In the mosaicked writing multiple texts have appeared in different theme and story but they are one in their deep idea and letters. In my "mosaicked expressive narrative" there are multiple poems in one poem so there are primary title and secondary titles. The adjective primary titles of the triple pieces is the depiction of the poems and not the themes, that is to say it is a descriptive title of the titles where the poems behave as a mirror in a mosaic system.
It is a common belief that scripture has no place in modern, secular politics. Graham Hammill challenges this notion in The Mosaic Constitution, arguing that Moses’s constitution of Israel, which created people bound by the rule of law, was central to early modern writings about government and state. Hammill shows how political writers from Machiavelli to Spinoza drew on Mosaic narrative to imagine constitutional forms of government. At the same time, literary writers like Christopher Marlowe, Michael Drayton, and John Milton turned to Hebrew scripture to probe such fundamental divisions as those between populace and multitude, citizenship and race, and obedience and individual choice. As these writers used biblical narrative to fuse politics with the creative resources of language, Mosaic narrative also gave them a means for exploring divine authority as a product of literary imagination. The first book to place Hebrew scripture at the cutting edge of seventeenth-century literary and political innovation, The Mosaic Constitution offers a fresh perspective on political theology and the relations between literary representation and the founding of political communities.
Janelle was eleven years old when she wrote her first poem as part of a sixth-grade writing assignment. Many were moved by her heartfelt poem about the loss of her brother, and their praise inspired her to continue writing. Journal entries and short stories followed. Many of these appear in Mosaic. Through poems that she describes as candid conversations, Mosaic will show her growth as a person and as a writer from ages eleven to twenty-seven. The book matures as I mature, she says.
My first realization that something unusual and very terrible had happened in Russia occurred one day while I was sitting on the floor of our salon and drawing a picture of an imaginary "firebird." I had heard the word Bolsheviks many times, but it had no meaning for me. Suddenly my father rushed in and took my mother into his arms. He whispered something in her ear and she broke into tears. Immediately I was gathered into his arms and our small family went to our Russian church.
The award of the 1995 Nobel Prize for Literature to Seamus Heaney recognized not only the aesthetic achievement of his work, but also its political urgency. Here Steven Matthews presents a genealogy of Irish poetry which centres upon Heaney's recent preoccupation with the relations between poetry, politics and history. Writing from the perspective of Irish critical responses to the poetry, he discusses a wide range of work from John Hewitt through Heaney himself to Paul Muldoon. All of these poets have been inspired directly or indirectly by the situation in the North of Ireland. Placing the poems in their historical context, the author also analyses how these poets have reacted to the influence of W.B. Yeats. This important book offers a new approach to Irish poetry, linking it for the first time to the crucial political and historical events which lie at its centre.
This book’s ambition is to offer the most recent scholarship on North African cultures at a time when the very notion of culture is being re-evaluated in the shifting tides that both associate and divorce the forces of nationalism, globalism and neo-liberalism. Another ambition is to be a readable document about the past and the potential of North African civilizations. Those which have been crystallized into a polysemic voice from centuries of occupations, exchanges and what is now commonly called hybridizations. In this work the collective position of the authors, with their different fields of experience, is that the languages, musics, and the many expressions of common life in North Africa continue to flourish. That they are a bridge between sub-Saharan peoples and Europe. That they are a necessary antidote to the anemic political discourses that have prevailed since decolonization. That they are seminal for the future of the African continent as it begins its true voyage into democracy. It is difficult, at this juncture, to measure the distance that, in the decades to come, will be achieved on that voyage. It is, however, less difficult to evaluate the importance of North Africa on tomorrow’s world. If the past is an indicator, it will be an important force in the cross-flow of trade, ideas and of global destinies.