This collection of poems covers many topics, from God's Creation to the Queen's jubilee. A recurring theme highlights the different aspects of humanity's path through life from birth to adult maturity and beyond, and many of the poems have been inspired by Margaret Harper's experiences of bringing up a family and her struggles with severe depression and hearing loss.
Inscribed Minoan stone vessels are ritual gifts that index their dedicants' intention that both their gift and their name should survive permanently at the place of dedication. These vessels contained offerings, yet the vessels themselves were also offerings, serving as permanent records of a ritual act. These rituals were most likely communal, incorporating group feasting and drinking. The seasonality of these rituals suggests that they were focused on the cycle of life: fertility, birth, death and renewal. Offerings left with the vessels suggest that these rituals also addressed other, more personal concerns. As for Linear A itself: the language behind the script appears to contain a fairly standard phonemic inventory, though there are hints of additional, more exotic phonemes. The morphology of the language appears to involve affixation, a typical mode of inflection in human languages. The presence of significant prefixing tends to rule out PIE as a parent language, while the word-internal vowel alternations typical of Afroasiatic verbal inflection are nowhere to be found in this script. In the end, Linear A appears most likely to represent a non-IE, non-Afroasiatic language, perhaps with agglutinative tendencies, and perhaps with VSO word order.
Rachel Verinder, a young Englishwoman, inherits a large Indian diamond on her eighteenth birthday. It is a legacy from her uncle, a corrupt English army officer who served in India. The diamond is of great religious significance as well as being extremely valuable, and three Hindu priests have dedicated their lives to recovering it. The story incorporates elements of the legendary origins of the Hope Diamond (or perhaps the Orloff Diamond). The Moonstone was published in 1868 and is considered by most people to be the first detective novel. Given the novels place in the history of the genre, that alone should put this book on most people's reading lists. To sweeten the pot, the plot is compelling, the last hundred pages I couldn't have put the book down for anything. I was caught up in the case and wanted to find out the why and the who in the mysterious circumstances surrounding the MOONSTONE. The novel is narrated by several different people. My favorite was Gabriel Betteredge, the head servant at the Verinder house, who becomes a reluctant Watson for Detective Cuff during the investigation. He is a man convinced in the spiritual guidance of Robinson Crusoe and believes that any disruption in his life can be explained by reading and interpreting passages from his dogeared copy of Defoe's classic. "In this anxious frame of mind, other men might have ended by working themselves up into a fever; I ended in a different way. I lit my pipe, and took a turn at Robinson Crusoe."
Logan Keller. Just saying that name gives me chills and my heart skip a beat. Ever since the fourth grade, I have been in love with Logan. Besides my parents, Logan's twin sister and my best friend, Lilliana, is the only one that knows of my crush. You would think that it would weird Lilliana out a little bit, but it doesn't in the least. In fact, she thinks it is quite cool that I like her brother. On a different note, when I return to Orlando this summer, I plan on making my feelings known. Even though I am nervous about telling Logan how I feel, I know that it has to happen. After all, if I don't say anything soon, my heart will surely burst!
In this book the late Jeffrey Clark subjects the history of colonialism among the Wiru of Papua New Guinea to a fresh and subtle examination. He reflects upon his own fieldwork as an anthropologist as he scrutinizes the cultural construction of encounters and exchanges between New Guineans and Australians from the 1930s on. Colonized and colonizers alike are the focus of an analysis that draws upon theories of culture, temporality, discursive representation, and anthropology in the postcolonial era. Steel to Stone offers an original critique of several different theories and perspectives and, in its ensemble of frameworks, constitutes a highly innovative contribution to anthropological thinking about history and culture. Of especial interest is Clark's application, in a New Guinean context, of Foucault's analysis of 'the way in which new regimes of power and knowledge are inscribed on the body'. The Wiru, faced with the impact of a colonizing culture, are shown to inscribe their own history on the body, and to read in it their understanding of particular events. Overall, Clark provides a compelling picture of a contemporary Melanesian culture, at the critical point at which the Wiru people are interpreting, invoking, and reinventing their history in the context of a developing nation state.
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