The life of Edward FitzGerald,

Appendix of v. 2 ("reproduced from one of FitzGerald's commonplace books which he himself called 'The museum book'") contains 24 plates (part colored) including 9 facsimiles.

The Common-place book of prose : first series, consisting of an original selection of eloquent and interesting pieces, including several never before published, with contributions and remarks by the editor.

Includes indexes.

A new volume of the Lounger's common-place book : containing one hundred articles, none of which have been printed in any of the former volumes ...

Caption title: Miscellaneous collections.

The lounger's common-place book : or, Alphabetical arrangement of miscellaneous anecdotes :

A 1796-1799 edition includes four vols. and is continued by the author's A new volume of the Lounger's common-place book. London, 1807.

A common-place book of the fifteenth century : containing a religious play and poetry, legal forms, and local accounts /

Spine title: The boke of Brome.

Commonplace book, October 29, 1728-January 15, 1735

The small hardcover volume contains excerpts copied by John Winthrop beginning at the age of thirteen as a freshman at Harvard College. Winthrop’s own description of this book as “a book of Extracts from many Authors” is accurate, as it includes neither personal information about Winthrop nor reflections on what he read. With the exception of occasional notations indicating the date he finished reading particular books, the volume consists of passages he copied from a wide range of sources. It begins with an index of the various sections of the book (History, Poetry, Miscellanies, Geography, Divinity, History, Philosophy, Philosophy, Miscellanies, Poetry, Divinity, Philosophy) and ends with an index of the extracts' authors.

Commonplace book of Clement Weeks

Commonplace book containing a transcription of the "The Book of Harvard," a satirical account of the Butter Rebellion of 1766 followed with supplementary text of "The Arguments in Defence of the Proceedings of the Scholars" and "The Confession that was made after all was done." The above occupies pp. 1-14; pp. 15-18 missing. Pages 19-23 hold excerpts from Edward Young's Conjectures on Original Composition. Pages 24-62 hold excerpts from Saint Augustine's Heresies. Finally pages 62-64 hold an excerpt of Druidical maxims from the introduction of the first volume of Paul Rapin de Thoyras' The History of England (1724).

Systematic theology; a compendium and commonplace-book designed for the use of theological students,

"Text-books in theology": p. 28.

Children's Fiction About 9/11: Ethnic, Heroic and National Identities

In this study, Lampert examines how cultural identities are constructed within fictional texts for young people written about the attacks on the Twin Towers. It identifi es three significant identity categories encoded in 9/11 books for children:ethnic identities, national identities, and heroic identities,arguing that the identities formed within the selected children’s texts are in flux, privileging performances of identities that are contingent on post-9/11 politics. Looking at texts including picture books, young adult fiction, and a selection of DC Comics, Lampert finds in post-9/11 children’s literature a co-mingling of xenophobia and tolerance; a binaried competition between good and evil and global harmony and national insularity; and a lauding of both the commonplace hero and the super-human. The shifting identities evident in texts that are being produced for children about 9/11 offer implicit and explicit accounts of what constitutes good citizenship, loyalty to nation and community, and desirable attributes in a Western post-9/11 context. This book makes an original contribution to the field of children’s literature by providing a focused and sustained analysis of how texts for children about 9/11 contribute to formations of identity in these complex times of cultural unease and global unrest.

Using picture books in the Secondary English classroom

This Chapter explores how teachers can use children's picture books in the Secondary English classroom.

‘Keep telling until someone listens’ : understanding prevention concepts in children’s picture books dealing with child sexual abuse

Children’s picture books dealing with the topic of child sexual abuse appeared in the 1980s with the aim of addressing the need for age-appropriate texts to teach sexual abuse prevention concepts and to provide support for young children who may be at risk of or have already experienced sexual abuse. Despite the apparent potential of children’s picture books to convey child sexual abuse prevention concepts, very few studies have addressed the topic of child sexual abuse in children’s literature. This article critically examines a selection of 15 picture books (published in the US, Canada and Australia) for children aged 3–8 years dealing with this theme. It makes use of an established set of evaluative criteria to conduct an audit of the books’ content and applies techniques of literary discourse analysis to explain how these picture books satisfy criteria for child sexual abuse prevention. The analysis is used as a way to understand the discourses available to readers, both adults and children, on the topic of child sexual abuse. Key themes in the books include children’s empowerment and agency, and the need for persistence and hope.

Colonising Shakespeare? : agency and authority in Gregory Rogers's Shakespearean picture books

“You need to be able to tell stories. Illustration is a literature, not a pure fine art. It’s the fine art of writing with pictures.” – Gregory Rogers. This paper reads two recent wordless picture books by Australian illustrator Gregory Rogers in order to consider how “Shakespeare” is produced as a complex object of consumption for the implied child reader: The Boy, The Bear, The Baron, The Bard (2004) and Midsummer Knight (2006). In these books other worlds are constructed via time-travel and travel to a fantasy world, and clearly presume reader competence in narrative temporality and structure, and cultural literacy (particularly in reference to Elizabethan London and William Shakespeare), even as they challenge normative concepts via use of the fantastic. Exploring both narrative sequences and individual images reveals a tension in the books between past and present, and real and imagined. Where children’s texts tend to privilege Shakespeare, the man and his works, as inherently valuable, Rogers’s work complicates any sense of cultural value. Even as these picture books depend on a lexicon of Shakespearean images for meaning and coherence, they represent William Shakespeare as both an enemy to children (The Boy), and a national traitor (Midsummer). The protagonists, a boy in the first book and the bear he rescues in the second, effect political change by defeating Shakespeare. However, where these texts might seem to be activating a postcolonial cultural critique, this is complicated both by presumed readerly competence in authorized cultural discourses and by repeated affirmation of monarchies as ideal political systems. Power, then, in these picture books is at once rewarded and withheld, in a dialectic of (possibly postcolonial) agency, and (arguably colonial) subjection, even as they challenge dominant valuations of “Shakespeare” they do not challenge understandings of the “Child”.