V&A Illustration Awards
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“What Is the Use of a Book Without Pictures?” an Exploration of The
Children’s Literature in Education DOI 10.1007/s10583-016-9279-1 ORIGINAL PAPER ‘‘What is the Use of a Book Without Pictures?’’ An Exploration of the Impact of Illustrations on Reading Experience in A Monster Calls Jen Aggleton1 Ó The Author(s) 2016. This article is published with open access at Springerlink.com Abstract This article examines the effect of Jim Kay’s illustrations on the experience of reading A Monster Calls by Patrick Ness. The author compares the responses of six Key Stage Three children (11–14 years old), three of whom were given an illustrated version of the text, and three a non-illustrated version. The children with an illustrated copy engaged with the text more deeply and critically than the others. They were also more likely to relate the story to their own lives. The illustrations were found to work alongside the participants’ own visualisations rather than replacing them, and opened up further possible interpretations rather than limiting them. The illustrations did not appear to have influenced the partici- pants’ overall enjoyment of the book, nor did they significantly alter the readers’ views on key themes and ideas of the text. Keywords Illustrations Á A Monster Calls Á Reading Experience Á Literacy Education In 2011, Walker Books published A Monster Calls, a young adult novel written by Patrick Ness, based on an original idea by Siobhan Dowd, who tragically died from cancer before being able to write the book herself. Dowd’s publishers asked Ness to fulfil the original concept, and commissioned Jim Kay to illustrate it. -
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BOW WINDOWS BOOKSHOP 175 High Street, Lewes, Sussex, BN7 1YE T: +44 (0)1273 480 780 F: +44 (0)1273 486 686 [email protected] bowwindows.com CATALOGUE TWO HUNDRED AND ELEVEN Literature - First Editions, Classics, Private Press 1 - 89 Children's and Illustrated Books 90 - 107 Natural History 108 - 137 Maps 138 - 154 Travel and Topography 155 - 208 Art and Architecture 209 - 238 General Subjects - History, Theology, Militaria 239 - 264 Cover images – nos. 93 & 125 All items are pictured on our website and further images can be emailed on request. All books are collated and described as carefully as possible. Payment may be made by cheque, drawn on a sterling account, Visa, MasterCard or direct transfer to Account No. 40009652 at HSBC Bank, Eastbourne, sort code 40-20-69. Our IBAN code is GB02 HBUK40206940009652; SWIFTBIC is MIDL GB22. Postage will be charged at cost. Foreign orders will be sent by airmail unless requested otherwise. Our shop hours are 9.30 a.m. to 5 p.m., Monday to Saturday; an answerphone operates outside of these times. Items may also be ordered via our website. Ric Latham and Jonathan Menezes General Data Protection Regulation We hold on our computer our customers names and addresses, and in some cases phone numbers and email addresses. We do not share this information with third parties. We assume that you will be happy to continue to receive these catalogues and for us to hold this information; should you wish to change anything or come off our mailing list please let us know. LITERATURE FIRST EDITIONS, CLASSICS, PRIVATE PRESS 1. -
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Chatterbooks Fireside Fiction Activity Pack Reading and activity ideas for your Chatterbooks group Fireside Fiction About this pack Here are some fabulous Fireside Fiction titles for you to enjoy with your group, as well as ideas for discussion and activities. You’ll find stories about Christmas and winter; stories to take you to fantasy worlds and adventures, far away from the wind and the rain and the cold; stories which have been shared through generations; stories to curl up with by the fire , and stories to tell each other when you’re gathered round the fireside – or a cosy radiator. This Fireside Fiction pack is brought to you by The Reading Agency and their Children’s Reading Partner publisher partners. Chatterbooks [ www.chatterbooks.org.uk] is a reading group programme for children aged 4 to 14 years. It is coordinated by The Reading Agency and its patron is author Dame Jacqueline Wilson. Chatterbooks groups run in libraries and schools, supporting and inspiring children’s literacy development by encouraging them to have a really good time reading and talking about books. The Reading Agency is an independent charity working to inspire more people to read more through programmes for adults, young people and Children – including the Summer Reading Challenge, and Chatterbooks. See www.readingagency.org.uk Children’s Reading Partners is a national partnership of children’s publishers and libraries working together to bring reading promotions and author events to as many children and young people as possible. Contents 3 Fireside Fiction: Ideas for discussion, activities and story sharing: Warm up 4 Fireside Fiction: Longer activities 6 Fireside fiction for your Christmas tree 7 Fireside Fiction: the Books! 18 More Fireside Fiction reading ideas 19 A few tips for your Fireside Fiction story sharing Page 2 of 19 Fireside Fiction: Ideas for discussion, activities and story sharing Warm up Have a go at these two word puzzles. -
St Patrick's Recommended Reading List
St Patrick’s Recommended Reading list At St Patrick’s we want your children to be confident readers and more importantly enjoy reading! We have put together a list of books that we feel your child will enjoy and suitable for their reading level! Red, Yellow, Blue, Green and Orange bands (Working within Foundation stage or stage 1) Title Author Each Peach Pear Plum Janet and Allen Ahlberg Mr Gumpy’s Outing John Burningham Rosie’s Walk’ Pat Hutchins The Very Hungry Caterpillar’ Eric Carle Mister Magnolia’ Quentin Blake Owl Babies’ Martin Waddel Alfie Gets in First’ Shirley Hughes Elmer David McKee Brown Bear, Brown Bear what do you see? Bill Martin and Eric Carle We’re going on a bear hunt Michael Rosen and Helen Oxenbury My cat likes to hide in boxes’ Lynley Dodd ‘Peepo’ Janet and Allen Ahlberg Meg and Mog’ Helen Nicoll and Jan Pienkowski Dear Zoo’ Rod Campbell Kipper Mick Inkpen The Pig in the Pond’ Martin Waddell and Jill Barton Oh Dear!’ Rod Campbell Where’s Spot’ Eric Hill This is the Bear’ and ‘This is the Bear and Sarah Hayes and Helen Craig the Picnic Lunch’ Not Now Bernard’ David McKee Where the Wild Things Are’ Maurice Sendak Gorilla Anthony Browne A Dark, Dark Tale’ Ruth Brown 1 Turquoise, Purple, Gold and silver bands (Working within stages 2 or 3) Frog and Toad are Friends’ Arnold Lobel and other Frog and Toad stories Mrs Plug the Plumber’ and Allan Ahlberg other stories in this series Solomon’s Secret’ Saviour Pirotta Peace at last Jill Murphy The Tiger who came to tea’ Judith Kerr Hairy Maclary from Lynley Dodd Donoldson’s -
Vernacular Revival and Ideology – What’S Left? by Peter Guillery
Vernacular Revival and Ideology – What’s Left? by Peter Guillery This essay derives from a lecture first given at a Vernacular Architecture Group conference on vernacular revivals in 2015, reprised to generally younger audiences at the Bartlett School of Architecture and the University of Westminster. Its retrospection about vernacular architecture, anonymity, revival and left-wing ideologies was prompted primarily by a bemused awareness of recent advances in self-building. It seemed timely to try to get at how and why certain ideas retain traction. Then, coincidentally, young and old were recombining behind Jeremy Corbyn to reinvigorate Labour, and the self-styled design ‘collective’ Assemble won the Turner Prize. John Ruskin, William Morris, the Arts and Crafts Movement and Romanticism will arise (how could they not?), but only in passing, for a revisionist view of what has come since. It is taken as read that a strong commitment to architectural design as being rooted in labour and everyday or subaltern agency tallied with the emergence of socialism and was an important part of architectural thinking and history in late-19th-century England. This is an attempt to relate that history to the present in a new overview for a new framework. It adopts an unconventional or purist definition of what vernacular means that will clash with many preconceptions. Peter Guillery is an architectural historian and editor for the Survey of London, in the Bartlett School of Architecture, University College London. He is the author of The Small House in Eighteenth-Century London (2004), and the editor of Built from Below: British Architecture and the Vernacular (2011), and (with David Kroll) Mobilising Housing Histories: Learning from London’s Past (2016). -
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XHVIti NVf 'HdVHOHOHlfW M3SH3QMV NYI1SIHH3 SNVH SDIUlOd 9 SHOOH SM3HQ1IH3 F" 2 BOOKS FOR KEEPS No. 25 MARCH 1984 Lisbeth Zwerger 21 Cover Book Meet our cover artist On our cover this month we Opinion: Andersen and the 22 feature an illustration from Editor's Page 3 The Swineherd, a picture News and comment from the editor English Brian Alderson on English translations book version of the Andersen and illustrations of Andersen fairy tale by artist Lisbeth Children's Books and Zwerger. (Neugebauer Press, Politics News 0907234127, £3.95 from Robert Leeson puts the topic in 4 24 perspective A. and C. Black). We are James Watson and Jan Needle speaking 6 grateful to A. and C. Black for personally help in using this illustration. The roundel used on the Hans Reviews — Paperback 8 — the magazine of the School Bookshop Association Andersen pages is from the MARCH 1984 No. 25 wood engraving by Gwen Authorgraph No. 25 12 Raverat for Four Tales, Jan Mark ISSN: 0143-909X Editor: Pat Triggs translated by R. P. Keigwin, How to... Get Moving on a 14 Managing Editor: Richard Hill C.U.P. (1935). Designer: Alec Davis It and the Punch cartoon on Book Day Typesetting by: Curtis Typesetting, Ideas for getting started with planning Gloucester page 16 appear in Brian Printed by: Surrey Fine Art Press Ltd, Alderson's pamphlet Hans New York Diary 15 Red hi It, Surrey Christian Andersen and his The latest dispatch from John Mason ©School Bookshop Association 1984 Eventyr in England. The Hans Andersen Award 16 can be obtained Patricia Crampton writes about judging on subscription by sending a cheque or an international award postal order to the Subscription Secretary, SBA, 1 Effingham Road, Lee, London Sound and Vision 17 SE12 8NZ. -
Blue Plaques in Bromley
Blue Plaques in Bromley Blue Plaques in Bromley..................................................................................1 Alexander Muirhead (1848-1920) ....................................................................2 Benjamin Waterhouse Hawkins (1807-1889)...................................................3 Brass Crosby (1725-1793)...............................................................................4 Charles Keeping (1924-1988)..........................................................................5 Enid Blyton (1897-1968) ..................................................................................6 Ewan MacColl (1915-1989) .............................................................................7 Frank Bourne (1855-1945)...............................................................................8 Harold Bride (1890-1956) ................................................................................9 Heddle Nash (1895-1961)..............................................................................10 Little Tich (Harry Relph) (1867-1928).............................................................11 Lord Ted Willis (1918-1992)...........................................................................12 Prince Pyotr (Peter) Alekseyevich Kropotkin (1842-1921) .............................13 Richmal Crompton (1890-1969).....................................................................14 Sir Geraint Evans (1922-1992) ......................................................................15 Sir -
The Architecture of Two Ecologies
Birmingham: The Architecture of Two Ecologies Tom Keeley Contents List of Illustrations 5 Views of Birmingham 7 1. In the Rear-view Mirror 9 2. Los Angeles 23 3. Birmingham 41 4. An Ecology for Banham 63 5. An Ecology for Birmingham 73 Bibliography 81 Notes and references 87 4! ! List of Illustrations 1. Arroyo Seco Parkway, 1939 (photograph: Baron Wolman) 2. The view south from Griffith Park (photograph: Ted Organ) 3. Commercial non-plan on Sepulveda Boulevard 4. Freeway signs (photograph: Baron Wolman) 5. Mission San Fernando as it is now 6. Ontario: Euclid Avenue in 1883 (photograph: Security Pacific National Bank, Historical Collection) 7. Freeway-scape, drivers’ eye view (photograph: William Bronson) 8. Intersection of Santa Monica and San Diego freeways (photograph: Julius Shulman) 9. Townscape of freeway-land 10. Townscape in Bel Air 11. Chaos on Echo Park 12. Dingbat architecture of freeway-land 13. Townscape in Watts 14. Eames House, Pacific Palisades, 1949, Charles Eames, architect (photograph: Julius Shulman) 15. Intersection of Santa Monica and San Diego freeways (photograph: California Division of Highways) 16. Transportation fantasy, Disneyland ! 5! 17. Commercial non-plan on Lichfield Road 18. Aston as it is now 19. Intersection of A38(M) Aston Expressway and M6 motorway 20. Chaos on Salford Park 6! ! Views of Birmingham1 On my first visit to [Birmingham] I was conventionally prepared for almost anything except for what it really looked like – a quite beautiful place. Nathan Silver: New Statesman, 28 March 1969 Now I know subjective opinions can vary, but personally I reckon [Birmingham] as the noisiest, smelliest, the most uncomfortable, and most uncivilized major city in the [United Kingdom]. -
September 2014
Salisbury Civic Society - September 2014 Next year is the 800th anniversary of the Magna Carta’s acceptance at Runnymede. Part of the celebration will be all four surviving copies being brought together in London. There will be many events in Salisbury. Some information is to be found on pages 12-15. Contents Magna Carta . 1, 12-15 The Programme . 3 Heritage Open Days . 4 Jonathan Meades . 5-8 The Chairman’s report . 10-11 The Golden Ratio & Fibonacci 16-18 www.salisburycivicsociety.org.uk e-mail [email protected] 2 To promote high standards of planning and architecture To educate in the architecture, history and geography of the area To secure the preservation, development and improvement of features of public interest within the former Salisbury District · The Salisbury Civic Society, which was founded in 1960 as the Salisbury & District Preservation Trust, is involved with the past, present and future of the City and its district. This generates a substantial amount of work which is carried out largely by the Development Committee. · Its meetings are monthly. New planning applications are examined where they concern listed buildings or conservation areas. Other applications are also looked at where they have special relevance to the future of the city and district. The remit is both ancient and modern. Opinions are formed and comments made where appropriate by this committee the members of which are a mix of both lay and professionally qualified, including architects. · The Society keeps its members well informed and arranges a very active social calendar. Interesting visits are arranged as well as an exceptional programme of lectures. -
ARCHITECTURE of AFFECT Conceptions of Concrete in Brutalist Buildings
ARCHITECTURE OF AFFECT conceptions of concrete in brutalist buildings Marijke de Wal MA Thesis 2017 Supervisor: László Munteán Department of Literary and Cultural Studies Radboud University Nijmegen László, köszönöm hogy hittél bennem 2 CONTENTS PREFACE 04 INTRODUCTION 06 I WORLD OF CONCRETE 10 ubiquitous utopias 12 critical regionalism 15 brutalist sensibility 17 II ARCHITECTURE OF AFFECT 21 concrete aesthetics 26 architectural polemic 27 as found 29 human habitat 33 refrain 36 urban poetry 38 kate wood 39 affective voices 41 nostalgic remembrance 42 refrain 47 radiant city 49 solid darkness 50 the alchemist 53 déjà vu 57 refrain 60 CONCLUSION 62 SAMENVATTING 67 REFERENCES 70 3 PREFACE ‘Het is lente maar beton bloeit niet’. As long as I can remember, this slogan adorns one of the many nearby railway bridges. Tasting the typographical delights of this particular urban art, I believe I was seven years old, must have marked the beginning of my feelings for concrete. Somehow it was able to comfort me—just being there. Only much later I realised that in concrete I recognised the mother I had missed. We both grew older, the railway bridge and me, and my love for concrete gradually developed into an interest in architecture with a preference towards the tactility of genuine building materials. I’ve always preferred touching and laying bare instead of concealing and covering up, which, I guess, is rooted in my perpetual quest for authenticity. And so is this thesis. Marijke de Wal Voorburg, spring 2017 4 It wants to be in touch. It wants to be touched. -
Brutalist Architecture ‐ Wikipedia, the Free Encyclopedia Brutalist Architecture from Wikipedia, the Free Encyclopedia
2/16/2016 Brutalist architecture ‐ Wikipedia, the free encyclopedia Brutalist architecture From Wikipedia, the free encyclopedia Brutalist architecture is a movement in architecture that flourished from the 1950s to the mid1970s, descending from the modernist architectural movement of the early 20th century. The term originates from the French word for "raw" in the term used by Le Corbusier to describe his choice of material béton brut (raw concrete).[1][2] British architectural critic Reyner Banham adapted the term into "brutalism" (originally "New Brutalism") to identify the emerging style. Hubert H. Humphrey Building, designed by Marcel Brutalism became popular with governmental and Breuer, headquarters of the U.S. Department of institutional clients, with numerous examples in Health and Human Services, Washington, D. C. Britain, France, Germany, Japan, the United States, Canada, Brazil, the Philippines, Israel and Australia. Examples are typically massive in character (even when not large), fortresslike, with a predominance of exposed concrete construction, or in the case of the "brick brutalists," ruggedly combine detailed brickwork and concrete. There is often an emphasis on graphically expressing in the external elevations and in the wholesite architectural plan the main functions and peopleflows of the buildings. Brutalism became popular for educational buildings (especially university buildings), but was relatively rare for corporate projects. Brutalism became favoured for many government projects, highrise housing, and shopping centres. In its ruggedness and lack of concern to look comfortable or easy, Brutalism can be seen as a reaction by a younger generation to the lightness, optimism, and frivolity of some 1930s and 1940s architecture. -
Literary Miscellany
Literary Miscellany A Selection from Recent Acquisitions and Stock Including Prose and Poetry from the 17th - 20th Centuries Association Copies and Letters Fine Printing, Illustrated Books, Film Material, And Varia of Other Sorts Catalogue 306 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment.