Vanni Bellini is an Italian vampire. He was turned into one by a pureblood in the early 1820s at the age of seventeen. His parents died in the mid-1800s, leaving him alone. It is now the year 2020, with all the high-end fashion and modern-day technology. Since he only makes four hundred dollars a month to live off of, he has no extra money to spend on new things. He is stuck living with the possessions he has had since the 1800s. There are some upsides though. For one, the royal family has passed a law for the peasants to go to school. He’s now a junior in high school with hope for a better future. He wants more than anything to uplift his peasant name. Peasants in his day and age are looked down on. They are beaten, spit on, and called names, called worthless. Some even say that they just shouldn’t be alive. Vanni is different somehow. He has a knack for always finding himself in bad situations. Since he is mateless, no one is there to save him. There is no one to protect him. What will happen when he finds himself at the royal castle with two uninvited guests? They are offering him a better life, a life with no beatings or suicide comments. But what’s the catch? Nothing comes free. Everything comes with a price, but what is it? Will his mate ever come for him?
A shocking story of a Romanian who has returned to his village. His village was gone, surrounded by wild nature! What does he do? In the narration you will be taken between the ancient and strange Romanian traditions and happenings beyond the fantastic.Why was the farmer always humiliated? Why does God allow all this?What would you do if you came home and your house is gone? You will know, and much more, by reading "Hey! Peasant!"
Richly represented in the Russian folktale tradition, the legends are religious tales (types 750-849 in the Aame-Thompson index) in a peasant village setting. Among the standard themes is the return of Christ, who wanders through rural Russia with his disciples. Satan appears here too, as do a cast of spirits and lesser devils. Pre-Christian gods may be recognized in tales of saints Ilya and Nikolai (Elijah and Saint Nicholas). The hapless peasant in these tales - cheated, betrayed, impoverished, foolish, orphaned, crippled - take the reader deep into the traditional village culture of Russia and into the imperfect human quest for moral choice and justice on this earth.
This book, written by Sanika Hegde, is a collection of 15 heart-touching and thought-provoking poems on various themes. The compositions are her honest expressions bloomed out of sweet and sour experiences of her own life. The poetry expresses her heart’s elation from a different point of view, with vivid descriptions. The uniqueness lies in her personification of themes like life, death, love, friendship, time, the universe, and her encounters with them to realize her connection with them. Her philosophy is to closely observe and understand the common themes in an uncommon way. For example, she accepts death, which is feared by all, as her close companion, with an unusual positive approach. The book is very promising, and is a fine piece of literary work.
Up to now, there has been no complete English-language version of the Russian folktales of A. N. Afanas’ev. This translation is based on L. G. Barag and N. V. Novikov’s edition, widely regarded as the authoritative Russian-language edition. The present edition includes commentaries to each tale as well as its international classification number. This third volume contains 305 tales, those numbered 319–579, as well as forty-five additional tales from among those denied publication by the Russian censors. The folktales of A. N. Afanas’ev represent the largest single collection of folktales in any European language and perhaps in the world. Widely regarded as the Russian Grimm, Afanas’ev collected folktales from throughout the Russian Empire in what are now regarded as the three East Slavic languages, Belarusian, Russian, and Ukrainian. In his lifetime, Afanas’ev published more than 575 tales in his most popular and best-known work, Narodnye russkie skazki. In addition to this basic collection, he prepared a volume of Russian legends, many on religious themes; a collection of mildly obscene tales, Russkie zavetnye skazki; and voluminous writings on Slavic folklife and mythology. His works were subject to the strict censorship of ecclesiastical and state authorities that lasted until the demise of the Soviet Union in the 1990s. Overwhelmingly, his particular emendations were stylistic, while those of the censors mostly concerned content.
Rural boys coincidentally obtained the Divine Farmer Scripture, from then on life was helped by the ancient books.With the Divine Farmer Scripture in hand, he was invincible in the countryside.He wanted to see Luo Yuan use the ancient books to crush his enemies and reach the pinnacle of his life.All kinds of scenery, all kinds of cattle, all kinds of beauties don't have to worry.
Jan Grevstads second collection of nine short stories has, above all, the ambition to amuse its reader. Amid a dash of satire, his stories reflect British type of humour at its best. Mostly stories of fiction, they have strong roots in real life with compassion for the human condition and human fate. The Edelweiss Saga is based on an old tale and has an ecological touch, while The New Shooting Range is a fantasy developed from a real experience of cultural clashes in the Alps. Dont Queue is based on the true story of a Royal Norwegian visit to Geneva, and A Peasant in Paris is entirely autobiographical.
"Nikolai Erdman is best known as the author of the plays The Warrant and The Suicide, both written for Vsevolod Meyerhold in the 1920s. A tragic victim of Stalin's campaign to control the arts, Erdman never wrote another full-length play. What has remained veiled in obscurity until now is that Erdman, often nominally in tandem with the playwright Vladimir Mass, was also the prolific author of satirical sketches and theatrical parodies. The extraordinary wit, biting satire and lyrical humour of these short works provide both a fascinating glimpse into the creative method of one of Russia's greatest 20th-century playwrights, and an unparalleled panorama of the often mad world in which he lived. In addition to such legendary works as A Meeting About Laughter, the interludes to Hamlet, The Two Gentlemen of Verona and Pugachyov, this volume contains the transcript of a startling discussion of The Suicide at the Vakhtangov Theatre in 1930, and the only surviving fragments of what was to have been Erdman's third play, The Hypnotist. It is the first collection of Erdman's short plays ever to appear in any language."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Tracing the way in which the agrarian myth has emerged and re-emerged over the past century in ideology shared by populism, postmodernism and the political right, the argument in this book is that at the centre of this discourse about the cultural identity of 'otherness'/ 'difference' lies the concept of and innate 'peasant-ness'. In a variety of contextually-specific discursive forms, the 'old' populism of the 1890s and the nationalism and fascism in Europe, America and Asia during the 1920s and 1930s were all informed by the agrarian myth. The postmodern 'new' populism and the 'new' right, both of which emerged after the 1960s and consolidated during the 1990s, are also structured discursively by the agrarian myth, and with it the ideological reaffirmation of peasant essentialism.
After three days, Li Qingling had to accept that she really reborn from modern world to the poor and backward ancient countryside. Three months ago, a sudden outbreak of plague took away her father's life, and her mother Zhao almost had a miscarriage because of excessive sadness. Since then, everything has changed. Her mom was cold-shouldered due to illness. She and her five-year-old brother were disliked by aunt Lin since they could not do heavy work. The aunt not only incited the grandma to divide up family property and live apart, but also drove them out of the Li family on that day. Only her young fiance, Liu Zhimo, never give up on her. Not long after, her mother was killed by grandma and aunt Lin, leaving her premature sister. From then on, the burden of raising the family fell on young Li Qingling. If she is not strong, how can she support this family? ☆About the Author☆ Qing Yan, an online novel female writer, is good at creating ancient romance novels. Her novels generally set in the ancient feudal society and describe nobody's lives. So far, she has written two novels, they are The Strong Wife from Peasant Family and Having blessed wife in home.
A bold new collection of the writings of Miroslav Krleža, in English for the first time Miroslav Krleža was a giant of Yugoslav literature, yet remarkably little of his writing has appeared in English. In a body of work that spans more than five dozen books, including novels, short stories, plays, poetry, and essays, Krleža steadfastly pursued a radical humanism and artistic integrity. Harbors Rich in Ships gives English-speaking readers an unprecedented opportunity to appreciate the astonishing breadth of Krleža’s literary creations. Beautifully translated by Željko Cipriš, this collection of seven representative early texts introduces a new audience to three stories from Krleža’s renowned antimilitarist book, The Croatian God Mars; an autobiographical sketch; a one-act play; a story from his collection of short stories; One Thousand and One Deaths; and his signature drama, The Glembays, a satirical account of the crime-ridden origins of one of Zageb’s most aristocratic families. Born in 1893 Zagreb, then a city in the Austro-Hungarian Empire, Miroslav Krleža died in 1981 Zagreb, after it had become part of Croatia, a republic in socialist Yugoslavia. He was educated in military academies that served the Hapsburg monarchy, however, after fighting on the Eastern Front during the First World War, he was sickened by the War’s lethal nationalism and became a fervent anti-militarist. Krleža joined the Communist Party of Yugoslavia in 1918, but his opposition to Stalin’s artistic dictum of social realism, as well as his refusal to support Stalin’s purges, led to his expulsion from the Party in 1939. He nevertheless helped found several literary and political journals, and became a driving force in Yugoslavia’s literature. This collection will help readers of all interests and ages see just why Krleža is considered among the best of the literary moderns.
RED FROGS AND OTHER PLAYS by Ruth Margraff collects three astonishing, thrilling plays: the title play, THE ELEKTRA FUGUES and STADIUM DEVILDARE. Margraff is one of the US' most daring playwright-poets and this collection defies expectations and leaves readers and audiences breathless with wonder.
The Maze divides up the land, isolating communities and loved ones, and hated ones. On the Outside, the League of Monasteries rules supreme. On the Inside, the Kingdom rules in ignorance of its own isolation, free of all Gods. At its centre, the Village struggles to survive. This is a story of confusion, conflict, deception and double-crossing between members of a dysfunctional Royal Family. It is also the story of a despotic Chief Monk, and the story of an orphaned village girl wishing for a better life. By the end the emotional complexity, hurt and betrayals overwhelms all.
Bridging two generations of scholarship on social inequality and modern political forms, this book examines the political philosophies of inclusion of subalterns/Dalits in Gramsci and Ambedkar’s political philosophies. It highlights the full range of Gramsci’s ‘philosophy of praxis’ and presents a more critical appreciation of his thought in the study of South Asian societies. Equally, Ambedkar’s thought and philosophy is put to the forefront and acquires a prominence in the international context. Overcoming geographical, cultural and disciplinary boundaries, the book gives relevance to the subalterns. Following the lead of Gramsci and Ambedkar, the contributors are committed, apart from underscoring the historical roots of subalternity, to uncovering the subalterns’ presence in social, economic, cultural, educational, literary, legal and religious grounds. The book offers a renewed critical approach to Gramsci and Ambedkar and expands on their findings in order to offer a present-day political focus into one of the most crucial themes of contemporary society. This book is of interest to an interdisciplinary audience, including political theory, post-colonial studies, subaltern studies, comparative political philosophy, Dalit studies, cultural studies, South Asian studies and the study of religions.