Little Medusa comes from a long line of snake-loving, serpentine-wearing Gorgons. When she receives her very first snake, Little Medusa discovers that having a snake slither and slide through her hair isn't so great after all. And to make matters more difficult, she begins questioning if she really wants to scare her friends to stone with her new forever friend. Using her imagination and heart, Little Medusa tries her best to please her family, her best-pet snake, and herself. Based on Greek Mythology, Little Medusa features Common Core Connections and explores the universal themes of following family tradition and staying true to oneself.
Medusa refuses to care for her hair, her long locks getting knottier and dirtier with each passing page. Her hair rebellion elicits frozen expressions of shock from her family, but nothing will convince Medusa to brush. Only her hairdresser approaches Medusa with bravery and a blade, successfully solving the problem . . . with a short haircut! All are pleased with this drastic yet adorable solution. Leslie Patricelli’s depictions of this physical comedy bring a lively visual narrative to Joan Holub’s expertly focused text. Includes a summary of the original Medusa’s Wild Hair myth at the end. Also available in the Mini Myths series: Don't Get Lost, Odysseus and Good Job, Athena!
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.
The first English translation of Volkmann's Bilderschriften der Renaissance, the pioneering review of the influence of the hieroglyph on Renaissance culture, focused on the literature of emblem and device in Germany and France.
In this highly original and much-anticipated ethnography, Anna Tsing challenges not only anthropologists and feminists but all those who study culture to reconsider some of their dearest assumptions. By choosing to locate her study among Meratus Dayaks, a marginal and marginalized group in the deep rainforest of South Kalimantan, Indonesia, Tsing deliberately sets into motion the familiar and stubborn urban fantasies of self and other. Unusual encounters with her remarkably creative and unconventional Meratus friends and teachers, however, provide the opportunity to rethink notions of tradition, community, culture, power, and gender--and the doing of anthropology. Tsing's masterful weaving of ethnography and theory, as well as her humor and lucidity, allow for an extraordinary reading experience for students, scholars, and anyone interested in the complexities of culture. Engaging Meratus in wider conversations involving Indonesian bureaucrats, family planners, experts in international development, Javanese soldiers, American and French feminists, Asian-Americans, right-to-life advocates, and Western intellectuals, Tsing looks not for consensus and coherence in Meratus culture but rather allows individual Meratus men and women to return our gaze. Bearing the fruit from the lively contemporary conversations between anthropology and cultural studies, In the Realm of the Diamond Queen will prove to be a model for thinking and writing about gender, power, and the politics of identity.
