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Bogdan Magenta Magenta itibaren Nizagantotapadar, Odisha 761029, Hindistan itibaren Nizagantotapadar, Odisha 761029, Hindistan

Okuyucu Bogdan Magenta Magenta itibaren Nizagantotapadar, Odisha 761029, Hindistan

Bogdan Magenta Magenta itibaren Nizagantotapadar, Odisha 761029, Hindistan

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Kitap beni sadece Rumi ve Shams'ın gerçek hikayesi hakkında biraz araştırma yapmak istedi. Hikayesi sadece hikayenin tarihsel bölümlerinden uzaklaştığı için orta yaşlı ev hanımına ileri geri gitmeden yapabilirdim.

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Mohegan, sert, seksi ve şiddetli, ortamın ve karakterlerin harika açıklamalarıyla. Öykü arsa eşit olarak tempolu ve karakterlerinin (kurşun ve ikincil) Mohegan'a bu kadar fazla “umph” vermesini seviyorum. Hikayenin ahlakı kitabı kapağına göre yargılamıyor ve başarı kalıcılığın ödülüdür ^ __ * Tek kötü kısım sona doğru son çeyrek ... sadece aniden oldu. veya bu bölüme eylem eklendi. Her neyse, bu, on üç kez okumayı umursamadığım bir değişiklik hikayesi. Umarım daha çok çocuklar.

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I LOVE LM Montgomery! She paints such a beautiful, vivid picture in such wonderful language.

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Throughout this book Treuer asserts that his goal for this book is to break down the stereotypical assumptions of what "native american" literature "is" or "is not". I would love to read that book when it is written, but this is not that book. Most of Treuer's critiques are nothing more thinly veiled personal attacks aimed at "exposing" other "native american" authors' lack of "authentic" "native american" knowledge. He repeatedly brandishes his alleged knowledge of the Ojibwe language and their traditional stories as a club against those authors who are not as well schooled in the language. The only enjoyment I found while reading page after page of simple-minded vindectives was from Treuer repeatedly exposing his own lack of knowledge of "authentic" "native american" culture. Specifically, retelling a couple of dibaajimowin recorded, translated, and published by his brother, Antony Treuer, does not make him an authority on the broader body of "traditional" Ojibwe stories. There is a screaming void in the text created by his apparent lack of familiarity with the material from sources such as the Jones Texts, the Menominee Texts, the material recorded by Leonard Bloomfield, etc. His attempt at reviewing an exhibition of "native" artwork, all of which was created by regional Ojibwe artists, was stunningly sophomoric. His critique of Norval Morriseau's work as "somewhat stereotypical" had me laughing out loud. Not only was Treuer completely unfamiliar with the traditional sacred stories (aadizookaanan) referenced by Morriseau's paintings, he was also gallingly unaware of Norval's status as the progenitor of the "woodlands style", which Treuer described as stereotypical, and of the origins of that style. Because Treuer has clearly not studied the material he claims expertise in, and because his critique amounts to nothing more than ad hominem attacks, this book was a complete waste of the author's time and the time of all his readers. In my personal opinion Treuer should publicly apologize for this act of fraud both to the authors he reviewed and to his readers in general.