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Reprint of the original, first published in 1841.
Poke Endicott, Gil Benton, and Jim Hazard make certain that the Crofton football team holds the championship for another year.
Reading Victorian Schoolrooms examines the numerous schoolroom scenes in nineteenth-century novels during the fraught era of the Victorian education debates. As Gargano argues, the fiction of mainstream and children’s writers such as Dickens, Brontë, and Carroll reflected widespread Victorian anxieties about the rapid institutionalization of education and the shrinking realm of domestic instruction. As schools increasingly mapped out a schema of time schedules, standardized grades or forms, separate disciplines, and hierarchical architectural spaces, childhood development also came to be seen as regularized and standardized according to clear developmental categories. Yet, Dickens, Brontë, and others did not simply critique or satirize the standardization of school experience. Instead, most portrayed the schoolroom as an unstable site, incorporating both institutional and domestic space. Drawing on the bildungsroman’s traditional celebration of an individualized, experiential education, numerous novels of school life strove to present the novel itself as a form of domestic education, in contrast to the rigors of institutional instruction. By positioning the novel as a form of domestic education currently under attack, these novelists sought to affirm its value as a form of protest within an increasingly institutionalized society. The figure of the child as an emblem of beleaguered innocence thus became central to the Victorian fictive project.
The stories we read as children are the ones that stay with us the longest, and from the nineteenth century until the 1950s stories about schools held a particular fascination. Many will remember the goings-on at such earnest establishments as Tom Brown's Rugby, St Dominic's, Greyfriars, the Chalet School, Malory Towers and Linbury Court. In the second part of the twentieth century, with more liberal social attitudes and the advent of secondary education for all, these moral tales lost their appeal and the school story very nearly died out. More recently, however, a new generation of compromised schoolboy and schoolgirl heroes - Pennington, Tyke Tiler, Harry Potter and Millie Roads - have given it a new and challenging relevance. Focusing mainly on novels written for young people, From Morality to Mayhem charts the fall and rise of the school story, from the grim accounts of Victorian times to the magic and mayhem of our own age. In doing so it considers how fictional schools not only reflect but sometimes influence real life. This captivating study will appeal to those interested in children's literature and education, both students and the general reader, taking us on a not altogether comfortable trip down memory lane.
We often hear that gaining the vote was the first major legal change for women in this country; the subject is now included as a part of our national curriculum. We have undoubtedly come a long way; women today lead very different lives to ones they led in the past. But how did we get here? Do you know what actually happened between the time when a wife was expected to be submissive to her husband, treated as a second-class citizen and confined to her domestic sphere, and the liberating time when women finally achieved the financial and legal independence that could be so easily taken for granted? This had to be achieved before the vote was even won! Western women today have the privilege of a relatively equal footing, but all around us, we hear stories of women in other cultures who are in the process of obtaining this freedom, or who are still desperately fighting for it. We have been there – the parallels are obvious, we only have to look back. Changing the Rules looks at how children were conditioned to play their future parts in the marriage game and how Victorian women went on to challenge the rules of play. By listening to the women’s voices and by sharing their own, often shocking experiences, you will learn to appreciate just how difficult their task was, and why we should not undervalue their achievement. This fascinating look back into women’s history will appeal to those with an interest in the Victorian period, as well as readers wishing to learn more about the struggles that women faced.
There is a persistent myth about the British: that we are a nation of stoics, with stiff upper lips, repressed emotions, and inactive lachrymal glands. Weeping Britannia - the first history of crying in Britain - comprehensively debunks this myth. Far from being a persistent element in the 'national character', the notion of the British stiff upper lip was in fact the product of a relatively brief and militaristic period of our past, from about 1870 to 1945. In earlier times we were a nation of proficient, sometimes virtuosic moral weepers. To illustrate this perhaps surprising fact, Thomas Dixon charts six centuries of weeping Britons, and theories about them, from the medieval mystic Margery Kempe in the early fifteenth century, to Paul Gascoigne's famous tears in the semi-finals of the 1990 World Cup. In between, the book includes the tears of some of the most influential figures in British history, from Oliver Cromwell to Margaret Thatcher (not forgetting George III, Queen Victoria, Charles Darwin, and Winston Churchill along the way). But the history of weeping in Britain is not simply one of famous tear-stained individuals. These tearful micro-histories all contribute to a bigger picture of changing emotional ideas and styles over the centuries, touching on many other fascinating areas of our history. For instance, the book also investigates the histories of painting, literature, theatre, music and the cinema to discover how and why people have been moved to tears by the arts, from the sentimental paintings and novels of the eighteenth century and the romantic music of the nineteenth, to Hollywood weepies, expressionist art, and pop music in the twentieth century. Weeping Britannia is simultaneously a museum of tears and a philosophical handbook, using history to shed new light on the changing nature of Britishness over time, as well as the ever-shifting ways in which we express and understand our emotional lives. The story that emerges is one in which a previously rich religious and cultural history of producing and interpreting tears was almost completely erased by the rise of a stoical and repressed British empire in the late nineteenth century. Those forgotten philosophies of tears and feeling can now be rediscovered. In the process, readers might perhaps come to view their own tears in a different light, as something more than mere emotional incontinence.