Oxford Reading Tree remains the nation's favourite reading scheme and countless children have learnt to read with Biff, Chip, and Kipper. We are delighted to unveil its fresh new look for today's children, teachers and parents, with lively new covers and fresh artwork.Engaging new artwork and coversAlex Brychta's unique style of artwork enthrals and entertains children, and the fresh new look will heighten their pleasure in reading the stories. With freshly drawn artwork for all the favourite core stories at Stages 2 - 5 and fantastic new covers, Oxford Reading Tree is more appealing thanever!Stories children loveThe Oxford Reading Tree stories have always captivated children's imagination, inspiring them to read - and the stories and characters in the new editions haven't changed at all. Apart, that is, from an exciting new story at Stage 3, The Egg Hunt, which replaces the Dolphin Pool.Simplified structureWe have also simplified the structure of the scheme in response to feedback from you: Owls Storybooks become Stages 6 and 7 Storybooks; magpies become Stages 8 and 9 Storybooks; wrens at Stage 2 have become patterned stories at Stage 1+; and wrens at Stage 3 are now patterned stories at Stage 2.New teaching support materialIn addition to the existing guided reading cards, perfect for use in guided reading sessions, we have brought out new teaching materials to reflect the needs of teachers in today's classroom:DT Flexible, friendly teacher's notes included FREE with each pack of Oxford Reading Tree books - these are easy to store and will save you hours of preparation!DT New Take-Home cards for every Storybook from Stages 1 - 9 to help parents or carers get the most out of reading with their childDT Free resources website at www.oup.com/uk/primary with downloadable photocopy mastersDT New Teacher's Handbook and special edition for Scotland

In the present electronic torrent of MTV and teen flicks, Nintendo and Air Jordan advertisements, consumer culture is an unmistakably important--and controversial--dimension of modern childhood. Historians and social commentators have typically assumed that the child consumer became significant during the postwar television age. But the child consumer was already an important phenomenon in the early twentieth century. The family, traditionally the primary institution of child socialization, began to face an array of new competitors who sought to put their own imprint on children's acculturation to consumer capitalism. Advertisers, children's magazine publishers, public schools, child experts, and children's peer groups alternately collaborated with, and competed against, the family in their quest to define children's identities. At stake in these conflicts and collaborations was no less than the direction of American consumer society--would children's consumer training rein in hedonistic excesses or contribute to the spread of hollow, commercial values? Not simply a new player in the economy, the child consumer became a lightning rod for broader concerns about the sanctity of the family and the authority of the market in modern capitalist culture. Lisa Jacobson reveals how changing conceptions of masculinity and femininity shaped the ways Americans understood the virtues and vices of boy and girl consumers--and why boys in particular emerged as the heroes of the new consumer age. She also analyzes how children's own behavior, peer culture, and emotional investment in goods influenced the dynamics of the new consumer culture. Raising Consumers is a provocative examination of the social, economic, and cultural forces that produced and ultimately legitimized a distinctive children's consumer culture in the early twentieth century.

In The Chuckling Whatsit, Sala weaves the gothic cartooning traditions of Edward Gorey and Charles Addams with a densely constructed, melodramatic murder mystery involving astrology, ghouls, academia and outsider art. Part noir, part horror and part comedy, this labyrinthian tale of intrigue follows an unemployed writer named Broom who becomes unwittingly ensnared in a complex plot involving mysterious outsider artist Emile Jarnac, the shadowy machinations of the Ghoul Appreciation Society Headquarters (GASH), and the enigmatic Mr. Ixnay. Sala's deadpan delivery makes this ingeniously layered narrative a roller-coaster ride of darkly pure comic suspense.

When his mother goes to the cellar and fails to return right away, Harry searches for her and confronts the terrible two-headed Whatzit.

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? A Philosophy of Computer Art is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium.

This book is written for ecologists interested in capturing their understandings of how natural systems work in software – to help inform their work and communicate the consequences of proposed management plans. Historically, ecologists had to rely on the skills of trained computer programmers to modeling natural systems, but now a new generation of software is allowing ecologists to directly capture their understandings of systems in software. This book is a compilation of spatially explicit simulation models developed by ecologists and planners without any formal computer programming skills. Readers will be inspired to believe that they too can create similar models of the systems with which they are familiar.

2 That nagging voice in your head is probably right. I am not on a crusade to convince everyone to go solo. My crusade is to reach those who want to go solo but are afraid to try to pull it off. Jim Voigt had had the spirit of a solo professional from a young age, starting his first business “Corporate Start-Ups” at the age of 14. After a successful career in sales, Jim turned to law and put his sales skills to work building a strong book of business. But traditional employment never “clicked” and Jim longed for more freedom both financially and personally. His transition to solo practice went well, but he saw other solo professionals struggle. He wanted to help. Going Solo is the result of his research into the struggles and successes of his own career and those professionals he met along his journey. Jim now brings his practical message of the attainability of solo freedom to others who feel trapped in traditional firms or underperforming solo practices.