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Featuring scripts for well known classical fantasy stories, as well as more current entries into the genre, Wings of Fancy addresses subgenres such as: Fairies and Enchanted Creatures; Fantastic Beasts and Talking Animals. Each script offers a summary of the story with background information on the author and story, plus suggested further readings. Staging and presentation directions are included, as is a glossary of new and unfamiliar terms. Unlike most other books of this type, lesson plans and project ideas are also included for each story. Grades 4-8 The Readers Theatre series presents original scripts written for the purpose of teaching a specific literary genre. Each book is composed of 24-28 scripts, keyed to published books, plays, poems or stories in that genre, encouraging students to read the originals to accomplish the correlated project. Staging and presentation directions are included. Two-leveled (lower and higher level) projects with all needed lesson plans, forms and discussion are also provided for each script.
In 1916, at an unpropitious time, Thomas Wallis founded a new practice, Wallis, Gilbert & Partners, primarily to collaborate with an American company in the design of factories to be constructed of reinforced concrete. Up to this time, the designing of factories was not popular among architects and many manufacturers regarded the employment of an architect as a wanton extravagance. Wallis's move could in this light be seen as a reckless gamble, but the subsequent achievements of him and his partners suggest that his choice had been well considered. They became prolific designers of factories and some of the best known inter-war industrial buildings – Firestone, Hoover, The Gramophone Company, Glaxo Laboratories to name only a few – were their work. Skinner looks first at the biographical background of Wallis, at the history and organization of the partnership he founded, and at the many factors that contributed to its reputation in the inter-war years. She then offers a perspective on architectural thought and activity in that period, and of the attitudes and influences on factory design. Designs by the partnership for over one hundred factories and factory buildings have been discovered and, at the core of the book is a third chapter which analyses and assesses them under four headings: the early "daylight/masonry" style; the "fancy" factories of the mid-term years of 1927–35; the more sculptural and geometrical "British modern" later works up to 1939; and designs, including overseas commissions, that do not easily fit within the three style groups. Skinner concludes with an evaluation of the philosophy of Wallis, Gilbert & Partners, which was to contribute through the architectural design of factories to the successful pursuit of business by the companies that commissioned them. Although factories have played an influential role in society for more than two centuries, their design has rarely caught the imagination of architectural historians. Their neglect of the field is now being rectified to some extent and this book will contribute to the further stimulation of interest in the architectural history of factories.
Benjamin Roberts is a loser in life, then on a whim he buys a home computer though he knows nothing about computers and can't even type. Therein, he meets Max in cyberspace who offers him fame, fortune, and the woman of his dreams, asking only for Ben's friendship in return. Lo! Max delivers. But in doing so, he makes Ben the target of the FBI, the Treasury Dept., CIA, Interpol, and the security forces of every country on Earth, not to mention organized crime. As for Jenny, Ben's dream woman, Max insists on orchestrating an elaborately prolonged seduction of her that will never reveal his true role in it. Progressively, questions arise. Who is this Max and what is he actually up to? Will Jenny love and stay true to Ben? If federal agents finally arrest Ben, will he ever again go free to enjoy his fabulous fortune and be back with Jenny? And who is the Beijing Bulldog anyway? But in the end, perhaps the only thing that truly matters is what Ben Roberts fancies.
Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.
Shaker Fancy Goods tells the story of the Shaker Sisters of the nineteenth and early twentieth century who responded to the economic perils of the Industrial Revolution by inventing a lucrative industry of their own—Fancy Goods, a Victorian term for small adorned household objects made by women for women. Thanks to their work ethic, business savvy, and creativity, the tireless Shaker Sisters turned a seemingly modest trade into the economic engine that sustained their communal way of life, just as the men were abandoning the sect for worldly employment. Relying on journals and church family records that give voice to the plainspoken accounts of the sisters themselves, the book traces the work they did to establish their principal revenue streams, from designing the products, to producing them by hand (and later by machine, when they could do so without compromising quality) to bringing their handcrafts to market. Photographs, painstakingly gathered over years of research from museums and private collections, present the best examples of these fancy goods. Fancy goods include the most modest and domestic of items, like the pen wipes that the Sisters shaped into objects such as dolls, mittens, and flowers; or the emeries, pincushions, and needle books lovingly made back in an era when more than a minimal competency in sewing was expected in women; to more substantial purchases like the Dorothy cloaks that were in demand among fashionable women of the world; or the heavy rib-knitted sweaters, cardigans, and pullovers that became popular items among college boys and adventurous women.
Creating a sort of periodic table of the southern populace, Southern Folk, Plain and Fancy catalogs and describes the several social types--gentleman and lady, "lord of the lash" and cunning belle, fun-loving "good old boy," depraved redneck, and other figures--that have animated the region since antebellum times.