On an August day, in Zimbabwe, a newborn black rhino lost his mother. Because black rhinos are critically endangered and knowing that the calf would not survive without help, a park ranger made an astonishing decision: he took the rhino home. Chizi’s Tale is the story of how one of Africa’s fiercest animals was raised by a remarkable family until it was time to return him to the wild.
An orphaned baby black rhino is taken in by the manager of the local national park, who names him Chizi and raised him along with his own children. As Chizi grows, he becomes a big part of the family. Chizi's Tale teaches that all of us can, and should, show mercy and compassion.
This gentle and incredibly poignant picture book tells the true story of how one baby found his home. "Some babies are born into their families. Some are adopted. This is the story of how one baby found his family in the New York City subway." So begins the true story of Kevin and how he found his Daddy Danny and Papa Pete. Written in a direct address to his son, Pete's moving and emotional text tells how his partner, Danny, found a baby tucked away in the corner of a subway station on his way home from work one day. Pete and Danny ended up adopting the baby together. Although neither of them had prepared for the prospect of parenthood, they are reminded, "Where there is love, anything is possible."
Sisters Cheta and Zam's paths to break free of their oppressive home diverge wildly--one moves into an aunt's luxurious home and the other struggles to survive on her wits alone--and when they finally reunite, Zam realizes how far Cheta has fallen, leaving Cheta's fate in Zam's hands.
Set in Africa at the time of drought, this is the tale of Kubuka's quest to find the magic calabash u an instruction given to him by Amanzi the rain spirit, who dwelled in the depths of a baobab tree.
The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part. The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern: ■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals; ■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours; ■ the information to be provided to the public: announcements, posters, advertising, parades; ■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term; ■ sets, lighting, sound, makeup, costumes, props; ■ the relations established between actor and spectator; ■ the means of transport adopted by actors and even by spectators. Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.
This book seeks to construct and establish the metaphysics of Chinese morals as a formal and independent branch of learning by abstracting and systemizing the universal principles presupposed by the primal virtues and key imperatives in Daoist and Confucian ethics.
In this groundbreaking interdisciplinary study, Maram Epstein identifies filial piety as the dominant expression of love in Qing dynasty texts. At a time when Manchu regulations made chastity the primary metaphor for obedience and social duty, filial discourse increasingly embraced the dramatic and passionate excesses associated with late-Ming chastity narratives. Qing texts, especially those from the Jiangnan region, celebrate modes of filial piety that conflicted with the interests of the patriarchal family and the state. Analyzing filial narratives from a wide range of primary texts, including local gazetteers, autobiographical and biographical nianpu records, and fiction, Epstein shows the diversity of acts constituting exemplary filial piety. This context, Orthodox Passions argues, enables a radical rereading of the great novel of manners The Story of the Stone (ca. 1760), whose absence of filial affections and themes make it an outlier in the eighteenth-century sentimental landscape. By decentering romantic feeling as the dominant expression of love during the High Qing, Orthodox Passions calls for a new understanding of the affective landscape of late imperial China.
As one of Nigeria's top writers, the author is concerned with the condition of his country. In this novel he tells, with humour, a human story set in the tragedy of the Biafran war. Fatima is fleeing the enemy planes with her young son, and through her unfolding drama, the reader sees what the war was really like through Biafran eyes.
