Extra CLIL content and online adventures Islands is a more intensive version of Our Discovery Island. It puts strong emphasis on introducing cross-cirricular and cultural topics to engage pupils in developing knowledge of other subjects while learning English.

The Grammar Booklet offers four pages per unit to further practice the grammatical points covered in the corresponding Pupil's Book unit.

The Reading and Writing Booklet includes four pages per unit to target specific skills. The first page focuses on reading, the second on comprehension with more of a range of texts than those offered in the CLIL and Wider World pages of the Pupil's Book. The third page offers reading and writing activities to revise the key vocabulary, and using the fourth page pupils have the opportunity to write texts which practice punctuation, syntax and structure. An answer key is provided at the back of the Teachers Book. Details of when to use this booklet are given in the teaching notes.

The Grammar Booklet offers four pages per unit to further practice the grammatical points covered in the corresponding Pupil's Book unit.

The Reading and Writing Booklet includes four pages per unit to target specific skills. The first page focuses on reading, the second on comprehension with more of a range of texts than those offered in the CLIL and Wider World pages of the Pupil's Book. The third page offers reading and writing activities to revise the key vocabulary, and using the fourth page pupils have the opportunity to write texts which practice punctuation, syntax and structure. An answer key is provided at the back of the Teachers Book. Details of when to use this booklet are given in the teaching notes.

The Grammar Booklet offers four pages per unit to further practice the grammatical points covered in the corresponding Pupil's Book unit.

The Reading and Writing Booklet includes four pages per unit to target specific skills. The first page focuses on reading, the second on comprehension with more of a range of texts than those offered in the CLIL and Wider World pages of the Pupil's Book. The third page offers reading and writing activities to revise the key vocabulary, and using the fourth page pupils have the opportunity to write texts which practice punctuation, syntax and structure. An answer key is provided at the back of the Teachers Book. Details of when to use this booklet are given in the teaching notes.

The Grammar Booklet offers four pages per unit to further practice the grammatical points covered in the corresponding Pupil's Book unit.

The Grammar Booklet offers four pages per unit to further practice the grammatical points covered in the corresponding Pupil's Book unit.

The Test Booklet contains initial placement tests, progress tests for each unit and practice tests, testing all four skills using question types from external exams (CYL, Trinity and KET for schools).

The Reading and Writing Booklet includes four pages per unit to target specific skills. The first page focuses on reading, the second on comprehension with more of a range of texts than those offered in the CLIL and Wider World pages of the Pupil's Book. The third page offers reading and writing activities to revise the key vocabulary, and using the fourth page pupils have the opportunity to write texts which practice punctuation, syntax and structure. An answer key is provided at the back of the Teachers Book. Details of when to use this booklet are given in the teaching notes.

'I love acting it is so much more real than life, ' Oscar Wilde famously wrote. Acting Wilde demonstrates that Wilde's plays, fiction, and critical theory are organised by the idea that all so-called 'reality' is a mode of performance, and that the 'meanings' of life are really the scripted elements of a dramatic spectacle. Wilde's real issue was whether one could become the author of his own script, the creator of the character and role he inhabits. It was a question he struggled to answer from the beginning of his career to the end, whether in his position as the pre-eminent dramatist in English or as the beleaguered defendant on trial for 'gross indecency'. Introducing important evidence from Wilde's career-launching tour of America, the often tortured revisions of his plays, and the recently discovered written record of his first courtroom trial, this 2009 book reconstructs Wilde's strategic dramatising of himself.

Victorian women were exhilarated by the authoritative voice and the professional opportunity that, uniquely, the theatre offered them. Victorian men, anxious to preserve their dominance in this as in every other sphere of life, sought to limit the theatre as being distinctively, irrevocably masculine. Actresses were represented as inhuman monstrosities, not women at all. Furthermore, the executive functions of theatre-manager and playwright were carefully defined as requiring supposedly masculine qualities of mind and personality. A woman playwright came to be seen as an impossibility, although their number actually increased towards the close of the nineteenth century. In this book, Kerry Powell chronicles the development of women's participation in the theatre as playwrights, actresses and managers and explores the making of the Victorian actress, gender and playwriting of the period, and the contributions these made to developments in the following century.

Oscar Wilde was a courageous individualist whose path-breaking life and work were shaped in the crucible of his time and place, deeply marked by the controversies of his era. This collection of concise and illuminating articles reveals the complex relationship between Wilde's work and ideas, and contemporary contexts including Victorian feminism, aestheticism and socialism. Chapters investigate how Wilde's writing was both a resistance to and quotation of Victorian master narratives and genre codes. From performance history to film and operatic adaptations, the ongoing influence and reception of Wilde's story and work is explored, proposing not one but many Oscar Wildes. To approach the meaning of Wilde as an artist and historical figure, the book emphasises not only his ability to imagine new worlds, but also his bond to the turbulent cultural and historical landscape around him - the context within which his life and art took shape.

Oscar Wilde was a courageous individualist whose path-breaking life and work were shaped in the crucible of his time and place, deeply marked by the controversies of his era. This collection of concise and illuminating articles reveals the complex relationship between Wilde's work and ideas, and contemporary contexts including Victorian feminism, aestheticism and socialism. Chapters investigate how Wilde's writing was both a resistance to and quotation of Victorian master narratives and genre codes. From performance history to film and operatic adaptations, the ongoing influence and reception of Wilde's story and work is explored, proposing not one but many Oscar Wildes. To approach the meaning of Wilde as an artist and historical figure, the book emphasises not only his ability to imagine new worlds, but also his bond to the turbulent cultural and historical landscape around him - the context within which his life and art took shape.

'I love acting it is so much more real than life, ' Oscar Wilde famously wrote. Acting Wilde demonstrates that Wilde's plays, fiction, and critical theory are organised by the idea that all so-called 'reality' is a mode of performance, and that the 'meanings' of life are really the scripted elements of a dramatic spectacle. Wilde's real issue was whether one could become the author of his own script, the creator of the character and role he inhabits. It was a question he struggled to answer from the beginning of his career to the end, whether in his position as the pre-eminent dramatist in English or as the beleaguered defendant on trial for 'gross indecency'. Introducing important evidence from Wilde's career-launching tour of America, the often tortured revisions of his plays, and the recently discovered written record of his first courtroom trial, this 2009 book reconstructs Wilde's strategic dramatising of himself.

Kerry Powell examines Wilde's plays in relation to popular theatre of the 1890s, both in England and on the Continent. Along with revealing insights into the sexual and moral politics of the era, Powell provides an indispensable basis for understanding Wilde's achievement as a playwright. At his best, Wilde reconstitutes the dramatic fashions of the era, and partly as a result his plays have prevailed over the works, many now forgotten, that they simultaneously imitate and undermine. Through his analysis, Powell looks at the plays of, among others, Arthur Shirley, Lady Violet Greville, Sydney Grundy and W. Lestocq as well as the impact of Ibsen on Wilde. The book contains production photographs from plays by Wilde and by little-known playwrights and an appendix of biographies. Oscar Wilde and the Theatre of the 1890s will be of interest to students and specialists of drama, theatre history and English literature.

Victorian women were exhilarated by the authoritative voice and the professional opportunity that, uniquely, the theatre offered them. Victorian men, anxious to preserve their dominance in this as in every other sphere of life, sought to limit the theatre as being distinctively, irrevocably masculine. Actresses were represented as inhuman monstrosities, not women at all. Furthermore, the executive functions of theatre-manager and playwright were carefully defined as requiring supposedly masculine qualities of mind and personality. A woman playwright came to be seen as an impossibility, although their number actually increased towards the close of the nineteenth century. In this book, Kerry Powell chronicles the development of women's participation in the theatre as playwrights, actresses and managers and explores the making of the Victorian actress, gender and playwriting of the period, and the contributions these made to developments in the following century.

This Companion is designed for readers interested in the creation, production and interpretation of Victorian and Edwardian theater. An introduction surveying the historical period of the theater is followed by an essay contextualizing it within the culture as a whole. Succeeding chapters examine performance and production, (including music, actors, stagecraft and audience), plays and playwriting and issues of class and gender. Types of performances (such as comedy, farce, melodrama) and the economics of the theater are also analyzed.

This Companion is designed for readers interested in the creation, production and interpretation of Victorian and Edwardian theater. An introduction surveying the historical period of the theater is followed by an essay contextualizing it within the culture as a whole. Succeeding chapters examine performance and production, (including music, actors, stagecraft and audience), plays and playwriting and issues of class and gender. Types of performances (such as comedy, farce, melodrama) and the economics of the theater are also analyzed.