The poets of America, illustrated by one of her painters /

BAL vol.V, sec.IV, p.592.

[Works. Illustrated library edition]

[1] American notes for general circulation, and Pictures from Italy.--[2] Barnaby Rudge.--[3] Barnaby Rudge and Hard times.--[4-5] Bleak house.--[6] A child's history of England.--[7] Christmas books.--[8] Christmas stories from "Household words" and "All the year round".--[9-10] The personal history of David Copperfield.--[11-12] Dombey and son.--[13] The mystery of Edwin Drood, and other stories.--[14] Great expectations.--[15-16] Little Dorrit.--[17-18] The life and adventures of Martin Chuzzlewit.--[19-20] The life and adventures of Nicholas Nickleby.--[21] The old curiosity shop.--[22] The old curiosity shop and Reprinted pieces.--[23] The adventures of Oliver Twist.--[24-25] Our mutual friend.--[26-27] The posthumous papers of the Pickwick Club.--[28] Sketches by Boz.--[29] A tale of two cities.--[30] The uncommercial traveller.

The Republic of Plato in ten books,

Introduction by Richard Garnett.

A new practical system for teaching and learning the French pronunciation : in seven lessons, illustrated and supported by numerous examples from the best French poets /

"Answers to Mr. A. Bolmar's criticisms, and a few of his errors corrected"--30 p. at end of vol.

The bibliographer's manual of Gloucestershire literature ; being a classified catalogue of books, pamphlets, broadsides, and other printed matter relating to the county of Gloucester or to the city of Bristol, with descriptive and explanatory notes.

Bookplate of Henley Evans, Clifton.

Frank Forester's fish and fishing of the United States and British provinces of North America : illustrated from nature /

Copy in Dept. of Rare Books and Special Collections bound in original green cloth stamped in gold and blind. Label of the Cuvier Club.

The Bookworm : an illustrated treasury of old-time literature

Imprint varies

Dorland's illustrated medical dictionary.

Latest issue consulted: 30th ed., copyrighted in 2003.

Intellectual alienation in a fragmented society and universe, as illustrated in the work of Wolfgang Koeppen (1906- )

This text is concerned with the intellectual and social alienation experienced by a twentieth century German writer (1906 - ).·the alienation begins in the context of German society, but this context is later globalised. The thesis first discusses the social and· intellectual origins and the salient features of this alienated stance, before proceeding to a detailed analysis of its recurring symptoms and later intensification in each of the author's main works, chronologically surveyed, supported by reference to minor writings. From the novels of the thirties' showing the burgher-artist conflict, and its symbolic dichotomies, the renunciation of traditional German values, and the ambiguous confrontation with new disruptive socio-political forces, we move to the post-war trilogy (1951-54), with its roots in the German social and political experience of the thirties' onwards. The latter, however, is merely a background for the presentation of a much more comprehensive view of the human condition:- a pessimistic vision of the repetitiveness and incorrigibility of this condition, the possibility of the apocalypse, the bankruptcy and ineffectiveness of European religion and culture, the 'absurd' meaninglessness of history, the intellectual artist's position and role(s) in mass-culture and an abstract, technologised mass-society, the central theme of fragmentation - of the structure of reality, society and personality, the artist's relation to this fragmentation, intensified in the twentieth,century. Style and language are consonant with this world-picture. Many of these features recur in the travel-books (1958-61); diachronic as well as synchronic approaches characterise the presentation of various modes of contemporary society in America, Russia, France and other European countries. Important features of intellectual alienation are:- the changelessness of historical motifs (e.g. tyranny, aggression), the conventions of burgher society, both old and new forms, the qualitative depreciation and standardisation of living, industrialisation and technology in complex, vulnerable and concemtrated urban societies, ambiguities of fragmented pluralism. Reference is made .to other travel-writers.

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”.