First-person interpretation--the portrayal of historical characters through interactive dramatization or roleplaying--is an effective, albeit controversial, method used to bring history to life at museums, historic sites, and other public venues. Stacy Roth examines the techniques of first-person interpretation to identify those that have been most effective with audiences while allowing interpreters to maintain historical fidelity. Past into Present focuses on first-person interpretation's most challenging form: the unscripted, spontaneous, conversational approach employed in "living history" environments such as Plimoth Plantation in Massachusetts, Conner Prairie in Indiana, and Colonial Williamsburg in Virginia. While acknowledging that a wide range of methods can touch audiences effectively, Roth identifies a core set of practices that combine positive communication techniques, classic interpretive philosophy, and time-tested learning theories to promote audience enjoyment, provoke thought and inquiry, convey important messages and themes, and relate to individual visitor interests. She offers numerous examples of conversation and demonstration strategies, visitor behavior profiles, and suggestions for depicting conflict and controversy, and she provides useful character development guidelines, interpretive training advice, and recommendations for adapting first-person interpretation for diverse audiences.

Published on the occasion of Bridget Riley’s major exhibition at David Zwirner in London in the summer of 2014, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past fifty years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves, and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm, and density. As noted by Paul Moorhouse, “Throughout her development, Riley has drawn confirmation from Euge`ne Delacroix’s observation that ‘the first merit of a painting is to be a feast for the eyes.’ [Her] most recent stripe paintings are a striking reaffirmation of that principle, exciting and entrancing the eye in equal measure.” Created in close collaboration with the artist, the publication’s beautifully produced color plates offer a selection of the iconic works from the exhibition. These include the artist’s first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called “Egyptian” palette—a “narrow chromatic range that recalled natural phenomena”—and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen. A range of texts about Riley’s original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist’s wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic. Additionally, the book features little-seen archival imagery of Riley at work over the years; documentation of her recent commissions for St. Mary’s Hospital in West London, taken especially for this publication; and installation views of the exhibition itself, installed throughout the three floors of the gallery’s eighteenth-century Georgian townhouse located in the heart of Mayfair.

Bridget Riley’s explorations of perception through form and color have made her into one of the most significant painters working today. Since the early 1960s, she has used elementary shapes—lines, circles, curves, and squares—to create visual experiences that immediately draw the viewer in, often triggering optical vibrations and illusions. More recently, Riley has shifted back to black and white in her large-scale paintings, marking a departure from her recent colored stripe paintings and a return to the palette of some of her earliest works. Published on the occasion of her 2015 solo exhibition at David Zwirner, Bridget Riley: Works 1981–2015 presents paintings from the last thirty-four years of her career, including images of Rajasthan, a wall painting previously shown in Germany and England, and exhibited for the first time in New York. These dynamic reproductions begin with stripe paintings from the 1980s and end with a coda of sorts —a return to black and white that ties back to her work from the 1960s, but bear traces of Riley’s deep engagement with color in the interim. As critic Éric de Chassey puts it in his essay for Riley’s 2015 catalogue with Galerie Max Hetzler: “The black-and-white paintings not only enter into a dialogue with the 1960s works, but take stock of every painting experience Riley has created during a long career.” Also included is a selection of the artist’s works on paper; taken together, these complementary aspects of her practice over the past four decades reveal the astonishing variety she has achieved by developing and rediscovering different forms. An essay by art historian Richard Shiff helps contextualize the developments in Riley’s practice since the early 1980s, and further emphasizes her influence and lineage as a painter. Rounding out the publication are biographical notes by Robert Kudielka, one of the artist’s foremost critics. With a career spanning six decades, Bridget Riley remains one of the most exciting painters today, and Bridget Riley: Works 1981–2015 presents a selection of works from what may be her richest period to date.

Compiled for the first time, here are all of Newbery Award– winning author Richard Peck’s previously published short stories and two brand-new ones. From comedy to tragedy to historical to contemporary; from "Priscilla and the Wimps," Peck’s first short story, to "Shotgun Cheatham’s Last Night Above Ground," which inspired both A Long Way from Chicago and A Year Down Yonder, to "The Electric Summer," Peck’s jumping-off point for Fair Weather, readers will thrill at Peck’s engaging short fiction. Complete with the author’s own notes on the stories as well as tips and hints for aspiring writers and two new stories, this vibrant and varied collection offers something for everyone.

This Book Covers The Following Topics: What are “Tenses”? AGREEMENT between SUBJECT and VERB TWENTY-FOUR Auxiliary Verbs REGULAR AND IRREGULAR VERBS PRESENT TENSE Present Indefinite Tense Present Continuous/Progressive Tense Present Perfect Tense Present Perfect Continuous/Progressive Tense PAST TENSE Past Indefinite Tense Past Continuous/Progressive Tense Past Perfect Tense Past Perfect Continuous/Progressive Tense FUTURE TENSE Future Indefinite Tense Future Continuous/Progressive Tense Future Perfect Tense Future Perfect Continuous/Progressive Tense Useful Notes Exercises Sample This: Tenses could be defined as “any of the form of a verb that may be used to show the time of the action or an event or state expressed by the verb”. THERE ARE THREE KINDS OF TENSES: The Past Tense – The form of a verb that usually expresses an action that happened in the past [Action happened before present] The Present Tense – The form of a verb that usually expresses an action that happens at this time [Action happens in present] The Future Tense – The form of a verb that usually expresses an action that will happen in future [Action will happen after present] EACH OF THESE THREE KINDS OF SENTENCES HAS FOUR TYPES OF FORMS: Indefinite or Simple Form Continuous or Progressive Form Perfect Form Perfect Continuous or Perfect Progressive Form EACH OF THESE FOUR TYPES OF FORMS HAS FOUR KINDS OF STATEMENTS: Affirmative Statement -- Used to Show ‘Agreement’ Negative Statement -- Used to Show ‘Disagreement’ Interrogative Statement -- Used to Ask ‘Question’ Interrogative-Negative Statement -- Used to Ask ‘Question’ and Show ‘Disagreement’ Present Indefinite Tense Expresses – Permanent situation [in the past, present and future] Example: Our family lives in Seattle. General truth (fact or statement) Example: Clean water is fundamental to public health. Example: Many barrages have no utility and cause floods. Habitual action [actions that occur regularly] Example: She listens to music every day. ‘Future meaning’ (timetable, planned event, etc.) Example: My shop closes at 9 pm. Example: The train arrives at 7:30 pm. Traditions, rituals, customs Example: Indians celebrate the festival of light in the month of Oct-Nov. Commands and Instructions [Imperative Sentences] [Note: In imperatives, subject ‘you’ remains hidden] Example: Condemn perpetrators of terrorism. Example: Promote values of humanity and tolerance. Example: Tell us about the exact nature of your work. Used in if-clause of present and future real conditional sentences Example: If I go there, I meet him. Example: If things don't work out, we won't be panicked. Headlines in news reporting [Use of simple present tense instead of the simple past tense is common in news headlines] Example: Flight skids on landing at the airport. Example: Thunderstorm brings relief to residents. (A). AFFIRMATIVE PATTERN – subject + first form of main verb + other words Singular Verb is used with the subject ‘He and She’ + All Singular Subjects. Plural Verb is used with the subject ‘I, We, You and They’ + All Plural Subjects. Examples: He/She talks. I/We/You/They talk. We seek opportunities to chart out our own course. The lean margin of victory or defeat gives an impression of a tough contest. Nowadays, voters value development over other issues. They want civic amenities and employment opportunities. (B). NEGATIVE PATTERN – subject + auxiliary verb ‘do/does’ + not + first form of main verb + other words Auxiliary Verb ‘Does’ is used with the subject ‘He and She’ + All Singular Subjects. Auxiliary Verb ‘Do’ is used with the subject ‘I, We, You and They’ + All Plural Subjects. Examples: He/She does not talk. I/We/You/They do not talk. Most buses do not cater to interior parts of the villages. He does not know what to say.

This title includes full-color photographs and facts on how time relates to the past, present and future as well as what people have done, are doing and will do.