A collection of poems in Irish that have been taught in Irish schools. The book gives readers the opportunity to savour again memories of their youth. Thomas F. Walsh is the editor of Favourite Poems We Learned in School and More Favourite Poems We Learned in School.
Focusing on the lineage of pivotal African American and Irish women writers, Jacqueline Fulmer argues that these authors often employ strategies of indirection, via folkloric expression, when exploring unpopular topics. This strategy holds the attention of readers who would otherwise reject the subject matter. Fulmer traces the line of descent from Mary Lavin to Éilís Ní Dhuibhne and from Zora Neale Hurston to Toni Morrison, showing how obstacles to free expression, though varying from those Lavin and Hurston faced, are still encountered by Morrison and Ní Dhuibhne. The basis for comparing these authors lies in the strategies of indirection they use, as influenced by folklore. The folkloric characters these authors depict-wild denizens of the Otherworld and wise women of various traditions-help their creators insert controversy into fiction in ways that charm rather than alienate readers. Forms of rhetorical indirection that appear in the context of folklore, such as signifying practices, masking, sly civility, and the grotesque or bizarre, come out of the mouths and actions of these writers' magical and magisterial characters. Old traditions can offer new ways of discussing issues such as sexual expression, religious beliefs, or issues of reproduction. As differences between times and cultures affect what "can" and "cannot" be said, folkloric indirection may open up a vista to discourses of which we as readers may not even be aware. Finally, the folk women of Morrison, Ní Dhuibhne, Hurston, and Lavin open up new points of entry to the discussion of fiction, rhetoric, censorship, and folklore
Regular meditation practice has a powerful impact on the mind and body, rewiring the brain and bringing us all kinds of benefits: contentment and well-being, resilience and focus, better mental and physical health, and greater empathy and compassion. This wide-ranging anthology brings together pioneering Tibetan Buddhist teachers, scientific researchers, and health professionals to offer fascinating perspectives on the mind and emotions, new studies, and firsthand accounts of how meditation is being applied to great effect in health and social care today. • Sogyal Rinpoche and Jetsün Khandro Rinpoche on how meditation unlocks the mind’s healing power • Jon Kabat-Zinn on the benefits of mindfulness in mainstream health care • Clifford Saron on the Shamatha Project, the most comprehensive study of the effects of meditation ever conducted • Sara Lazar on what happens to our brain when we meditate • Erika Rosenberg on how meditation helps us relate better to our emotions • Dr. Lucio Bizzini, MD, on how Mindfulness-Based Cognitive Therapy is used to treat depression • Ursula Bates on how mindfulness supports terminally ill patients as they approach the end of their lives Plus chapters from other innovators who apply meditation in health care and social work: Dr. Edel Maex, MD, Dr. Cathy Blanc, MD, Rosamund Oliver, and Dr. Frédéric Rosenfeld, MD.
Focusing on the lineage of pivotal African American and Irish women writers, the author argues that these authors often employ strategies of indirection, via folkloric expression, when exploring unpopular topics. This strategy holds the attention of readers who would otherwise reject the subject matter. The author traces the line of descent from Mary Lavin to Éilís Ní Dhuibhne and from Zora Neale Hurston to Toni Morrison, showing how obstacles to free expression, though varying from those Lavin and Hurston faced, are still encountered by Morrison and Ní Dhuibhne. The basis for comparing these authors lies in the strategies of indirection they use, as influenced by folklore. The folkloric characters these authors depict-wild denizens of the Otherworld and wise women of various traditions-help their creators insert controversy into fiction in ways that charm rather than alienate readers. Forms of rhetorical indirection that appear in the context of folklore, such as signifying practices, masking, sly civility, and the grotesque or bizarre, come out of the mouths and actions of these writers' magical and magisterial characters. Old traditions can offer new ways of discussing issues such as sexual expression, religious beliefs, or issues of reproduction. As differences between times and cultures affect what "can" and "cannot" be said, folkloric indirection may open up a vista to discourses of which we as readers may not even be aware. Finally, the folk women of Morrison, Ní Dhuibhne, Hurston, and Lavin open up new points of entry to the discussion of fiction, rhetoric, censorship, and folklore.
Focusing on the lineage of pivotal African American and Irish women writers, the author argues that these authors often employ strategies of indirection, via folkloric expression, when exploring unpopular topics. This strategy holds the attention of readers who would otherwise reject the subject matter. The author traces the line of descent from Mary Lavin to Éilís Ní Dhuibhne and from Zora Neale Hurston to Toni Morrison, showing how obstacles to free expression, though varying from those Lavin and Hurston faced, are still encountered by Morrison and Ní Dhuibhne. The basis for comparing these authors lies in the strategies of indirection they use, as influenced by folklore. The folkloric characters these authors depict-wild denizens of the Otherworld and wise women of various traditions-help their creators insert controversy into fiction in ways that charm rather than alienate readers. Forms of rhetorical indirection that appear in the context of folklore, such as signifying practices, masking, sly civility, and the grotesque or bizarre, come out of the mouths and actions of these writers' magical and magisterial characters. Old traditions can offer new ways of discussing issues such as sexual expression, religious beliefs, or issues of reproduction. As differences between times and cultures affect what "can" and "cannot" be said, folkloric indirection may open up a vista to discourses of which we as readers may not even be aware. Finally, the folk women of Morrison, Ní Dhuibhne, Hurston, and Lavin open up new points of entry to the discussion of fiction, rhetoric, censorship, and folklore.