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This delightful set of stories about the adventures of a mischievous koala bear has been loved by generations of young Australians. Dorothy Wall's amusing tales and drawings, and her love of the bush and concern for its conservation, still have the power to enchant children everywhere. This handsome new edition contains the complete text of 'Blinky Bill', 'Blinky Bill Grows Up' and 'Blinky Bill and Nutsy', with all the original charming illustrations.
This early work by Dorothy Wall was originally published in 1933 and we are now republishing it with a brand new introductory biography. 'Blinky Bill: The Quaint Little Australian' is a children's story about Australia's most popular mischievous koala. Dorothy Wall was born on January the 12th, 1894 in New Zealand. From a young age Wall showed great talent as an artist and at age eleven won a scholarship for her drawing skills. She is most famous for creating Blinky Bill, an anthropomorphic koala who was the central character in her books Blinky Bill: the Quaint Little Australian, Blinky Bill Grows Up, and Blinky Bill and Nutsy. In 1985 a postage stamp honouring Wall for her creation, Blinky Bill, was issued by Australia Post as part of a set commemorating children's books.
This early work by Dorothy Wall was originally published in 1933 and we are now republishing it with a brand new introductory biography. 'Blinky Bill: The Quaint Little Australian' is a children's story about Australia's most popular mischievous koala. Dorothy Wall was born on January the 12th, 1894 in New Zealand. From a young age Wall showed great talent as an artist and at age eleven won a scholarship for her drawing skills. She is most famous for creating Blinky Bill, an anthropomorphic koala who was the central character in her books Blinky Bill: the Quaint Little Australian, Blinky Bill Grows Up, and Blinky Bill and Nutsy. In 1985 a postage stamp honouring Wall for her creation, Blinky Bill, was issued by Australia Post as part of a set commemorating children's books.
This volume is a collection of all-new original essays covering everything from feminist to postcolonial readings of the play as well as source queries and analyses of historical performances of the play. The Merchant of Venice is a collection of seventeen new essays that explore the concepts of anti-Semitism, the work of Christopher Marlowe, the politics of commerce and making the play palatable to a modern audience. The characters, Portia and Shylock, are examined in fascinating detail. With in-depth analyses of the text, the play in performance and individual characters, this book promises to be the essential resource on the play for all Shakespeare enthusiasts.
Yoram Gross' recollections of his life, told simply and directly, cannot be read without emotion. This is the story of a youth who was forced to grow up during the Nazi occupation of his country, Poland. Despite the surrounding horrors, the book is surprisingly cheerful. It is living holocaust history, delivered lightly, with veracity and deep feeling.
This work demonstrates that not everything that Disney touched turned to gold. In its first 100 years, the company had major successes that transformed filmmaking and culture, but it also had its share of unfinished projects, unmet expectations, and box-office misses. Some works failed but nevertheless led to other more stunning and lucrative ones; others shed light on periods when the Disney Company was struggling to establish or re-establish its brand. In addition, many Disney properties, popular in their time but lost to modern audiences, emerge as forgotten gems. By exploring the studio's missteps, this book provides a more complex portrayal of the history of the company than one would gain from a simple recounting of its many hits. With essays by writers from across the globe, it also asserts that what endures or is forgotten varies from person to person, place to place, or generation to generation. What one dismisses, someone else recalls with deep fondness as a magical Disney memory.
Introduces this unique animal, its evolution, physical characteristics, distribution, life cycle and socialization, as well as how people have interacted with the koala since its discovery, the severe threats from human influence that it still faces and what people are doing to save it and its habitat.
Rowdy Carousals makes important interventions in nineteenth-century theatre history with regard to the Bowery Boy, a raucous, white, urban character most famously exemplified by Mose from A Glance at New York in 1848. The book's examination of working-class whiteness on stage, in the theatre, and in print culture invites theatre historians and critics to check the impulse to downplay or ignore questions about race and ethnicity in discussion of the Bowery Boy and further explores links between the Bowery Boy's rowdyism in the nineteenth century and the resurgence of white supremacy in the early twenty-first century.
To See the Wizard: Politics and the Literature of Childhood takes its central premise, as the title indicates, from L. Frank Baum’s The Wonderful Wizard of Oz. Upon their return to The Emerald City after killing the Wicked Witch of the West, the task the Wizard assigned them, Dorothy, the Tin Woodman, Scarecrow, and Lion learn that the wizard is a “humbug,” merely a man from Nebraska manipulating them and the citizens of both the Emerald City and of Oz from behind a screen. Yet they all continue to believe in the powers they know he does not have, still insisting he grant their wishes. The image of the man behind the screen—and the reader’s continued pursuit of the Wizard—is a powerful one that has at its core an issue central to the study of children’s literature: the relationship between the adult writer and the child reader. As Jack Zipes, Perry Nodelman, Daniel Hade, Jacqueline Rose, and many others point out, before the literature for children and young adults actually reaches these intended readers, it has been mediated by many and diverse cultural, social, political, psychological, and economic forces. These forces occasionally work purposefully in an attempt to consciously socialize or empower, training the reader into a particular identity or way of viewing the world, by one who considers him or herself an advocate for children. Obviously, these “wizards” acting in literature can be the writers themselves, but they can also be the publishers, corporations, school boards, teachers, librarians, literary critics, and parents, and these advocates can be conservative, progressive, or any gradation in between. It is the purpose of this volume to interrogate the politics and the political powers at work in literature for children and young adults. Childhood is an important site of political debate, and children often the victims or beneficiaries of adult uses of power; one would be hard-pressed to find a category of literature more contested than that written for children and adolescents. Peter Hunt writes in his introduction to Understanding Children’s Literature, that children’s books “are overtly important educationally and commercially—with consequences across the culture, from language to politics: most adults, and almost certainly the vast majority in positions of power and influence, read children’s books as children, and it is inconceivable that the ideologies permeating those books had no influence on their development.” If there were a question about the central position literature for children and young adults has in political contests, one needs to look no further than the myriad struggles surrounding censorship. Mark I. West observes, for instance, “Throughout the history of children’s literature, the people who have tried to censor children’s books, for all their ideological differences, share a rather romantic view about the power of books. They believe, or at least they profess to believe, that books are such a major influence in the formation of children’s values and attitudes that adults need to monitor every word that children read.” Because childhood and young-adulthood are the sites of political debate for issues ranging from civil rights and racism to the construction and definition of the family, indoctrinating children into or subverting national and religious ideologies, the literature of childhood bears consciously political analysis, asking how socialization works, how children and young adults learn of social, cultural and political expectations, as well as how literature can propose means of fighting those structures. To See the Wizard: Politics and the Literature of Childhood intends to offer analysis of the political content and context of literature written for and about children and young adults. The essays included in To See the Wizard analyze nineteenth and twentieth century literature from America, Britain, Australia, the Caribbean, and Sri Lanka that is for and about children and adolescents. The essays address issues of racial and national identity and representation, poverty and class mobility, gender, sexuality and power, and the uses of literature in the healing of trauma and the construction of an authentic self.