A young signmaker's apprentice dreams of having his own sign shop but creates havoc when he is left in charge by himself.

Newbery Medal winner Sharon Creech's inspired novel tells the story of a boy who fantasizes about who he is in order to discover who he will become. Now with fresh and gorgeous new cover art, this touching tale has received many starred reviews, and was called a "warm, funny, philosophical novel" by Kirkus. With the backdrop of a large family and a theater as its frame, this is a story about twelve-year-old Leo, who has a talent for transforming the ordinary into the extraordinary. That's why he's called "fog boy." He's always dreaming, always replaying things in his brain. As an actor in the school play, he is poised and ready for the curtain to open. But in the play that is his life, he is eager to discover what part will be his. With the universal theme of finding one's true identity, and set amid a loud, noisy, memorable family, Leo's story is one that all kids will relate to. And there's a full play at the end of the book that kids and teachers can perform!

"Once a guarded cinematic secret, this definitive history reveals for the first time the art and craft of Hollywood's hand painted-backdrops, and pays homage to the scenic artists who brought them to the big screen." -- Slipcase.

Twenty easy-to-read stories adapted from well-known tales and folklore.

From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802–1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most extensive holdings available for study in the region. This volume begins with a cultural chronology—a backdrop of critical events that shaped the taste and times of both artist and sitter. The chronology is followed by brief biographies of the artists, both legends and recent discoveries, illustrated by their work. Matthew Harris Jouett, who studied with Gilbert Stuart, William Edward West, who painted Lord Byron, and Frank Duveneck are well-known; far less so are James T. Poindexter, who painted charming children's portraits in western Kentucky, Reason Croft, a recently discovered itinerant in the Louisville area, and Oliver Frazer, the last resident portrait artist in Lexington during the romantic era. Pennington's study offers a captivating history of portraiture not only as a cherished possession but also representing a period of cultural and artistic transitions in the history of the Ohio River Valley region.

Teaching English in Africa is a practical guide written for primary and secondary school teachers working all over the continent. This book relates the practice of English language teaching directly to the African context. As well as covering the underlying theory of how children learn languages and how teachers can best facilitate this learning, it also provides practical resources and ideas for activities and techniques that have proved successful in English classrooms in Africa, both at primary and secondary level. It is intended to be a practical guide, so references and citations are kept to a minimum and concepts are presented using examples that are likely to be familiar to most teachers working in Africa. If there is a bias in this book, it is towards the needs of teachers working in low-resource, isolated contexts in Africa, as these teachers are so often neglected by literature on teaching methodology.

In the social sciences and humanities, researchers often qualify the period in which we are living as ‘late-modern’, ‘post-modern’ or ‘superdiverse’. These terms seek to capture changing conditions and priorities brought about by a new social order. This social order is characterized, among other traits, by an increased visibility of social, cultural and linguistic diversity, arising out of unprecedented migration and mobility patterns. It is also associated with the development of information and communication technologies, which in the digital era transform communication patterns, identities, relationships and possibilities for action. For education, these late-modern conditions create numerous interesting challenges, given that they are of course reflected in the classroom and other sites of learning. Conditions of ‘superdiversity’ mean that, in educational institutions, varied practices, linguistic repertoires, and symbolic resources come into contact, posing questions about how institutions and actors choose to deal with this diversity. Likewise, digital technologies with their possibilities for assembling and using multimodal texts in new ways transform the learning experience, redefining what counts as teaching, learning, knowledge, or assessment. By providing careful analyses of policies and interactions in superdiverse, technologically complex, educational contexts, the authors of this volume contribute something important: they give a shape – a semiotic form – to some of the issues raised by transnational migration, sociocultural diversity, and digital complexity. They construct a framework for reflecting about the new social order and its impact on education. They also reveal the kinds of new questions and new terrains that can and must be explored by linguistic research if it wants to stay relevant for education in these times of change.