Henry is an average bird with unusual hearing for a bird. He hears things other birds do not. In this first of his exciting adventures, he hears angels singing in a little house. The other birds make fun of him until...well, I guess you need to read the book to find out what happens. Henry es un pajaro promedio con una audicion inusual para un pajaro. Oye cosas que otros pajaros no. En esta primera de sus emocionantes aventuras escucha angeles cantando en una casita. Los otros pajaros se burlan de Henry hasta que... Bueno, supongo que necesitas leer el libro para descubrir que pasa despues.
Henry is an average bird with unusual hearing for a bird. He hears things other birds do not. In this first of his exciting adventures, he hears angels singing in a little house. The other birds make fun of him until...well, I guess you need to read the book to find out what happens. Henry es un pajaro promedio con una audicion inusual para un pajaro. Oye cosas que otros pajaros no. En esta primera de sus emocionantes aventuras escucha angeles cantando en una casita. Los otros pajaros se burlan de Henry hasta que... Bueno, supongo que necesitas leer el libro para descubrir que pasa despues.
Winner of the Montserrat Ordóñez Prize 2018 This book provides an original and exciting analysis of Colombian women’s writing and its relationship to feminist history from the 1970s to the present. In a period in which questions surrounding women and gender are often sidelined in the academic arena, it argues that feminism has been an important and intrinsic part of contemporary Colombian history. Focusing on understudied literary and non-literary texts written by Colombian women, it traces the particularities of Colombian feminism, showing how it has been closely entwined with left-wing politics and the country’s history of violence. This book therefore rethinks the place of feminism in Latin American history and its relationship to feminisms elsewhere, challenging many of the predominant critical paradigms used to understand Latin American literature and culture.
The author takes us on a painful but uncompromisingly authentic social and psychological journey. Physically we move from the most impoverished barrios of Ciudad Juarez to the power centers of the American business world; psychologically we trace the unsentimental education of an ingenuous and noble, albeit streetwise, enfant sauvage of the Mexican subproletariat.
A Frequency Dictionary of Spanish has been fully revised and updated, including over 500 new entries, making it an invaluable resource for students of Spanish. Based on a new web-based corpus containing more than 2 billion words collected from 21 Spanish-speaking countries, the second edition of A Frequency Dictionary of Spanish provides the most expansive and up-to-date guidelines on Spanish vocabulary. Each entry is accompanied with an illustrative example and full English translation. The Dictionary provides a rich resource for language teaching and curriculum design, while a separate CD version provides the full text in a tab-delimited format ideally suited for use by corpus and computational linguistics. With entries arranged both by frequency and alphabetically, A Frequency Dictionary of Spanish enables students of all levels to get the most out of their study of vocabulary in an engaging and efficient way.
A beautiful book on the famed Chinati Foundation in Marfa, Texas The Chinati Foundation, a world-famous destination for large-scale contemporary art, was founded by Donald Judd (1928-1994) to preserve and present a select number of permanent installations that were inextricably linked to the surrounding landscape in Marfa, Texas. This handsome publication, first published in 2010 and now available with a new chapter devoted to the permanent installation by Robert Irwin that was inaugurated in 2016 and a new foreword by Jenny Moore, director of the Chinati Foundation, describes how Judd developed his ideas of the role of art and museums from the early 1960s onward, culminating in the creation of Chinati. The individual installations featured here include work by John Chamberlain, Dan Flavin, David Rabinowitch, Roni Horn, Ilya Kabakov, Richard Long, Ingólfur Arnarsson, Carl Andre, Claes Oldenburg and Coosje Van Bruggen, and John Wesley, as well as by Judd himself. The book also features a complete catalogue of the collection and writings by Judd relating to Chinati and Marfa. Published in association with the Chinati Foundation/La Fundación Chinati
With the release of the census figures in 2000, Latino America wasanointed the future driving force of American culture. The emergence of Spanglish as a form of communication is one of the more influential markers of an America gone Latino. Spanish, present on this continent since the fifteenth century, when Iberian explorers sought to colonize territories in what are now Florida, New Mexico, Texas, and California, has become ubiquitous in the last few decades. The nation's unofficial second language, it is highly visible on several 24-hour TV networks and on more than 200 radio stations across the country. But Spanish north of the Rio Grande has not spread in its pure Iberian form. On the contrary, a signature of the brewing "Latin Fever" that has swept the United States since the mid-1980s is the astonishing creative linguistic amalgam of tongues used by people of Hispanic descent, not only in major cities but in rural areas as well -- neither Spanish nor English, but a hybrid, known only as Spanglish.
A fifteen-year-old boy decides to accompany his severely depressed high school French teacher on a road trip to the Canadian province of Quebec, where the mother tongue of Voltaire and Balzac is still spoken and cherished. Clarence Coo's mesmerizing new play is a delicious amalgam of farce and tragedy, a carnival funhouse with very dark corners. Wildly inventive and heartbreakingly sad, the strange odyssey of Jimmy and the unpredictable Mr. Green takes many surprising turns, crossing the border from reality into unreality and back again while encountering displaced characters from history, literature, and the mundane, often dangerous world. Selected by Tony Award-winning playwright John Guare ("House of Blue Leaves, Six Degrees of Separation, "and others) from over 1,000 submissions from 29 countries, Clarence Coo's "Beautiful Province "is the sixth winner of the DC Horn Foundation/Yale Drama Series Prize. In his foreword, Guare calls Coo's work "elusive and haunting . . . funny, desperate, insane," praising it for "its intriguing story [and] its tone, sustained to the very end." Lyrical and adventurous, "Beautiful Province "is an outstanding new theatrical work, well deserving of these accolades and more.
I Will Survive is the story of Gloria Gaynor, America's "Queen of Disco." It is the story of riches and fame, despair, and finally salvation. Her meteoric rise to stardom in the mid-1970s was nothing short of phenomenal, and hits poured forth that pushed her to the top of the charts, including "Honey Bee," "I Got You Under My Skin," "Never Can Say Goodbye," and the song that has immortalized her, "I Will Survive," which became a #1 international gold seller. With that song, Gloria heralded the international rise of disco that became synonymous with a way of life in the fast lane - the sweaty bodies at Studio 54, the lines of cocaine, the indescribable feeling that you could always be at the top of your game and never come down. But down she came after her early stardom, and problems followed in the wake, including the death of her mother, whose love had anchored the young singer, as well as constant battles with weight, drugs, and alcohol. While her fans always imagined her to be rich, her personal finances collapsed due to poor management; and while many envied her, she felt completely empty inside. In the early 1980s, sustained by her marriage to music publisher Linwood Simon, Gloria took three years off and reflected upon her life. She visited churches and revisited her mother's old Bible. Discovering the world of gospel, she made a commitment to Christ that sustains her to this day.
Building on his work in Traditional Oral Epic and Immanent Art, the author aims to dissolve the perceived barrier between oral and written, creating a theory from oral-formulaic theory and the ethnography of speaking and ethnopoetics. He argues that a work's word-power derives from its performance and its implied traditional context.
