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Follow tomhull These are releases that I've taken note of, listed alphabetically by artist, with VA comps at the bottom. Lines in blue indicate that I have a physical copy albeit sometimes just a promo CDR ; in green are records that I graded based on a Rhapsody stream or other such source. Most records have release dates and a brief generic note usually taken from AMG.

He announced his resignation from the party in an email sent to the leadership earlier this week. In the email he criticised the AfD for worrying too much about the possibility of being put under surveillance by German intelligence. His new party Aufbruch der Deutschen Patrioten Awakening of German Patriots will use a German flag against the background of a cornflower.

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The small blue flower was used as a secret symbol by the then-banned National Socialists in s Austria before the Anschluss of brought the Nazis to power in the country. In December , FAW-Volkswagen offered the temporary agency workers formal contracts at FAW-Volkswagen—under the condition that the workers refrain from asking for compensation for past unequal pay. This seemed like a dirty trick as the contracts of the workers at their temporary agency were running out at the end of the month and workers were asked to accept the offer or lose their job altogether.

Most accepted, while only a handful did not and declared that they will continue to fight. Earlier, during the summer of , the Chinese temporary agency workers from Changchun—faced with the relentless position of their Chinese and German employers and the Chinese state—had also sent letters to Volkswagen, Volkswagen workers, and the Volkswagen works council in Germany asking for support. Hopefully, it will instigate more interest and support for the situation and struggles of workers in China from workers and labor activists in the German-speaking world.

The "cheese house" on is ingenious. Is there a more original publication of Haranghy's La Fontaine, I wonder, perhaps with even more distinct illustrations? Bruno Coppens et al.


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Is that "The fable vendor is back"? There seem to be about a dozen poetic responses and about five cartoon presentations. As the back cover points out, some are, by turns, exotic, anti-academic, politically incorrect, romantic, cynical, erudite. There is a bit of everything here: poetry, prose, drama, individual cartoons, cartoon panels, painting. Coppens himself has two submissions. One is titled "Le corps beau et l'heureux noir. It has an appropriate accompanying photograph of a painting or drawing.

Another favorite cartoon -- perhaps from Coppens again? I suspect that several of these pieces have a certain amount of "Abruxellation," that is, "Brusselizing" of their terminology. I delight to see people enjoying fables this way. Good fun!

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219169619-Super-Dic

Edward Wheatley. First edition, first printing. Gainesville: University Press of Florida. It is hard to believe that I have had this book eleven years! Even now I can give only an overview.


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  • Wheatley challenges readers early: "we must be able to imagine an era during which fable was taken seriously as a vehicle for social, political, and religious communication" 3. Wheatley's first three chapters give a broad "overview of the attitudes and practices surrounding the reception and appropriation of the verse Romulus collection as a Latin curricular text" 4.

    One great caution: ""All-encompassing formal definitions tell us more about our own desires to master fable than medieval reception of the literary form" 5. He considers fable not as a literary genre but as a mode of discourse.

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    Another caution: "To believe that a fable is best interpreted in one particular way suggests an entrenched dogmatism which the later Middle Ages did not espouse" 6. The second half of the book brings the material from the first half to bear upon the "translated" fables written by three medieval British vernacular writers: Chaucer, Lydgate, and Henryson. The first appendix gives selected fables in their versions by the three authors.

    Further appendices give Latin medieval fable texts. Illustrations by Walker Korby. Sixteen stories are told on 85 pages. Nine of the sixteen stories are fables. New to me and good is "The Jealous Courtiers" The artist Grupello is asked by the Elector in Dusseldorf to make a statue of him. He does so and it pleases the elector very much.

    His courtiers are, however, jealous and make all sorts of criticisms and suggestions. Grupello asks for time to adjust and is heard pounding away for days. When he unveils, each critic declares the statue improved in the regard that he had raised. Then Grupello reveals that he changed nothing and that he has been "hammering at the reputation of the Elector's courtiers" The illustrations are simple designs, one at the end of each story.

    Translated by Norman R. Illustrated by David Schorr. Introduction by John Hollander. Apparent first printing. Shapiro and Schorr are at it again! This marks their third book together on La Fontaine. It is, I believe, another triumph. The translations are crisp. I enjoyed, for example, "The Charlatan" I am surprised at how copiously David Schorr illustrates this volume. I noticed only perhaps four fables that are not illustrated. Schorr discusses well in his foreword the possibilities for the use of visual space in a bilingual translation.

    While he exploits again here the polarity of a fable's antagonists, he also plays with other design possibilities, involving among other things the outer margins and the gutter. I enjoy particularly SS , "The Drunkard and His Wife" , the before and after views of the weasel , the child sleeping on the rim of the well 90 , and SW The latter repeats a motif from Schorr's earlier work, perhaps in The Fabulists French.


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    I believe that there are only about forty La Fontaine fables left for these two to work on. This book includes an audio CD featuring twenty-six of the fables in English. They are rendered in very lively fashion. Formerly in the Library of Congress.

    Die Fabel von Aesop bis Arntzen - eBook

    Here is the hardbound version of a book I had found only in paperback earlier. I will include my comments from there. Matthew Powell, OP. With illustrations by Ade Bethune. This large-format paperback workbook offers eighteen scripts for readers theater performance.