn't how Erika plans to die. She cuts a deal with a sea witch for more than her life--for the first time, she is transformed into the woman she's always known was inside. Her dress becomes a mermaid tail and all it took was her voice. She should have known living her authentic life wouldn't be so easy, though. The witch wants more than Erika's voice, she's on the hunt for the undersea throne, the seat of power. Ariel, the last daughter of the king must marry in three days or the first place Erika has ever called home will be destroyed. The magic of true love is the only thing that can save them now.
A focus on the developmental progress of children before the age of eight helps to inform their future successes, including their personality, social behavior, and intellectual capacity. However, it is difficult for experts to pinpoint best learning and parenting practices for young children. Early Childhood Development: Concepts, Methodologies, Tools, and Applications is an innovative reference source for the latest research on the cognitive, socio-emotional, physical, and linguistic development of children in settings such as homes, community-based centers, health facilities, and school. Highlighting a range of topics such as cognitive development, parental involvement, and school readiness, this multi-volume book is designed for educators, healthcare professionals, parents, academicians, and researchers interested in all aspects of early childhood development.
Around the world, school districts and institutions are exploring ways to provide quality education to their students. With this, there is a deeper need for multiculturalism in classrooms, as many students are from varying cultures and speak different languages. Early Childhood Education From an Intercultural and Bilingual Perspective provides emerging research on the use of play, toys, and games as tools for meaningful multicultural and bilingual education. By highlighting topics such as cross-cultural psychology, classroom management, and second language acquisition, this publication explores the importance of culture in games and play. This book is an important resource for educators, academicians, researchers, and students seeking current research on the role of intercultural education in society and modern approaches to early education.
Created around the world and available only on the web, internet "television" series are independently produced, mostly low budget shows that often feature talented but unknown performers. Typically financed through crowd-funding, they are filmed with borrowed equipment and volunteer casts and crews, and viewers find them through word of mouth or by chance. The fifth in a series focusing on the largely undocumented world of internet TV, this book covers 573 children's series created for viewers 3 to 14. The genre includes a broad range of cartoons, CGI, live-action comedies and puppetry. Alphabetical entries provide websites, dates, casts, credits, episode lists and storylines.
Good-bye to the Mermaids conveys the horrors of war as seen through the innocent eyes of a child. It is the story of World War II as it affected three generations of middle-class German women: Karin, six years old when the war began, who was taken in by Hitler's lies; her mother, Astrid, a rebellious artist who occasionally spoke out against the Nazis; and her grandmother Oma, a generous and strong-willed woman who, having spent her own childhood in America, brought a different perspective to the events of the time. It tells of a convoluted world where children were torn between fear and hope, between total incomprehension of events and the need to simply deal with reality. In one of the relatively few recollections of the war from a German woman's perspective, Finell relates what was for her a normal part of growing up: participating in activities of the Hitler Youth, observing Nazi customs at Christmas, and once being close enough to the Führer at a rally to make eye contact with him. She tells of how she first became aware of the yellow star that Jews were forced to wear, and of being asked to identify corpses from a bombed apartment house. She also depicts the lives of people tainted by Hitler's influence: her half-Jewish relatives who gave in to the strain of trying to remain unnoticed; a favorite aunt who was gassed because she was old and had broken her hip; and a friend of the family who was involved in the abortive putsch against Hitler and hanged as a traitor. When American and British forces intensified air raids on Berlin in 1943, Finell observed the stoical valor of women during the bombings, firestorms, and mass evacuations. Not yet a teenager, she witnessed the battle for Berlin and the mass rapes perpetrated by conquering Russian and Mongolian troops. Order was restored after the American and British troops arrived. The Marshall Plan jump-started an economic recovery for West Germany, provoking the Russians to blockade Berlin. From 1948 to 1949 the Americans and British kept Berlin's residents alive with the airlift. But even though food was flown in, the people of Berlin continued to go hungry. Deprivation forced Berliners to look inward and face their collective guilt as they withstood the threat of Soviet occupation during these postwar years. This eloquent and touching story tells how a decent people were perverted by Hitler and how a young girl ultimately came to recognize the father figure Hitler for the monster he was. From a time of innocence, Karin Finell takes readers along a nightmarish journey in which fantasies are clung to, set aside, and at last set free. Good-bye to the Mermaids presents us with the revelation that human beings can survive such times with their souls intact.
