With each page of this tale, little readers will follow the kind and brave bear cub as he sets off on a journey through the Land of Eternal Clouds. Together with him, they will meet dancing fireflies, walk through the silver fog and discover the magic of the night sky, dotted with stars. The book contains bright illustrations that will not leave the child indifferent. This tale is a source of inspiration for children, teaching them the value of friendship, courage and curiosity.
Antin emigrated from Polotzk (Polotsk), Belarus [Russia], to Boston, Massachusetts, at age 13. She tells of Jewish life in Russia and in the United States.
Russian literature for children and young people has a history that goes back over 400 years, starting in the late sixteenth century with the earliest alphabet primers and passing through many different phases over the centuries that followed. It has its own success stories and tragedies, talented writers and mediocrities, bestsellers and long-forgotten prize winners. After their seizure of power in 1917, the Bolsheviks set about creating a new culture for a new man and a starting point was children's literature. 70 years of Soviet control and censorship were succeeded in the 1990s by a re-birth of Russian children's literature. This book charts the whole of this story, setting Russian authors and their books in the context of translated literature, critical debates and official cultural policy.
From animals to robotization, climate change to migration, Rem Koolhaas presents a new collaborative project exploring how countryside everywhere is transforming beyond recognition. The pocketbook gathers in-depth essays spanning from Fukushima to the Netherlands, Siberia to Uganda - an urgent dispatch from this long-neglected realm, revealing its radical potential for changing everything about how we live
In the 1920s, with the end of the revolution, the Soviet government began investing resources and energy into creating a new type of book for the first generation of young Soviet readers. In a sense, these early books for children were the ABCs of Soviet modernity; creatively illustrated and intricately designed, they were manuals and primers that helped the young reader enter the field of politics through literature. Children’s books provided the basic vocabulary and grammar for understanding new, post-revolutionary realities, but they also taught young readers how to perceive modern events and communist practices. Relying on a process of dual-media rendering, illustrated books presented propaganda as a simple, repeatable narrative or verse, while also casting it in easily recognizable graphic images. A vehicle of ideology, object of affection, and product of labour all in one, the illustrated book for the young Soviet reader emerged as an important cultural phenomenon. Communist in its content, it was often avant-gardist in its form. Spotlighting three thematic threads – communist goals, pedagogy, and propaganda – The Pedagogy of Images traces the formation of a mass-modern readership through the creation of the communist-inflected visual and narrative conventions that these early readers were meant to appropriate.
Dubbed by his fellow Futurists the "King of Time," Velimir Khlebnikov (1885-1922) spent his entire brief life searching for a new poetic language to express his convictions about the rhythm of history, the correspondence between human behavior and the "language of the stars." The result was a vast body of poetry and prose that has been called hermetic, incomprehensible, even deranged. Of all this tragic generation of Russian poets (including Blok, Esenin, and Mayakovsky), Khlebnikov has been perhaps the most praised and the more censured. This first volume of the Collected Works, an edition sponsored by the Dia Art Foundation, will do much to establish the counterimage of Khlebnikov as an honest, serious writer. The 117 letters published here for the first time in English reveal an ebullient, humane, impractical, but deliberate working artist. We read of the continuing involvement with his family throughout his vagabond life (pleas to his smartest sister, Vera, to break out of the mold, pleas to his scholarly father not to condemn and to send a warm overcoat); the naive pleasure he took in being applauded by other artists; his insistence that a young girl's simple verses be included in one of the typically outrageous Futurist publications of the time; his jealous fury at the appearance in Moscow of the Italian Futurist Marinetti; a first draft of his famous zoo poem ("O Garden of Animals!"); his seriocomic but ultimately shattering efforts to be released from army service; his inexhaustibly courageous confrontation with his own disease and excruciating poverty; and always his deadly earnest attempt to make sense of numbers, language, suffering, politics, and the exigencies of publication. The theoretical writings presented here are even more important than the letters to an understanding of Khlebnikov's creative output. In the scientific articles written before 1910, we discern foreshadowings of major patterns of later poetic work. In the pan-Slavic proclamations of 1908-1914, we find explicit connections between cultural roots and linguistic ramifications. In the semantic excursuses beginning in 1915, we can see Khlebnikov's experiments with consonants, nouns, and definitions spelled out in accessible, if arid, form. The essays of 1916-1922 take us into the future of Planet Earth, visions of universal order and accomplishment that no longer seem so farfetched but indeed resonate for modern readers.
This book is as a detailed, but highly readable and balanced account of the history of animal space flights carried out by all nations, but principally the United States and the Soviet Union. It explores the ways in which animal high-altitude and space flight research impacted on space flight biomedicine and technology, and how the results - both successful and disappointing - allowed human beings to then undertake that same hazardous journey with far greater understanding and confidence. This complete and authoritative book will undoubtedly become the ultimate authority on animal space flights.
New York Times bestselling author Nalini Singh takes us into the hearts of two fractured people in a world on the brink of a psychic Armageddon . . . Silence has fallen. The Psy are free to feel emotion. Free to love. But Silence was never a prison for Ivan Mercant. The biggest threat to his future lies dormant in his brain—a psychic monster that wants only to feed. And now, the brutal leash he’s kept on that monster is slipping. He prepared for this day, for the end of Ivan Mercant . . . but that was before he met Lei. As primal as she is human, this wild changeling brings color into his life, laughter to his soul. Then the dream shatters in a rain of blood, in silent bodies in the snow. Lei is gone. Vanished without a trace . . . until he meets strangely familiar eyes across a busy San Francisco street. Soleil Bijoux Garcia is a healer who has lost everything. She exists in a world of desolate aloneness . . . till the day she finds herself face-to-face with a lethal stranger. The animal who is her other half knows this man, but her memories are tattered fragments. Sorrow and a need for vengeance are all that drive her. Her mission? To kill the alpha of the DarkRiver leopard pack. But fate has other plans. Soon, a deadly soldier who believes himself a monster and a broken healer might be all that stand between life and death for the entire Psy race. . . .
