Children's Books in English
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Fretam Inventory 030#17270D
ALKEN, Henry. Ideas, Accidental and Incidental To Hunting and Other Sports. London: Thomas M'Lean, n.d.[1826-1830]. First edition, early issue, with plates watermarked 1831-32. Upright folio. Engraved title and forty-two hand colored soft- ground etchings with interleaves. Full forest green crushed morocco for Hatchards of London (stamp-signed) by either Riviere or Sangorski and Sutcliffe (ca. 1940). Occasional mild spots to margins not affecting imagery. A neat professional repair to closed margin tear. Otherwise, a beautiful copy of the most desirable edition. DB 02149. $16,500 DJB-2 ALKEN, Henry. Scraps From the Sketch-Book of Henry Alken. Engraved by Himself. London: Thomas M'Lean, 1825. Third edition (plates still dated 1820), preceded by those of 1821 and 1823, and equally scarce. Tall octavo. Title leaf and forty- two hand-colored engraved plates, twelve with multiple images. Contemporary half crimson morocco over paper boards. Red leather title label lettered in gilt to upper board. Small bookplate to front free-endpaper. DB 01902. $2,750 DJB-2 ALKEN, Henry. Specimens of Riding Near London. Drawn from Life. London: Published by Thomas M'Lean,. Repository of Wit and Humour, No. 26, Haymarket, 1823. Second edition. Oblong folio (8 3/4 x 12 3/4 in; 222 x 323 mm). Printed title and eighteen hand-colored engraved plates. Late nineteenth century half red roan over red cloth boards, ruled in gilt. Rectangular red roan gilt lettering label, bordered in gilt on front board. Spine with two raised bands, paneled and lettered in gilt. Clean tear in the inside margin of the seventeenth plate (just touching image) expertly and almost invisibly repaired. -
Humpty Dumpty's Explanation
Humpty Dumpty’s Explanation Humpty Dumpty’s explanation of the first verse of Jabberwocky from Through the Looking Glass and Alice’s Adventures there. 'You seem very clever at explaining words, Sir,' said Alice. 'Would you kindly tell me the meaning of the poem called "Jabberwocky"?' 'Let's hear it,' said Humpty Dumpty. 'I can explain all the poems that were ever invented--and a good many that haven't been invented just yet.' This sounded very hopeful, so Alice repeated the first verse: 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe. 'That's enough to begin with,' Humpty Dumpty interrupted: 'there are plenty of hard words there. "BRILLIG" means four o'clock in the afternoon--the time when you begin BROILING things for dinner.' 'That'll do very well,' said Alice: and "SLITHY"?' 'Well, "SLITHY" means "lithe and slimy." "Lithe" is the same as "active." You see it's like a portmanteau--there are two meanings packed up into one word.' 'I see it now,' Alice remarked thoughtfully: 'and what are "TOVES"?' 'Well, "TOVES" are something like badgers--they're something like lizards--and they're something like corkscrews.' 'They must be very curious looking creatures.' 'They are that,' said Humpty Dumpty: 'also they make their nests under sun-dials--also they live on cheese.' 'Andy what's the "GYRE" and to "GIMBLE"?' 'To "GYRE" is to go round and round like a gyroscope. To "GIMBLE" is to make holes like a gimlet.' 1 'And "THE WABE" is the grass-plot round a sun-dial, I suppose?' said Alice, surprised at her own ingenuity. -
Spilplus.Journals.Ac.Za
http://spilplus.journals.ac.za http://spilplus.journals.ac.za THE WORLD OF LANGUAGE 2 ITS BEHAVIOURAL BELT by Rudolf P. BOlha SPIL PLUS 25 1994 http://spilplus.journals.ac.za CONTENTS 2 Language behaviour 2.1 General nature: unobservable action 2 2.2 Specific properties 4 2.2.1 Purposiveness 4 2.2.2 Cooperativeness 13 2.2.3 Space-time anchoredness 16 2.2.4 Nonlinguistic embeddedness 18 2.2.5 Innovativeness 21 2.2.6 Stimulus-freedom 22 2.2.7 Appropriateness 24 2.2.8 Rule-governedness 25 2.3 Kinds of language behaviour 26 2.3.1 Forms of language behaviour 27 2.3.1.1 Producing utterances 28 2.3.1.2 Comprehending utterances 30 2.3.1.3 Judging utterances 32 2.3.2 Means of language behaviour 39 2.3.3 Modes of language behaviour 47 2.4 The bounds of language behaviour 51 Notes to Chapter 2 53 Bibliography 62 http://spilplus.journals.ac.za 1 2 Language behaviour In Carrollinian worlds, all sorts of creatures have the remarkable knack of appearing, as it were, from nowhere. For instance, soon after Alice had entered the world created by Gilbert Adair beyond a needle's eye, she witnessed how kittens and puppies, followed by cats and dogs, fell out of the sky: 'Hundreds of cats and dogs .... were pouring down as far as she could see. Once they landed, they would all make a rush for lower ground, gathering there in huddles --- "or puddles, I suppose one ought to say" --- .... ' [TNE 41] In Needle's Eye World, one could accordingly say It rained cats arui dogs, and mean it literally. -
Alice Through the Looking-Glass Is Presented by Special Arrangement with the Estate of James Crerar Reaney
This production was originally produced at the Stratford Festival in association with Canada’s National Arts Centre in 2014. nov dec 26 19 2015 THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY STUDY GUIDE Adapted from the Stratford Festival 2014 Study Guide by Luisa Appolloni This production was originally produced at the Stratford Festival in association with Canada's National Arts Centre in 2014. Alice Through the Looking-Glass is presented by special arrangement with the Estate of James Crerar Reaney. 1 THEATRE ETIQUETTE “The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough time to find your seat before the performance starts. Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which is very distracting for the performers and other audience members. The use of cameras and recording devices is strictly prohibited. Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share your thoughts and opinions with others until after the performance. Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission, concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby. Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully reQuest that patrons refrain from wearing hats in the theatre. -
BIANCA AGARIE Rev.Pdf
UNIVERSIDADE DE SÃO PAULO FACULDADE DE EDUCAÇÃO BIANCA AGARIE A cultura em quadrinhos: um estudo sobre as tiras cômicas em livros didáticos de espanhol para o ensino médio São Paulo 2017 BIANCA AGARIE A cultura em quadrinhos: um estudo sobre as tiras cômicas em livros didáticos de espanhol para o ensino médio Versão corrigida Dissertação apresentada à Faculdade de Educação da Universidade de São Paulo como requisito parcial para obtenção do título de Mestre em Educação. Linha de pesquisa: Linguagem e Educação Orientadora: Profa. Dra. Isabel Gretel María Eres Fernández São Paulo 2017 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL OU PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Educação da Universidade de São Paulo 375.136 Agarie, Bianca A261c A cultura em quadrinhos: um estudo sobre as tiras cômicas em livros didáticos de espanhol para o ensino médio / Bianca Agarie; orientação Isabel Gretel María Eres Fernández. São Paulo: s. n., 2016. 285 p.; apêndices Dissertação (Mestrado – Programa de Pós-Graduação em Educação. Área de Concentração: Linguagem e Educação) - - Faculdade de Educação da Universidade de São Paulo. 1. Cultura 2. Língua espanhola 3. Livro didático 4. Multiletramentos 5. Tira cômica I. Eres Fernández, Isabel Gretel María, orient. Nome: AGARIE, Bianca Título: A cultura em quadrinhos: um estudo sobre as tiras cômicas em livros didáticos de espanhol para o ensino médio Dissertação apresentada à Faculdade de Educação da Universidade de São Paulo como requisito parcial para obtenção do título de Mestre em Educação. -
ARTICLE: Jan Susina: Playing Around in Lewis Carroll's Alice Books
Playing Around in Lewis Carroll’s Alice Books • Jan Susina Mathematician Charles Dodgson’s love of play and his need for rules came together in his use of popular games as part of the structure of the two famous children’s books, Alice in Wonderland and Through the Looking-Glass, he wrote under the pseudonym Lewis Carroll. The author of this article looks at the interplay between the playing of such games as croquet and cards and the characters and events of the novels and argues that, when reading Carroll (who took a playful approach even in his academic texts), it is helpful to understand games and game play. Charles Dodgson, more widely known by his pseudonym Lewis Carroll, is perhaps one of the more playful authors of children’s literature. In his career, as a children’s author and as an academic logician and mathematician, and in his personal life, Carroll was obsessed with games and with various forms of play. While some readers are surprised by the seemingly split personality of Charles Dodgson, the serious mathematician, and Lewis Carroll, the imaginative author of children’s books, it was his love of play and games and his need to establish rules and guidelines that effectively govern play that unite these two seemingly disparate facets of Carroll’s personality. Carroll’s two best-known children’s books—Alice’s Adventures in Wonderland (1865) and Through the Looking- Glass and What Alice Found There (1871)—use popular games as part of their structure. In Victoria through the Looking-Glass, Florence Becker Lennon has gone so far as to suggest about Carroll that “his life was a game, even his logic, his mathematics, and his singular ordering of his household and other affairs. -
'Twas Brillig, and the Slithy Toves Did Gyre and Gimble in the Wabe: All Mimsy Were the Borogoves, and the Mome Raths Outgrabe
The Jabberwocky By Lewis Carroll 'Twas brillig, and the slithy* toves* Did gyre* and gimble in the wabe: All mimsy* were the borogoves*, And the mome raths outgrabe*. "Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious* Bandersnatch!" He took his vorpal sword in hand: Long time the manxome foe he sought- So rested he by the Tumtum* tree, And stood awhile in thought. And, as in uffish* thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through The vorpal blade went snicker-snack*! He left it dead, and with its head He went galumphing* back. "And hast thou slain the Jabberwock? Come to my arms, my beamish* boy! O frabjous day! Callooh! Callay!" He chortled* in his joy. 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. slithy: is a variant of "sleathy", meaning slovenly (untidy, messy, lazy); a combination of 'lithe and slimy' - lithe meaning flexible, graceful. toves: rhymes with "groves” (like the pine grove in Bridge to Terabithia). Humpty Dumpty says toves are 'something like lizards and something like corkscrews. They make their nest under sundials and live on cheese.’ gyre: means to turn or whirl around. mimsy: is a nonsense word. Humpty Dumpty says it is a combination of "flimsy and miserable". borogoves: the first O is said like the O in worry. -
Nursery Rhymes and Fables
Kindergarten Core Knowledge Language Arts® • Listening & Learning™ Strand Nursery Rhymes and Fables and Rhymes Nursery Tell It Again!™ Read-Aloud Anthology Read-Aloud Again!™ It Tell Nursery Rhymes and Fables Tell It Again!™ Read-Aloud Anthology Listening & Learning™ Strand KiNdeRgaRteN Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by-nc-sa/3.0/ Copyright © 2013 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts, Listening & Learning, and Tell It Again! are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. -
John I. Baker III Big Dog Publishing
John I. Baker III Adapted from the novels Alice’s Adventures in Wonderland and Through the Looking-Glass by Lewis Carroll Illustrations by John Tenniel Big Dog Publishing Alice in Wonderland 2 Copyright © 2018, John I. Baker III ALL RIGHTS RESERVED Alice in Wonderland is fully protected under the copyright laws of the United States of America, and all of the countries covered by the Universal Copyright Convention and countries with which the United States has bilateral copyright relations including Canada, Mexico, Australia, and all nations of the United Kingdom. Copying or reproducing all or any part of this book in any manner is strictly forbidden by law. No part of this book may be stored in a retrieval system or transmitted in any form by any means including mechanical, electronic, photocopying, recording, or videotaping without written permission from the publisher. A royalty is due for every performance of this play whether admission is charged or not. A “performance” is any presentation in which an audience of any size is admitted. The name of the author must appear on all programs, printing, and advertising for the play and must also contain the following notice: “Produced by special arrangement with Big Dog/Norman Maine Publishing LLC, Rapid City, SD.” All rights including professional, amateur, radio broadcasting, television, motion picture, recitation, lecturing, public reading, and the rights of translation into foreign languages are strictly reserved by Big Dog/Norman Maine Publishing LLC, www.BigDogPlays.com, to whom all inquiries should be addressed. Big Dog Publishing P.O. Box 1401 Rapid City, SD 57709 Alice in Wonderland 3 To my parents, John and Esther, who encourage creativity, a love of theatre and many trips with Alice to Wonderland. -
One Fine Sunday in the Funny Pages” Exhibit
John Read is the creator and curator of the “One Fine Sunday in the Funny Pages” exhibit. A freelance cartoonist, John also teaches cartooning to children and is the publisher and editor of Stay Tooned! Magazine, considered the trade journal of the craft. The Comic Mode The comic strip provides a colorful and humorous respite from the serious and often tragic news that precedes it. There are many reasons for reading the “funny pages”; from the basic need to be entertained, to the desire to escape for a moment into what seems a playful combination of a joke and a sequence of images that illustrate the nonsense and play that generates it. Yet, what really constitutes the “comic” in a comic strip? Are they simply funny, as in Blondie, Garfield or Hagar the Horrible? Or do we sense underlying tones of irony, satire, political and social commentary as evidenced in Doonesbury, Non Sequitur, and Between Friends? How are we to understand the double entendre, the sting of wit or the twist of the absurd that infuses so many contemporary comic strips? It would seem that as in dreams, there are many levels to the comic mode. On the first take, the superficial or manifest appeal generates a smile or laughter. But as with many dreams and good jokes, there is the second take, a latent need to establish or defy meaning as embedded within the structure of the images themselves. The paradox or playfulness of the comic strip partially lies in discovering the truth in the nonsensical aspects of day-to-day living. -
An Inquiry Into Contemporary Australian Extreme Right
THE OTHER RADICALISM: AN INQUIRY INTO CONTEMPORARY AUSTRALIAN EXTREME RIGHT IDEOLOGY, POLITICS AND ORGANIZATION 1975-1995 JAMES SALEAM A Thesis submitted in fulfilment of the requirements for the degree of Doctor Of Philosophy Department Of Government And Public Administration University of Sydney Australia December 1999 INTRODUCTION Nothing, except being understood by intelligent people, gives greater pleasure, than being misunderstood by blunderheads. Georges Sorel. _______________________ This Thesis was conceived under singular circumstances. The author was in custody, convicted of offences arising from a 1989 shotgun attack upon the home of Eddie Funde, Representative to Australia of the African National Congress. On October 6 1994, I appeared for Sentence on another charge in the District Court at Parramatta. I had been convicted of participation in an unsuccessful attempt to damage a vehicle belonging to a neo-nazi informer. My Thesis -proposal was tendered as evidence of my prospects for rehabilitation and I was cross-examined about that document. The Judge (whose Sentence was inconsequential) said: … Mr Saleam said in evidence that his doctorate [sic] of philosophy will engage his attention for the foreseeable future; that he has no intention of using these exertions to incite violence.1 I pondered how it was possible to use a Thesis to incite violence. This exercise in courtroom dialectics suggested that my thoughts, a product of my experiences in right-wing politics, were considered acts of subversion. I concluded that the Extreme Right was ‘The Other Radicalism’, understood by State agents as odorous as yesteryear’s Communist Party. My interest in Extreme Right politics derived from a quarter-century involvement therein, at different levels of participation. -
Ned Kelly & the Movies 1906-2003
Ned Kelly & the Movies 1906-2003: Representation, Social Banditry & History A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Stephen Gaunson Bachelor of Arts (Honours) School of Media and Communication Design and Social Context Portfolio RMIT University April 2010 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Stephen Gaunson April 5, 2010 i Acknowledgments This thesis would not have been completed without the support and encouragement from my wife, Lauren-Eve Purdey. Her many cups of tea, patience, positive attitude and osteopathic treatments allowed me to forge ahead when the end was in sight. This thesis is hugely indebted to my supervisors Dr Adrian Danks and Professor Ina Bertrand, who consistently provided encouragement, reliable direction, academic and practical support, access to resources, funding and academic opportunities. I am forever grateful to Ina who taught me the importance of „doing things correctly‟, and welcoming me into her country home. I also am thankful to Adrian for his meticulous concentration to detail and encyclopaedic breadth of cinema knowledge. I finish this study a better writer and researcher because of the care taken by Adrian and Ina.