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1000 tulosta hakusanalla Regina Lewis-Ward
After a long summer break, Malik is ready for the third grade. He's sad his best friend Dallis isn't in his class, but they see each other during lunch. One day, though, something bad happens. The tallest kid in Malik's class tries to take his lunch, but Dallis stops him. Malik is embarrassed but tries not to show it. At home, he cries and wishes he had money for better sandwiches. The next day at school, Malik gets picked on again for his mayonnaise sandwich, and it doesn't seem like there will be an end to his bullying. When a bully gets in trouble, things can change---which is when Malik makes a new, very unexpected friend. Here is a story about bullying to help children understand their actions and discourage those behaviors. Malik Likes Mayonnaise is a way to begin teaching kindness.
In 1997, Regina Bovill was a crack-addicted mother of three who had lost custody of her children, drifted aimlessly from crack house to crack house in search of her next fix, and had lost all conceivable hope of ever having a promising future. Her days were filled with the endless quest for rock cocaine, otherwise known as "kryptonite," or crack. From dawn to dusk, she did what she had to do to get-and smoke-her precious crack cocaine ... then buy and smoke some more. Even when her newborn daughter was born drug-free, Regina didn't heed the unmistakable miracle of her drug-filled afterbirth. Instead, she continued her headlong spiral into a living hell that only ended when a miraculous vision before yet another drug-soaked bender put her off drugs for good. For although Regina had given up on herself, God had not yet given up on her.
This is a book of poems about life. Life always has a way of throwing you a curve ball as you experience some emotions that are familiar and then those you never knew existed. So get ready, This is my ride and I can tell you its a ride I will never forget and the words will prove its one heck of an emotional roller coaster. I wouldnt have had it any other way because without each step i took I wouldnt have been living at all. It has been one crazy ride so buckle up and get ready for Candid Enigma- The frank and honest unpredictable life and all its posibilities
Regina would do anything for the cousin who took her in when she had nowhere else to go, even stand in as a replacement for a dinner date. What she is confronted with at the dinner could change her life, she just doesn't know if it is for the better.Trey and Quinn come to town for business with plans to play in their down time. Instead, they meet a woman who has the ability to offer them everything.Adam is a cop who has lost the will to survive after losing everything he held dear. A chance encounter with a victim brings back memories he is not sure he is ready to face.To Regina, one attentive man would be enough for any woman, so with three, the doubts begin to surface, will she be enough for them? Add in the baggage that each man carries with them, and she is not so sure. Will the men choose to move on with her? Or wallow in the past with bittersweet memories.
In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze.Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse.Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.
During the nineteenth century, the figure of the passive, oppressed, yet highly sexualized female of the Muslim harem became the pivotal figure of Western orientalism. Despite recent challenges to orientalist thinking, however, an enduring mystique continues to surround Western perceptions of Eastern women. In Rethinking Orientalism, Reina Lewis makes a major contribution to correcting the prevailing stereotype of the subjugated, silenced woman of the harem. Bringing together published autobiographical accounts of self-identified "Oriental" women at the turn of the twentieth century, she reveals that these women were, in fact, able to intervene in orientalist culture and manipulate cultural codes. Lewis shows how the writings of Demetra Vaka Brown, Halide Edib, Zeyneb Hanum, Melek Hanum, and Grace Ellison were part of a social and textual dialogue with Western women, and how their contentious engagement with Western feminism was an important facet of regional modernization. Exploring the complicated ways that these writers addressed topics such as seclusion, the veil, and polygamy, Lewis vividly illustrates the possibilities and limitations of resistance that women from Islamic societies have experienced and continue to work within.
In the shops of London's Oxford Street, girls wear patterned scarves over their hair as they cluster around makeup counters. Alongside them, hip twenty-somethings style their head-wraps in high black topknots to match their black boot-cut trousers. Participating in the world of popular mainstream fashion-often thought to be the domain of the West-these young Muslim women are part of an emergent cross-faith transnational youth subculture of modest fashion. In treating hijab and other forms of modest clothing as fashion, Reina Lewis counters the overuse of images of veiled women as "evidence" in the prevalent suggestion that Muslims and Islam are incompatible with Western modernity. Muslim Fashion contextualizes modest wardrobe styling within Islamic and global consumer cultures, interviewing key players including designers, bloggers, shoppers, store clerks, and shop owners. Focusing on Britain, North America, and Turkey, Lewis provides insights into the ways young Muslim women use multiple fashion systems to negotiate religion, identity, and ethnicity.
In the shops of London's Oxford Street, girls wear patterned scarves over their hair as they cluster around makeup counters. Alongside them, hip twenty-somethings style their head-wraps in high black topknots to match their black boot-cut trousers. Participating in the world of popular mainstream fashion-often thought to be the domain of the West-these young Muslim women are part of an emergent cross-faith transnational youth subculture of modest fashion. In treating hijab and other forms of modest clothing as fashion, Reina Lewis counters the overuse of images of veiled women as "evidence" in the prevalent suggestion that Muslims and Islam are incompatible with Western modernity. Muslim Fashion contextualizes modest wardrobe styling within Islamic and global consumer cultures, interviewing key players including designers, bloggers, shoppers, store clerks, and shop owners. Focusing on Britain, North America, and Turkey, Lewis provides insights into the ways young Muslim women use multiple fashion systems to negotiate religion, identity, and ethnicity.
In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze.Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse. Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.
The oppressed yet highly sexualized woman of the Muslim harem is arguably the pivotal figure of Western orientalism. Yet, as Reina Lewis demonstrates, while orientalist thinking had recently been challenged, Western understandings of Middle Eastern culture remain limited. This book presents alternative dialogues between Ottoman and Western women. Lewis examines, from the position of cultural theory, the published autobiographical accounts about segregated life of self-identified "Oriental" women Demetra Vaka Brown, Halide Edib, Zeyneb Hanum, Melek Hanum and Grace Ellison. Bringing her subjects vividly to life, Lewis uses these texts to challenge the Western orientalist stereotypes that have become commonplace within postcolonial theory.
This dazzling exploration of contemporary Muslim modest dress, from historic styles to present-day examples, accompanies a major exhibition and reveals the enormous range of self-expression through fashion achieved by Muslim men and women. Filled with documentary and fashion photography as well as stills from runway shows and the media, this book explores the ways Muslim style cultures are shaped by global trends and religious beliefs. From high-end couture to street- wear, this volume shows how established and diaspora regions, such as Dubai, Jakarta, London, and New York, are homes to thriving industries that create classic and cutting-edge looks. Accompanying these images are essays and personal narratives by leading voices that touch on everything from the history of modest dress to social media. A fascinating examination of a major segment of the fashion industry, this book highlights the ingenuity and creativity of Muslim designers and wearers as they deftly navigate the fashion industry while maintaining their religious and cultural identities.
"Gender, Modernity and Liberty" presents a dialogue between Western and Middle Eastern women that is often presumed never to have happened. Not only were women from the Middle East imagined to be shut up in a harem all day without access to education, ideas or the outside world, but the extent to which Western women travellers were able to engage with women in the regions they visited has often been overlooked. This pioneering collection provides substantial extracts from Ottoman, Egyptian and British and American writers - each with a biographical and literary introduction - that trace the development of an intellectual, personal and critical dialogue between women over a period of accelerated social change marked by Arab nationalism and Egypt's move to independence, and the establishment of the Turkish Republic at the end of the Ottoman Empire. The ways in which the role of woman as either guardian of tradition or in the vanguard of change was hotly contested in both countries and by all sides of the political spectrum is explained in an editors' introduction and photo-essay that set up the common themes of the collection. "Gender, Modernity and Liberty" includes writings by Halide Edib, Musbah Haidar, Hoda Shaarawi, Emine Foat Tugay, Demetra Vaka Brown, Zeyneb Hanoum, Lady Annie Brassey, Grace Ellison, Annie Harvey, Emmeline Lott, Sophia Poole and Ruth Woodsmall. Participating in local and international debates, they wrote about the harem, polygyny, nationalism and modernism and commented on fashion alongside discussions about feminism and slavery, knowing all the while that their books were likely to be read through the exoticising frame of Western Orientalist stereotype. Their success in negotiating the very constraints that provided the - often prurient - market for their books, reveals a will to self-determination that speaks to the challenges still faced today by women from the Middle East and the Muslim world.
Memories of Atlantis
Rogina L. Fields Lewis
Createspace Independent Publishing Platform
2013
nidottu
The girl made for fun has no idea what to do with herself when not having fun.Regina simply can't sit still long enough to find herself. Rather than patience, she prefers the life of a queen, for queens are adored, idolized, entertained and obeyed. She, who hates being cruel to others, too often finds herself being cruel with her affections. Get ready for a wild romp of growth and self-discovery... sometimes learned the hard way. From her worst mistake to the realization of her dreams, Regina is a story of young girl's progress across the board from pawn to queen. Prepare your heart for falling in love through stumbles, celebrations and the sweet beauty of becoming that which is worth waiting for.
"...'What great Champion is this, ' the Court Magician breathed, 'that even his handmaiden can wield the Test blade ' 'Don't you think she might be the Champion' Tickle asked, looking a little nervously at the point Regina was waving around. 'That could never be ' the man declared passionately. 'No maiden could ever take up arms in our Circle It would be against Nature, Custom, and The Proper Order of Things.' ..." Young Lady Regina-Valerie, spoilt only child of a wealthy Lord, is gorgeous, brilliant academically, artistically and musically, and outstanding at individual sports (avoiding team ones). Unfortunately she puts everyone off by seeming too perfect and by masking innate shyness with razorblades-in-honey politeness. Her only friend is her Siamese, Tickle. In constantly warring Warrior Magic Circle land, a creeping evil is detected. White-hot magic reveals where to find a Champion Knight to oppose an expected Warlock Dark Champion, and Regina and her cat are at the designated place. They enter the Circle to discover, during adventures with War-prince Peal and bullied handmaiden Princess Chime, that an already repressive society is indeed worsening savagely. Returning home to seek the foretold Champion, Regina recruits school rival Alistair who stutters in her presence unless using a Scots accent. Alistair fails the 'Test' challenge. To everyone's consternation, Regina doesn't. Back in the Circle they are attacked by giant Army Ants, as the first of many battles against vile Warlock creatures while they seek a prophesied Key, vital for success but fatal to the user. Various quest-themed journeys and adventures teach and change them - as they themselves teach and change the society. Surprises constantly arise. Humour, excitement and sheer fun interlink throughout. How can the adversary be identified and confronted? If successful in this, who must die using the Key - and where do they find it? These questions are spectacularly answered, and several final twists round off a truly magical experience.