In Drawing the Past, Volume 2: Comics and the Historical Imagination in the World, contributors seek to examine the many ways in which history worldwide has been explored and (re)represented through comics and how history is a complex construction of imagination, reality, and manipulation. Through a close analysis of such works as V for Vendetta, Maus, and Persepolis, this volume contends that comics are a form of mediation between sources (both primary and secondary) and the reader. Historical comics are not drawn from memory but offer a nonliteral interpretation of an object (re)constructed in the creator's mind. Indeed, when it comes to history, stretching the limits of the imagination only serves to aid in our understanding of the past and, through that understanding, shape ourselves and our futures. This volume, the second in a two-volume series, is divided into three sections: History and Form, Historical Trauma, and Mythic Histories. The first section considers the relationship between history and the comic book form. The second section engages academic scholarship on comics that has recurring interest in the representation of war and trauma. The final section looks at mythic histories that consciously play with events that did not occur but nonetheless inflect our understanding of history. Contributors to the volume also explore questions of diversity and relationality, addressing differences between nations and the cultural, historical, and economic threads that bind them together, however loosely, and however much those bonds might chafe. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world. Contributions by Dorian Alexander, Chris Bishop, David Budgen, Lewis Call, Lillian Cespedes Gonzalez, Dominic Davies, Sean Eedy, Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert Hutton, Iain A. MacInnes, Malgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang.

History has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fuelling combative beliefs in personal versions of United States history. Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world. Contributions by Lawrence Abrams, Dorian Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith.

In Drawing the Past, Volume 2: Comics and the Historical Imagination in the World, contributors seek to examine the many ways in which history worldwide has been explored and (re)represented through comics and how history is a complex construction of imagination, reality, and manipulation. Through a close analysis of such works as V for Vendetta, Maus, and Persepolis, this volume contends that comics are a form of mediation between sources (both primary and secondary) and the reader. Historical comics are not drawn from memory but offer a nonliteral interpretation of an object (re)constructed in the creator's mind. Indeed, when it comes to history, stretching the limits of the imagination only serves to aid in our understanding of the past and, through that understanding, shape ourselves and our futures. This volume, the second in a two-volume series, is divided into three sections: History and Form, Historical Trauma, and Mythic Histories. The first section considers the relationship between history and the comic book form. The second section engages academic scholarship on comics that has recurring interest in the representation of war and trauma. The final section looks at mythic histories that consciously play with events that did not occur but nonetheless inflect our understanding of history. Contributors to the volume also explore questions of diversity and relationality, addressing differences between nations and the cultural, historical, and economic threads that bind them together, however loosely, and however much those bonds might chafe. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world. Contributions by Dorian Alexander, Chris Bishop, David Budgen, Lewis Call, Lillian Cespedes Gonzalez, Dominic Davies, Sean Eedy, Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert Hutton, Iain A. MacInnes, Malgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang.

Weekday lunches are so often a disappointing affair - but they don't have to be! With over 90 ideas for packed lunches, salads, soups, snacks and more, every recipe in Packed has been specially designed to help you use your lunchtime better - to recharge, get the nutrients you need and ensure your energy stays high throughout the day. Packed with expert nutritional advice as well as time-saving tips and shopping strategies, it's never been easier to whip up healthy work-day lunches that leave you feeling great. Quick and easy recipes that will make you say goodbye to soggy sandwiches forever, but still save you money by stopping you buying expensive work lunches.

Children, their World, their Education is the definitive text for students, teachers, researchers, educational leaders and all who are interested in primary education. As the culmination of the Cambridge Primary Review, the most comprehensive enquiry into English primary education for half a century, its publication provoked instant and dramatic headlines. Widespread support from teachers and eminent public figures demonstrated that the book had identified the issues that really mattered. Ministerial unease showed that here were findings that politicians could not ignore.

But Children, their World, their Education is much more than a report. It is an unrivalled educational compendium that systematically covers the issues that are central to the daily work of students, teachers and heads. For trainee teachers on undergraduate and postgraduate courses it effectively maps the territory of primary education and provides the context, information and insight which are essential to the development of classroom skill. Its vast range of carefully evaluated evidence makes it a core resource for those undertaking research and advanced study. Its direct engagement with the policy process during a period of unprecedented change makes it an indispensable tool for policy analysis. It places England s education system in the global context, and combines evidence on recent developments with a vision of how primary education should be.

Part 1 sets the scene and tracks primary education policy since the 1960s.

Part 2 examines children s development and learning, their needs and aspirations, and their lives in a diverse society and fragile world.

Part 3 explores what goes on in schools, from the vital early years to educational aims and values, the curriculum, pedagogy and classroom practice, assessment, standards and school organisation.

Part 4 deals with the system as a whole: educational ages and stages, the work and training of primary teachers, school leadership, local authorities, funding, governance and policy.

Part 5 pulls everything together with 78 conclusions and 75 recommendations for policy and practice.

Companion volume: The Cambridge Primary Review Research Surveys, edited by Robin Alexander with Christine Doddington, John Gray, Linda Hargreaves and Ruth Kershner. The Cambridge Primary Review is supported by Esmee Fairbairn Foundation: www.primaryreview.org.uk.

History has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fuelling combative beliefs in personal versions of United States history. Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world. Contributions by Lawrence Abrams, Dorian Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith.

Children, their World, their Education is the definitive text for students, teachers, researchers, educational leaders and all who are interested in primary education. As the culmination of the Cambridge Primary Review, the most comprehensive enquiry into English primary education for half a century, its publication provoked instant and dramatic headlines. Widespread support from teachers and eminent public figures demonstrated that the book had identified the issues that really mattered. Ministerial unease showed that here were findings that politicians could not ignore.

But Children, their World, their Education is much more than a report. It is an unrivalled educational compendium that systematically covers the issues that are central to the daily work of students, teachers and heads. For trainee teachers on undergraduate and postgraduate courses it effectively maps the territory of primary education and provides the context, information and insight which are essential to the development of classroom skill. Its vast range of carefully evaluated evidence makes it a core resource for those undertaking research and advanced study. Its direct engagement with the policy process during a period of unprecedented change makes it an indispensable tool for policy analysis. It places England s education system in the global context, and combines evidence on recent developments with a vision of how primary education should be.

Part 1 sets the scene and tracks primary education policy since the 1960s.

Part 2 examines children s development and learning, their needs and aspirations, and their lives in a diverse society and fragile world.

Part 3 explores what goes on in schools, from the vital early years to educational aims and values, the curriculum, pedagogy and classroom practice, assessment, standards and school organisation.

Part 4 deals with the system as a whole: educational ages and stages, the work and training of primary teachers, school leadership, local authorities, funding, governance and policy.

Part 5 pulls everything together with 78 conclusions and 75 recommendations for policy and practice.

Companion volume: The Cambridge Primary Review Research Surveys, edited by Robin Alexander with Christine Doddington, John Gray, Linda Hargreaves and Ruth Kershner. The Cambridge Primary Review is supported by Esmee Fairbairn Foundation: www.primaryreview.org.uk.

Horror film sequel based on the survival video game. After the mysterious disappearance of her father Christopher Da Silva (Sean Bean) on the eve of her eighteenth birthday, Heather Mason (Adelaide Clemens) finds herself drawn into an alternate reality that resonates with the horrific nightmares that have been plaguing her since childhood. Her hometown of Silent Hill is suddenly revealed to be a hotbed of dark otherwordly activity as Heather encounters various sinister characters and comes to the shocking realisation that she is not who she thought she was.