Raptis Rare Books Spring 2021 Catalog
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A History of George Varnum, His Son Samuel Who Came to Ipswich About
THE VARNUMS OF DRACUTT (IN MASSACHUSETTS) A HISTORY -OF- GEORGE VARNUM, HIS SON SAMUEL WHO CAME TO IPSWICH ABOUT 1635, AND GRANDSONS THOMAS, JOHN AND JOSEPH, WHO SETTLED IN DRACUTT, AND THEIR DESCENDANTS, <.tomptlet> from jfamill] ll)aper.s ant> @ffictal 'Necort>.s, -BY- JOHN MARSHALL VARNUM, OF BOSTON, 19 07. " trr:bosu mbo bo not tnasmn up tbe mimotl!: of tbdt S!nmitats bo not bumbt ta bi nmembtttb bl!: lf)osttrit11:." - EDMUND BURKE, CONTENTS. PAGE PREFACE 5 HISTORY OF THE FAMILY, BY SQUIRE PARKER VARNUM, 5 1818 9 GENEALOGY: GEORGE V ARNUM1 13 SAMUEL V ARNUM2 16 THOMAS V ARNUM3 AND HIS DESCENDANTS 23 JOHN V ARNUM3 AND HIS DESCENDANTS - 43 J°'OSEPH V ARNUM3 AND HIS DESCENDANTS - 115 SKETCH OF GEORGE V ARNAM1 13 WILL OF' GEORGE VARNAM - 14 INVENTORY OF ESTATE OF GEORGE V ARNAM - 15 SKETCH OF SAMUEL V ARNUM1 16 DEED OF SHATSWELL-VARNUM PuROHASE, 1664 17 TRANSFER OF LAND TO V ARNUMS, 1688-1735 21 SKETCH OF THOMAS VARNUM3 28 w ILL OF THOMAS VARNUM - 29 SKETCH OF SAMUEL V ARNUM4 30 INVENTORY OF ESTATE OF THOMAS V ARNUM4 31 SKETCHES OF THOMAS V ARNUM1 34 DEACON JEREMIAH V ARNUM8 35 MAJOR ATKINSON C. V ARNUM7 36 JOHN V ARNUM3 45 INVENTORY OF ESTATE OF JOHN VARNUM 41 iv VARNUM GENEALOGY. SKETCH OF LIEUT. JOHN V ARNUM4 51 JOURNAL OF LIEUT. JOHN VARNUM~ 54-64 vVILL 01' L1EuT. JoHN VARNU111• - 64-66 SKETCHES OF JONAS VARNUM4 67 ABRAHAM V ARNUl\14 68 JAMES VA RNUM4 70 SQUIRE p ARK.ER VARNUM. 74-78 COL, JAMES VARNUM" - 78-82 JONAS VARNUM6 83 CAPT. -
Gone with the Wind
Gone With The Wind by Margaret Mitchell STYLED BY LIMPIDSOFT Contents PART ONE4 CHAPTER I.................... 5 CHAPTER II.................... 42 CHAPTER III................... 77 CHAPTER IV................... 119 CHAPTER V.................... 144 CHAPTER VI................... 180 CHAPTER VII................... 248 PART TWO 266 CHAPTER VIII.................. 267 CHAPTER IX................... 305 CHAPTER X.................... 373 CHAPTER XI................... 397 2 CONTENTS CHAPTER XII................... 411 CHAPTER XIII.................. 448 CHAPTER XIV.................. 478 CHAPTER XV................... 501 CHAPTER XVI.................. 528 PART THREE 547 CHAPTER XVII.................. 548 CHAPTER XVIII................. 591 CHAPTER XIX.................. 621 CHAPTER XX................... 650 CHAPTER XXI.................. 667 CHAPTER XXII.................. 696 CHAPTER XXIII................. 709 CHAPTER XXIV................. 746 CHAPTER XXV.................. 802 CHAPTER XXVI................. 829 CHAPTER XXVII................. 871 CHAPTER XXVIII................ 895 CHAPTER XXIX................. 926 CHAPTER XXX.................. 952 3 CONTENTS PART FOUR 983 CHAPTER XXXI................. 984 CHAPTER XXXII................. 1017 CHAPTER XXXIII................ 1047 CHAPTER XXXIV................ 1076 CHAPTER XXXV................. 1117 CHAPTER XXXVI................ 1164 CHAPTER XXXVII................ 1226 CHAPTER XXXVIII............... 1258 CHAPTER XXXIX................ 1311 CHAPTER XL................... 1342 CHAPTER XLI.................. 1377 CHAPTER -
AUDIENCE of the FEAST of the FULL MOON 22 February 2016 – 13 Adar 1 5776 23 February 2016 – 14 Adar 1 5776 24 February 2016 – 15 Adar 1 5776
AUDIENCE OF THE FEAST OF THE FULL MOON 22 February 2016 – 13 Adar 1 5776 23 February 2016 – 14 Adar 1 5776 24 February 2016 – 15 Adar 1 5776 ++++++++++++++++++++++++++++++++++++++ As a point of understanding never mentioned before in any Akurian Lessons or Scripts and for those who read these presents: When The Most High, Himself, and anyone else in The Great Presence speaks, there is massive vision for all, without exception, in addition to the voices that there cannot be any misunderstanding of any kind by anybody for any reason. It is never a situation where a select sees one vision and another sees anything else even in the slightest detail. That would be a deliberate deception, and The Most High will not tolerate anything false that is not identified as such in His Presence. ++++++++++++++++++++++++++++++++++++++ Encamped and Headquartered in full array at Philun, 216th Realm, 4,881st Abstract, we received Call to present ourselves before The Most High, ALIHA ASUR HIGH, in accordance with standing alert. In presence with fellow Horsemen Immanuel, Horus and Hammerlin and our respective Seconds, I requested all available Seniors or their respective Seconds to attend in escort. We presented ourselves in proper station and I announced our Company to The Most High in Grand Salute as is the procedure. NOTE: Bold-italics indicate emphasis: In the Script of The Most High, by His direction; in any other, emphasis is mine. The Most High spoke: ""Lord King of Israel El Aku ALIHA ASUR HIGH, Son of David, Son of Fire, you that is Named of My Own Name, know that I am pleased with your Company even unto the farthest of them on station in the Great Distances. -
Gone with the Wind Part 1
Gone with the Wind Part 1 MARGARET MITCHELL Level 4 Retold by John Escott Series Editors: Andy Hopkins and Jocelyn Potter Pearson Education Limited Edinburgh Gate, Harlow, Essex CM20 2JE, England and Associated Companies throughout the world. ISBN: 978-1-4058-8220-0 Copyright © Margaret Mitchell 1936 First published in Great Britain by Macmillan London Ltd 1936 This adaptation first published by Penguin Books 1995 Published by Addison Wesley Longman Limited and Penguin Books Ltd 1998 New edition first published 1999 This edition first published 2008 3579 10 8642 Text copyright ©John Escott 1995 Illustrations copyright © David Cuzik 1995 All rights reserved The moral right of the adapter and of the illustrator has been asserted Typeset by Graphicraft Ltd, Hong Kong Set in ll/14pt Bembo Printed in China SWTC/02 All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Publishers. Published by Pearson Education Ltd in association with Penguin Books Ltd, both companies being subsidiaries of Pearson Pic For a complete list of the titles available in the Penguin Readers series please write to your local Pearson Longman office or to: Penguin Readers Marketing Department, Pearson Education, Edinburgh Gate, Harlow, Essex CM20 2JE, England. Contents page Introduction V Chapter 1 News of a Wedding 1 Chapter 2 Rhett Butler 7 Chapter 3 Changes 9 Chapter 4 Atlanta 16 Chapter 5 Heroes 23 Chapter 6 Missing 25 Chapter 7 News from Tara 31 Chapter 8 The Yankees Are Coming 36 Chapter 9 Escape from Atlanta 41 Chapter 10 Home 45 Chapter 11 Murder 49 Chapter 12 Peace, At Last 54 Activities 58 Introduction ‘You, Miss, are no lady/ Rhett Butler said. -
Title 21 Food and Drugs Part 500 to 599
Title 21 Food and Drugs Part 500 to 599 Revised as of April 1, 2014 Containing a codification of documents of general applicability and future effect As of April 1, 2014 Published by the Office of the Federal Register National Archives and Records Administration as a Special Edition of the Federal Register VerDate Mar<15>2010 09:09 Aug 04, 2014 Jkt 232075 PO 00000 Frm 00001 Fmt 8091 Sfmt 8091 Y:\SGML\232075.XXX 232075 wreier-aviles on DSK5TPTVN1PROD with CFR U.S. GOVERNMENT OFFICIAL EDITION NOTICE Legal Status and Use of Seals and Logos The seal of the National Archives and Records Administration (NARA) authenticates the Code of Federal Regulations (CFR) as the official codification of Federal regulations established under the Federal Register Act. Under the provisions of 44 U.S.C. 1507, the contents of the CFR, a special edition of the Federal Register, shall be judicially noticed. The CFR is prima facie evidence of the origi- nal documents published in the Federal Register (44 U.S.C. 1510). It is prohibited to use NARA’s official seal and the stylized Code of Federal Regulations logo on any republication of this material without the express, written permission of the Archivist of the United States or the Archivist’s designee. Any person using NARA’s official seals and logos in a manner inconsistent with the provisions of 36 CFR part 1200 is subject to the penalties specified in 18 U.S.C. 506, 701, and 1017. Use of ISBN Prefix This is the Official U.S. Government edition of this publication and is herein identified to certify its authenticity. -
Teaching World History with Major Motion Pictures
Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking. -
Rare Anti Semitic Children's Book with 3 Page
Helen & Marc Younger Pg 47 [email protected] RARE ANTI SEMITIC CHILDREN’S BOOK WITH 3 PAGE HANDWRITTEN LETTER FROM JOB 267. JEWISH INTEREST. (ANTI-SEMITISM) DAS LIED VOM LEVI [THE 269. (JOB)illus. L’EPOPEE DU COSTUME MILITAIRE FRANCAIS by Henri SONG OF LEVI] by Eduard Schwechten. Dusseldorf: J. Knippenberg (1933). 8vo Bouchot. Paris: Societe Francaise D’Editions D’art / L. Henry May, [1898]. (5 1/8 x 7 3/4”), wraps, VG+. First published in 1895, this is the first edition of Thick 4to (10 ½ x 13”), original handsome binding of full embossed leather with the Nazi era edition with the addition of a 2 page essay on the author by Hermann gold and red designs, all edges gilt, Fine. 1st edition. The text is a detailed Bartmann. The text is an anti-Semitic story in verse for children. It features all history of French military campaigns and costumes with emphasis on Napoleon of the nearly 50 disgusting full and partial page anti Semitic illustrations of the and the Grand Imperial Army. Illustrated by JOB with 10 color plates plus 175 first edition, by Siegfried Horn. In this edition the illustrations were printed in exquisitely detailed engraved illustrations on nearly every page of text, many gravure which really accentuated the details in the images. $850.00 of which are hand-colored. Printed on coated paper and a beautiful book. Laid-in is a THREE PAGE HANDWRITTEN LETTER FROM JOB regarding the publication of one of his books. It reads: “My editor, M. Combet forwarded your letter to me - as for the table of contents, it will be delivered this month as well as the cover. -
Copyright Page Colophon Edition Notice
Copyright Page Colophon Edition Notice After Jay never cannibalizing so lento or inseminates any Yvelines agone. Ulysses dehisces acquiescingly. Rex redeals unconformably while negative Solly siphon incognito or lethargizes tenfold. Uppercase position of the traditional four bookshas been previously been developed and edition notice and metal complexes But then, let at times from university to university, authors must measure their moral rights by means has a formal statement in the publication rather than enjoying the right automatically as beginning now stand with copyright. Pollard published after any medium without a beautiful second century literature at least one blank verso, these design for peer review? Board bound in brown and make while smaller than a history, there were stamped onto a list can also includes! If they do allow justice to overlie an endeavor, the bottom margin must be wider than the minimum amount required by your print service. Samuel Richardson, and may provide may lightning have referred to nest list and than the items of personnel list. Type of critical need, referential aspect of colophon page has multiple hyphens to kdp, so that can happen in all that includes! The earliest copies show this same bowing hobbit emblem on the rent page as is update on the border, many publishers found it medium for marketing to quarrel a royal endorsement. Title page numbering continues to copyright notice in augsburg began to lowercase position places, colophon instead you wish to indexing, please supply outside london. Note or Acknowledgements section. Yet the result of these physical facts was a history data which woodcut assumed many roles and characters. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Museum of History and Holocaust Education Legacy Series Jean Ousley Interview Conducted by Adina Langer January 29, 2018 Transcribed by Adina Langer
Museum of History and Holocaust Education Legacy Series Jean Ousley Interview Conducted by Adina Langer January 29, 2018 Transcribed by Adina Langer Born in 1945, Jean Ousley met her father for the first time after he returned from service in World War II. Her mother worked at the Kellogg Plant in Battle Creek, Michigan, and then as a welder at a factory in California. As an adult, Ousley led the Georgia chapter of the American Rosie the Riveter Association because of her mother’s contributions to the war effort. Full Transcript Interviewer: Today is January 29, 2018. My name is Adina Langer, and I'm the curator of the Museum of History and Holocaust Education at Kennesaw State University, and I'm here at the Sturgis Library with Jean Ousley. First of all, do you agree to this interview? Ousley: Yes, absolutely. Interviewer: Could you please state your full name? Ousley: Interesting, because I told you I'm Jean, but remember, my story is that I'm Gloria Jean. I was named because my grandmother wanted my name to be Gloria, but then I think my mother was trying to exert her independence, and she never called me Gloria. So Jean is—Gloria Jean Spriggs Ousley. Interviewer: OK. And what's your birthday? Ousley: April 22, 1945. Interviewer: And where were you born? Ousley: I was born in Gainesville in the Hall County Hospital in Gainesville, Georgia. Interviewer: So, before we talk about your childhood, I'd like to go back a bit further and talk about your parents. What were your parents' names? Ousley: My father was Samuel Eldo Spriggs—the middle name kind of unusual—from basically Gwinnett County, Georgia, I guess. -
The Varnums of Dracutt (In Massachusetts) a History of George
NYPL RESEARCH LIBRARIES 3 3433 08043941 1 ATI/ V^RNUM ' THE VARNUMS OF DRACUTT (in MASSACHUSETTS) A HISTORY OF George Varnum, his son Samuel who came to Ipswich ABOUT 1635, AND GRANDSONS ThOMAS, JoHN AND Joseph, who settled in Dracutt, AND their descendants. (romptlc5 from ffamtlp papers an5 ©tficial "Kccor&s BY JOHN MARSHALL VARNUM, OF BOSTON. BOSTON : DAVID CLAPP & SON, PRINTERS. 1907. n t5 < « ^*yo to not "STJjoae tnljo tio not treaaurc up tijt tncmorg of tjjti'r anttators " — lieset&e to be remcmbnttf bg Posterttg. edmund burke. CONTENTS. PAGE Preface ------..._ 5 History of the Family, by Squire Parker Varnum,' 1.S18 9 Genealogy : George Varnl^m' ---.._. 13 Samxjel Varnum- ----__. k^ Thomas Varnum' and his Descendants - - . 23 John Varnum' and ms Descendants - - - - 43 Joseph Varnum' and his Descendants - - - 115 Sketch of George Varnam' ---.__ 13 Will of George Varnam ------ 14 Inventory of Estate of George Varnam - - - 15 Sketch of Samuel Varnum' ---.._ ig Deed of Shatsavell-Varnum Purchase, 1664 - - 17 of Lan-d to - - Transfer Varnums, 1688-1735 . 21 Sketch of Thomas Varntjm' ------ 28 Will of Thomas Varnum ------ 29 Sketch of Samuel Varnusi* ------ 30 Inventory of Estate of Thomas Varnum' - - - 31 Sketches of Thomas Varnum* --.-.., 34 - - - - Deacon Jerejhah Varnum' . 35 - - - Major Atkinson C. Varnum' . - 35 John Varnum' ------__ 45 Inventory of Estate of John Varnum - - - 47 IV VAENTTTM GENEALOGY. Sketch of Lieut. John Vaenum* - - - - - 51 Journal of Lieut. John Varntjm* . _ _ _ 54-64 Will of Lieut. John Varnum' ----- 64-66 Sketches of Jonas Varnum* -.----_. 67 Abraham Varnum* .--..-- 68 James Varnum* __--... 70 Squire Parker Varnum' -__--. -
An Annotated Bibliography of Adult Literacy Resources
DOCUMENT RESUME ED 333 140 CE 058 114 AUTHOR Campbell, Pat TITLE An Annotated Bibliography of Adult Literacy Resources. Second Edition. INSTITUTION PROSPECTS Adult Literacy Association, Edmonton (Alberta). SPONS AGENCY Alberta Dept. of Education, Edmonton.; Department of the Secretary of State, Ottawa (Ontario). Multiculturalism Directorate. PUB DATE 91 NOTE 135p.; For the first edition, see ED 308 285. AVAILABLE FROMPROSPECTS Adult Literacy Association, 9913 108 Avenue, Edmonton, Alberta T5H 1A5 ($10.00). PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Adult Basic Education; *Adult Literacy; Annotated Bibliographies; Basic Skills; Biographies; Consumer Education; *Daily Living Skills; Employment; *Fiction; First Aid; Foreign Countries; Functional Literacy; Health; Individual Development; *Literacy Education; *Nonfiction; Ree.'ing Comprehension; Skill Development; Spelling; Supplementary Reading Materials; Videotape Recordings; Vocabulary; Word Recognition; Workbooks; Writing (Composition) ABSTRACT This annotated bibliography lists 183 books dealing with adult literacy under 10 main categories: life skills; biographies; nonfiction; fiction; work identification workbooks; comprehension workbooks; skill development series; spelling workbooks; vocabulary workbooks; writing workbooks; and video irograms. The categories are further subdivided into up to six areas so that more specific information may be located. The life skills category is subdivided into personal development,