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Growing up in a multigenerational, multicultural home in Lahore, Pakistan, where her family's Muslim traditions are filled with food, rituals, and love, Shahzia is a tomboy who loves skateboarding, biking, swimming, and flying her kite. She also loves stories of all kinds and is always surrounded by books. At the Catholic school she attends, she studies Western literature, and at home, her father regales her and her siblings with fantastical tales from a Russian storybook on animals. Shahzia's love for books leads to a fascination with illustrations, like the ones she sees in illuminated manuscripts and South Asian miniature portraits, and she discovers a talent for drawing. She soon realizes that making art is much like learning a new language-it requires practice and hard work, but it gives her a new tool to express herself. Through art, Shahzia is able to create the different worlds she reads about, using her imagination to take her beyond the walls of the home she grows up in.\n \n Written by artist Shahzia Sikander herself and featuring a new painting created especially for the book alongside artwork from her private archive and MoMA's collection, Shahzia: My Life as an Artist is a colorful introduction to a multicultural perspective that will inspire young readers to use art and imagination to explore new worlds.

Growing up in a multigenerational, multicultural home in Lahore, Pakistan, where her family's Muslim traditions are filled with food, rituals, and love, Shahzia is a tomboy who loves skateboarding, biking, swimming, and flying her kite. She also loves stories of all kinds and is always surrounded by books. At the Catholic school she attends, she studies Western literature, and at home, her father regales her and her siblings with fantastical tales from a Russian storybook on animals. Shahzia's love for books leads to a fascination with illustrations, like the ones she sees in illuminated manuscripts and South Asian miniature portraits, and she discovers a talent for drawing. She soon realizes that making art is much like learning a new language-it requires practice and hard work, but it gives her a new tool to express herself. Through art, Shahzia is able to create the different worlds she reads about, using her imagination to take her beyond the walls of the home she grows up in.\n \n Written by artist Shahzia Sikander herself and featuring a new painting created especially for the book alongside artwork from her private archive and MoMA's collection, Shahzia: My Life as an Artist is a colorful introduction to a multicultural perspective that will inspire young readers to use art and imagination to explore new worlds.

The Persian and Hellenistic periods saw the production and use of a variety of authoritative texts in Israel. 'The Production of Prophecy' brings together a range of influential biblical scholars to examine the construction of prophecy and prophetic books during the Persian period. Drawing on methodological and comparative research and studies of particular biblical texts, the volume explores biblical prophecy as a written phenomenon, examining the prophets of the past, setting this within the general history of Yehud. The relationship between prophetic and other authoritative, written texts is explored, as well as the general social and ideological setting in which the prophetic books emerged.

The Persian and Hellenistic periods saw the production and use of a variety of authoritative texts in Israel. 'The Production of Prophecy' brings together a range of influential biblical scholars to examine the construction of prophecy and prophetic books during the Persian period. Drawing on methodological and comparative research and studies of particular biblical texts, the volume explores biblical prophecy as a written phenomenon, examining the prophets of the past, setting this within the general history of Yehud. The relationship between prophetic and other authoritative, written texts is explored, as well as the general social and ideological setting in which the prophetic books emerged.

Kiss of the Spider Woman (Il bacio della donna ragno): musica di John Kandre, liriche di Fred Ebb. Libretto di Terrence McNally. Dal romanzo omonimo di Manuel Puig, versione italiana di Andrea Ascari. Prima rappresentazione: Londra, Shaftesbury Theatre, 20 ottobre 1992.

Kiss of the Spider Woman (Il bacio della donna ragno): musica di John Kandre, liriche di Fred Ebb. Libretto di Terrence McNally. Dal romanzo omonimo di Manuel Puig, versione italiana di Andrea Ascari. Prima rappresentazione: Londra, Shaftesbury Theatre, 20 ottobre 1992.

The Danish Girl is now a major motion picture starring Eddie Redmayne and Alicia Vikander, directed by Tom Hooper.\n\nLoosely inspired by a true story, this tender portrait of marriage asks: What do you do when the person you love has to change?\n\nIt starts with a question, a simple favour asked by a wife of her husband while both are painting in their studio, setting off a transformation neither can anticipate. Uniting fact and fiction into an original romantic vision, The Danish Girl eloquently portrays the unique intimacy that defines every marriage and the remarkable story of Lili Elbe, a pioneer in transgender history, and the woman torn between loyalty to her marriage and her own ambitions and desires. \n\nThe Danish Girl is an evocative and deeply moving novel about one of the most passionate and unusual love stories of the 20th century.

The Danish Girl is now a major motion picture starring Eddie Redmayne and Alicia Vikander, directed by Tom Hooper.\n\nLoosely inspired by a true story, this tender portrait of marriage asks: What do you do when the person you love has to change?\n\nIt starts with a question, a simple favour asked by a wife of her husband while both are painting in their studio, setting off a transformation neither can anticipate. Uniting fact and fiction into an original romantic vision, The Danish Girl eloquently portrays the unique intimacy that defines every marriage and the remarkable story of Lili Elbe, a pioneer in transgender history, and the woman torn between loyalty to her marriage and her own ambitions and desires. \n\nThe Danish Girl is an evocative and deeply moving novel about one of the most passionate and unusual love stories of the 20th century.

Che cosa accadrebbe nel Regno dei conigli e nel Regno dei boa se un giorno un semplice coniglio cominciasse a ragionare con la propria testa e mettesse in dubbio secolari usanze di morte? Quali conseguenze potrebbe scatenare il suo tentativo di ribellarsi allo status quo? Un giorno il Ponderatore, un coniglio con il compito di meditare sulle cose, si rende conto per caso che i suoi simili si lasciano inghiottire dai boa perché impietriti dal terrore, non per la capacità dei serpenti di ipnotizzare le proprie vittime. Ma proprio chi dovrebbe essere felice di quella scoperta, il Re, vuole che le cose restino invariate. E se quella menzogna e il terrore nella sua forma più subdola fossero l'unico modo di mantenere il potere e l'equilibrio fra le specie? In Conigli e boa Fazil' Iskander ci presenta un apologo ironico, una favola filosofica sui rapporti fra il potere e le persone, fra terrore e realtà, fra verità e menzogna. Paragonato per toni e ispirazione alla \"Fattoria degli animali\" di George Orwell, è diventato un classico pedagogico fin dai tempi della sua pubblicazione.

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way.\n\nIdentifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde, Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function.\n\nThis book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics challenges the desire of a Broadway audience for escapist entertainment, devoid of critical self-reflection, in order to create complex, yet popular, masterpieces of the genre.\n\nThis is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way.\n\nIdentifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde, Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function.\n\nThis book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics challenges the desire of a Broadway audience for escapist entertainment, devoid of critical self-reflection, in order to create complex, yet popular, masterpieces of the genre.\n\nThis is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.