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When she found an agent to represent her novel, Rowling was hopeful that her hard work would finally pay off. However, publishers barely gave the novel a second look. After a while, it seemed to Rowling that her novel had just been a waste of time and resources, since nobody else could see the same magic in the manuscript that she could see herself. In addition to her books winning so many prizes, Rowling herself has received many honors for her imaginative and compelling writing.

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Also that year, she was listed by People magazine as one of the 24 Most Intriguing People of Rowling's alma mater, University of Exeter, awarded her a Doctor of Letter degree for her work on the Harry Potter series. In December the book was widely published in aid of the charity and became the fastest-selling book of that year. Her Harvard commencement speech was published in as an illustrated book, Very Good Lives: The Fringe Benefits of Failure and the Importance of Imagination , and sold in aid of Lumos and university-wide financial aid at Harvard.


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The Cursed Child has held gala performances in both the U. Also in , J. A prequel to the Harry Potter series, this new adventure of Magizoologist Newt Scamander marked the start of a five-film series to be written by the author. A special screening of the first film was held at Carnegie Hall in the U.

Through her charitable trust, Volant, J.

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Rowling supports a number of other causes to do with social deprivation, particularly concerned with women, children and young people at risk. She continues to fund research and treatment of Multiple Sclerosis and other neurological conditions through the Anne Rowling Clinic at EdinburghUniversity. Rowling have called for international collaboration to address the issue of the high numbers of children —. Finally, concrete indications pointed to India, where, true enough, similar cultivations did exist, in areas very difficult to reach and whose production was of little value.

But the news that it was also practiced in China, the home country of sericulture, had rekindled the hopes of Europeans eager to exploit and perhaps even transfer these cultivations westward. In this sense, the collection of drawings was one of the numerous instances of "industrial spying" that Europeans attempted in Asia, and particularly in China, in all those sectors where there was an important gap in technology or production to the disadvantage of European manufacturers, especially with regard to textiles and porcelain.

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These generated, especially in the s and often in a completely unreasonable manner, speculations of economic profit on the part of Europeans who planned to acclimate the wild silkworms to European conditions on a vast scale, or raise them in plantations they controlled in the colonies. There was also great interest in wild silk-producing Lepidoptera in scientific circles, especially among entomologists, who had already conducted pioneering research in silkworm anatomy and physiology, in the past, as exemplified by the earlier works of Aldrovandi, Malpighi and Leeuwenhoek.

However, unlike many Chinese albums or illustrated texts showing production cycles of interest to Europeans, his drawings were never reprinted for public use.

We have already alluded to the role played by J. Huzard in the creation of modern veterinary science and of the very close relationship Matthieu Bonafous had with the scientist and his family. The books, manuscripts and drawings — including the collection in question — owned by Bonafous, then the Director of the Experimental Botanical Gardens of the Turin Academy of Agriculture and the leading expert in the sector in the Savoy realm, were certainly a key element in these important investigations, although the specifics of the interactions between the activities of the missionaries and the concrete economic and scientific interests in their countries of origin have not as yet been studied in detail.

Hoffmann, [59] with notes and corrections made by Bonafous. The second — MS — contains a long travelogue of the journey from Paris to Leyden, which Bonafous made in in order to meet with both Hoffmann and Siebold [60] and discuss the final editing of the volume, particularly the historical introduction that Bonafous intended to write himself. The writing of the introduction, done after the trip, was heavily influenced by the contacts and discussions Bonafous had in Holland, as well as the texts and primary sources he was able to consult there during his stay.

A map of Japan was added to the illustrations in the volume, which Bonafous had drawn up based on updated cartography supplied him by Siebold. Of particular interest — and an innovation for those times — was the meticulous care taken by Bonafous to remain as faithful as possible to the original images. To this end, during his stay in Holland he contacted a lithographer who worked for the Dutch royal family and employed extremely innovative methods, and commissioned some reproductions of the illustrations in the Japanese text, which Bonafous was quite satisfied with.

This is particularly true for all the technical details in the images. The only departures from the original — and minimal ones at that — are some changes in the faces and hands of the personages shown, where the European artist was evidently unable to resist the temptation to westernize the features, such as, for example, the shape of the noses.

e-book Croc Blanc - Version Annotée (French Edition)

In fact, his journey lasted for over two months in all [67] and allowed Bonafous, as he himself underscored, to satisfy his curiosity on many topics and to visit places he had long wished to see, meeting with people whom he had corresponded with for years but had never spoken to in person. His comments on the countryside he traveled through and the crops grown there are of great interest, although Bonafous often laments the fact that the trains, though very comfortable and fast, severely limited the possibility of accurately observing the natural environments he passed through, which could be far more satisfactorily surveyed on foot or on horseback, stopping frequently to discuss and analyze the unique nature of each locale, as was standard practice for serious agronomists and scholars of rural economics at the time, including Bonafous himself.

Bonafous, who had long sponsored these attempts and whose applied research had often been aimed at identifying and selecting varieties of mulberry trees which could be shorn of their leaves without suffering permanent damage in relatively harsh climates, was eager to see the results of such experiments firsthand and discuss the findings with those in charge.

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