Cover -- Title -- Copyright -- Contents -- List of Illustrations -- Notes on Contributors -- Acknowledgements -- 1 The city and its regulations: Unexpected margins -- Part I Space and state regulation: The urban interstices -- 2 Markets and marginality in Beirut -- 3 The tremendous making and unmaking of the peripheries in current Istanbul -- 4 Resilient forms of urbanity on the margins? Al-Kherba: A vivid market in a damaged section of the medina of Tunis -- 5 Whose margins? Marginality, poverty and the moral geography of pre-Soviet Bukhara -- 6 On the margins of the city: Izmir Prison in the late Ottoman Empire -- Part II Diversity and moral policing: Making claims through marginalisation -- 7 'Texas': An off-centre district at the heart of nightlife in Odienné -- 8 The Manyema in colonial Dar es Salaam (Tanzania) between urban margins and regional connections -- 9 On the margins: Suburban space and religious deviancy in Jakarta and Kuala Lumpur -- 10 Ethnic differentiation and conflict dynamics: Uzbeks' marginalisation and non-marginalisation in southern Kyrgyzstan -- Index

A Handbook of Illustration This may be said to be the primary and normal function of an Illustration. Throughout the pages of this book, and to whatever extent the student may practise the methods herein described, it may be well to keep very clearly in mind the legitimate function of an illustration, namely: to describe, to portray, and to do this chiefly as an auxiliary to written language. To such a kind belongs the rude scratchings of the primæval man, whose limited powers of speech forbade his adequately describing the forms of those creatures whose pursuit meant life, whose disregard would mean death, and of such kind were the hieroglyphics of the East. Nay, who shall say that the very forms of letters themselves are not the outcome of early effort to convey to the eye of another what might otherwise only have been imperfectly communicated through other senses: a means to an end; a servant, a tool, in the hands of him who would wield it. But in the beginning there was a making of drawings and designs which had another purpose. The gourd, or rough clay vessel, was graved and marked with devices and forms suggested by the curves and shapes in Nature, but this was merely for decoration; to please the eye, and not to serve any purpose but to give pleasure. A means to an end in this sense perhaps, but note that the end was in the commencement of it, and went no further after completion; it gave pleasure to the beholder and no more, and nothing more was intended or asked. Thus was Art born—not to teach, nor to explain, nor to illustrate.

"Peeps at Many Lands: Ireland" is part of the "Peeps at Many Lands" series and was written by Katharine Tynan. This series is known for providing readers with insights into different countries and regions around the world, focusing on their culture, geography, and way of life. Katharine Tynan, the author, likely presents a descriptive and informative narrative about Ireland, covering various aspects such as its people, landscapes, and customs. The "Peeps at Many Lands" series was designed to offer a vivid and accessible portrayal of different countries, often intended for a young audience. For those interested in early 20th-century perspectives on Ireland and travel literature, "Peeps at Many Lands: Ireland" could provide a valuable resource, offering a snapshot of the country during that period. The series aimed to provide an engaging introduction to different cultures and societies around the world.

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