This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Most historical accounts of "the West" take it for granted that the guiding principles of the Western tradition—reason, progress, and freedom—have been passed down directly from ancient Greece to modern Europe, evolving in isolation from all non-Western cultures. Today, many political analysts and cultural critics maintain that the Western tradition is fast approaching its end, for better or worse, as it becomes more and more integrated with non-Western cultures in an increasingly globalized world. But what if we are witnessing something else entirely—not the "end" of the West but rather another historical mutation of the idea of the West itself? This groundbreaking work shows that whether the West is hailed as the source of all historical progress or scorned as the root of all cultural imperialism, it remains a deeply problematic concept that is intrinsically connected to an ethnocentric view of the world. In a critical reading of the continental philosophers Husserl, Heidegger, Levinas, and Derrida as well as the postcolonial thinkers Said, Mohanty, Bhabha, and Trinh, Sean Meighoo strikes at the intellectual foundations of Western exceptionalism until its ideological supports show through. Deconstructing the concept of the West in his provocative interpretations of Martin Bernal's controversial publication Black Athena and the Beatles' second film Help!, Meighoo poses a formidable question to philosophers, writers, political analysts, and cultural critics alike: Can we mount an effective critique of Western ethnocentrism without reinforcing the very idea of the West?

These are not, I should say at the outset, tales written for the benefit of good and well-behaved girls who always stick to the path when they go to Grandma's. Skipping along in their gingham frills - basket of scones, jam and clotted cream upon their arms - what need can these girls have for caution? Rather, these are tales for girls who have boots as stout as their hearts, and who are prepared to firmly lace them up (boots and hearts both) and step out into the wilds in search of what they desire. Taking her cues from the Brothers Grimm and Scheherazade, Rosie - a thoroughly modern Little Red Riding Hood - tells us of love and desire, men and women, heartache and happiness. Beguiling, clever and funny, Rosie Little's Cautionary Tales for Girls is a sheer delight. ss, wit, simplicity and directness, Rosie offers her clear-eyed, slyly funny and rueful take on life, love and everything in between.

An hilarious classic anthology of moral instruction introduced by Quentin Blake. If you are you prone to telling tales or running away then ignore these poems at your peril or you might suffer the same fate as Matilda, Who told lies and was Burned to Death or Jim, Who ran away from his nurse and was eaten by a Lion! First published over a hundred years ago, Hilaire Belloc's tongue-in-cheek poems of moral instruction for children, with amusing illustrations by B.T.B. and Quentin Blake, are as sharp, funny and memorable as ever.

About Hilaire Belloc - Cautionary tales for children - New cautionary tales - The bad child's book of beasts - More beasts for worse children - More peers - Ladies and gentlemen.