Julia Thomas – författare

Everything is open to question. Nothing is sacred.Critical and cultural theory invites a rethinking of some of our most basic assumptions about who we are, how we behave, and how we interpret the world around us.The Routledge Critical and Cultural Theory Reader brings together 29 key pieces from the last century and a half that have shaped the field. Topics include: subjectivity, language, gender, ethnicity, sexuality, the body, the human, class, culture, everyday life, literature, psychoanalysis, technology, power, and visuality. The choice of texts, together with the editors' introduction and glossary, will allow newcomers to begin from first principles, while the use of unabridged readings will also make the volume suitable for those undertaking more specialized work. Material is arranged chronologically, but the editors have suggested thematic pathways through the selections.

An irresistible collection of easy-to-make recipes from the award-winning home bakery. Enjoy truly delicious cakes and bakes that are free from gluten, wheat or diary.Light and fluffy sponges, gorgeous cupcakes, rich fruit cakes and moreish traybakes – all without butter, flour or cream. Julia Thomas, the talented home cook behind the popular Cake Angels bakery, shares her secrets for a delicious range of well-loved cakes that everyone can enjoy, even if they have an intolerance or allergy.Cake Angels takes you step-by-step through the secrets of successful baking, explains frequently used ingredients and provides easy-to-follow recipes that even novice bakers will feel confident making. These cakes look impressive – with tempting frostings and pretty decorations – but don’t require hours in the kitchen nor resort to hard-to-find specialty ingredients. Divided into simple chapters and with inspiring photographs, this gorgeous, much-needed cookbook includes:Victoria spongeCarrot cakeChocolate, vanilla and lemon cupcakes with different frostingsChocolate and walnut browniesDate and caramel shortcakeRaspberry and almond traybakeCoffee and walnut cake with coffee creamItalian hazelnut cakeOrange and poppy seed cakeChocolate marmalade cake with chocolate cream fillingFlapjacksApricot and hazelnut traybakeGingerbread cupcakes with ginger caramel frostingWhite chocolate blondies

An irresistible collection of easy-to-make recipes from the award-winning home bakery. Enjoy truly delicious cakes and bakes that are free from gluten, wheat or diary.Light and fluffy sponges, gorgeous cupcakes, rich fruit cakes and moreish traybakes – all without butter, flour or cream. Julia Thomas, the talented home cook behind the popular Cake Angels bakery, shares her secrets for a delicious range of well-loved cakes that everyone can enjoy, even if they have an intolerance or allergy.Cake Angels takes you step-by-step through the secrets of successful baking, explains frequently used ingredients and provides easy-to-follow recipes that even novice bakers will feel confident making. These cakes look impressive – with tempting frostings and pretty decorations – but don’t require hours in the kitchen nor resort to hard-to-find specialty ingredients. Divided into simple chapters this gorgeous, much-needed cookbook includes:Victoria spongeCarrot cakeChocolate, vanilla and lemon cupcakes with different frostingsChocolate and walnut browniesDate and caramel shortcakeRaspberry and almond traybakeCoffee and walnut cake with coffee creamItalian hazelnut cakeOrange and poppy seed cakeChocolate marmalade cake with chocolate cream fillingFlapjacksApricot and hazelnut traybakeGingerbread cupcakes with ginger caramel frostingWhite chocolate blondies

The Victorian Mind's Eye: Reading Literature in an Age of Illustration The Victorians lived in an age of illustration. In a matter of decades, words and images had become enmeshed and entangled, printed alongside each other in a spectacular array of printed forms. The exponential growth of illustration not only radically changed literature, but also changed the way that literature was read. This book offers a major conceptualisation of the difference that pictures made to the reading of words. Analysing an extensive range of illustrated material and drawing on the accounts of Victorian readers, reviewers, authors, artists, and psychologists, the book describes how the Victorians characterised the effects of illustration, and how illustrations, in turn, elicited and anticipated responses from their readers. What emerges from these sources is the notion of a distinct mode of reading that determined readers' material and mental engagements with illustrated literature. The presence of images on the page was said to impact on whether readers created images in their mind as they read. Illustrations generated feelings of pleasure or displeasure; they determined what was read first, what was recalled, and what was etched in the memory.By peering into the recesses of the mind's eye, this book identifies the cognitive mechanisms and cultural politics that were central to how the Victorians described their reading of illustrated literature. It suggests the significance of these ideas of reading for understanding the place of illustration in Victorian culture and the relation between words, pictures, and historical values and meanings. Illustration was fundamental to how the Victorians read, and to how we read the Victorians.

The Victorian Mind's Eye: Reading Literature in an Age of Illustration The Victorians lived in an age of illustration. In a matter of decades, words and images had become enmeshed and entangled, printed alongside each other in a spectacular array of printed forms. The exponential growth of illustration not only radically changed literature, but also changed the way that literature was read. This book offers a major conceptualisation of the difference that pictures made to the reading of words. Analysing an extensive range of illustrated material and drawing on the accounts of Victorian readers, reviewers, authors, artists, and psychologists, the book describes how the Victorians characterised the effects of illustration, and how illustrations, in turn, elicited and anticipated responses from their readers. What emerges from these sources is the notion of a distinct mode of reading that determined readers' material and mental engagements with illustrated literature. The presence of images on the page was said to impact on whether readers created images in their mind as they read. Illustrations generated feelings of pleasure or displeasure; they determined what was read first, what was recalled, and what was etched in the memory.By peering into the recesses of the mind's eye, this book identifies the cognitive mechanisms and cultural politics that were central to how the Victorians described their reading of illustrated literature. It suggests the significance of these ideas of reading for understanding the place of illustration in Victorian culture and the relation between words, pictures, and historical values and meanings. Illustration was fundamental to how the Victorians read, and to how we read the Victorians.

The Victorian Mind's Eye: Reading Literature in an Age of Illustration The Victorians lived in an age of illustration. In a matter of decades, words and images had become enmeshed and entangled, printed alongside each other in a spectacular array of printed forms. The exponential growth of illustration not only radically changed literature, but also changed the way that literature was read. This book offers a major conceptualisation of the difference that pictures made to the reading of words. Analysing an extensive range of illustrated material and drawing on the accounts of Victorian readers, reviewers, authors, artists, and psychologists, the book describes how the Victorians characterised the effects of illustration, and how illustrations, in turn, elicited and anticipated responses from their readers. What emerges from these sources is the notion of a distinct mode of reading that determined readers' material and mental engagements with illustrated literature. The presence of images on the page was said to impact on whether readers created images in their mind as they read. Illustrations generated feelings of pleasure or displeasure; they determined what was read first, what was recalled, and what was etched in the memory.By peering into the recesses of the mind's eye, this book identifies the cognitive mechanisms and cultural politics that were central to how the Victorians described their reading of illustrated literature. It suggests the significance of these ideas of reading for understanding the place of illustration in Victorian culture and the relation between words, pictures, and historical values and meanings. Illustration was fundamental to how the Victorians read, and to how we read the Victorians.

Is seeing a matter of nature? Does perspective show things as they really are? Can we read an image in the same way as a text? Reading Images draws together essays that attempt to answer these questions but in a variety of ways and from the different theoretical positions offered by psychoanalysis, semiotics, poststructuralism and postmodernism. The anthology opens up a dialogue between seeing and the seen, text and image, theory and practice. By discussing a range of visual material, from advertising and architecture to painting and photography, it crosses generic and disciplinary boundaries and suggests ways in which vision and visuality are related to questions of textuality, subjectivity, race and gender.

Everything is open to question. Nothing is sacred.Critical and cultural theory invites a rethinking of some of our most basic assumptions about who we are, how we behave, and how we interpret the world around us.The Routledge Critical and Cultural Theory Reader brings together 29 key pieces from the last century and a half that have shaped the field. Topics include: subjectivity, language, gender, ethnicity, sexuality, the body, the human, class, culture, everyday life, literature, psychoanalysis, technology, power, and visuality. The choice of texts, together with the editors' introduction and glossary, will allow newcomers to begin from first principles, while the use of unabridged readings will also make the volume suitable for those undertaking more specialized work. Material is arranged chronologically, but the editors have suggested thematic pathways through the selections.

Essential information for the design of healthcare facilitiesBuilding Type Basics for Healthcare Facilities, Second Edition is your one-stop reference for the essential information you need to confidently begin the design process and successfully complete a healthcare project, large or small, on time and within budget. Leading architects from across the United States share their firsthand knowledge in order to guide you through all aspects of healthcare facility design, with an emphasis on what you need to do to get started quickly.This edition is revised with multiple new healthcare project examples completed this century, more information on engineering requirements, and background on evolving sustainability and technology issues. It begins with an assessment of the healthcare industry's current and future needs, focusing on how those needs affect architecture. Next you get critical information and guidelines that enable you to create successful designs for inpatient, outpatient, and long-term care facilities. Coverage includes clinics, emergency departments, ambulatory care units, specialty centers, as well as facilities designed for adaptive reuse or the assimilation of future technologies.This quick reference: Addresses twenty key questions that arise when launching a healthcare facility design projectOffers insight from leaders in the industry based on their own design experienceProvides hundreds of project photographs, diagrams, floor plans, sections, and detailsNot only does this book offer current, authoritative information, its comprehensive coverage and logical organization also save you countless hours of research.Building Type Basics books provide architects with the essentials needed to jump-start specialized facilities design. Each volume features leading experts in the field who address the issues that shape the early phases of a project in a convenient, easy-to-use format.

Anyone who has paid the entry fee to visit Shakespeare's Birthplace on Henley Street in Stratford-upon-Avon-and there are some 700,000 a year who do so-might be forgiven for taking the authenticity of the building for granted. The house, as the official guidebooks state, was purchased by Shakespeare's father, John Shakespeare, in two stages in 1556 and 1575, and William was born and brought up there. The street itself might have changed through the centuries-it is now largely populated by gift and tea shops-but it is easy to imagine little Will playing in the garden of this ancient structure, sitting in the inglenook in the kitchen, or reaching up to turn the Gothic handles on the weathered doors.In Shakespeare's Shrine Julia Thomas reveals just how fully the Birthplace that we visit today is a creation of the nineteenth century. Two hundred years after Shakespeare's death, the run-down house on Henley Street was home to a butcher shop and a pub. Saved from the threat of an ignominious sale to P. T. Barnum, it was purchased for the English nation in 1847 and given the picturesque half-timbered faÇade first seen in a fanciful 1769 engraving of the building. A perfect confluence of nationalism, nostalgia, and the easy access afforded by rail travel turned the house in which the Bard first drew breath into a major tourist attraction, one artifact in a sea of Shakespeare handkerchiefs, eggcups, and door-knockers.It was clear to Victorians on pilgrimage to Stratford just who Shakespeare was, how he lived, and to whom he belonged, Thomas writes, and the answers were inseparable from Victorian notions of class, domesticity, and national identity. In Shakespeare's Shrine she has written a richly documented and witty account of how both the Bard and the Warwickshire market town of his birth were turned into enduring symbols of British heritage-and of just how closely contemporary visitors to Stratford are following in the footsteps of their Victorian predecessors.

Anyone who has paid the entry fee to visit Shakespeare's Birthplace on Henley Street in Stratford-upon-Avon-and there are some 700,000 a year who do so-might be forgiven for taking the authenticity of the building for granted. The house, as the official guidebooks state, was purchased by Shakespeare's father, John Shakespeare, in two stages in 1556 and 1575, and William was born and brought up there. The street itself might have changed through the centuries-it is now largely populated by gift and tea shops-but it is easy to imagine little Will playing in the garden of this ancient structure, sitting in the inglenook in the kitchen, or reaching up to turn the Gothic handles on the weathered doors.In Shakespeare's Shrine Julia Thomas reveals just how fully the Birthplace that we visit today is a creation of the nineteenth century. Two hundred years after Shakespeare's death, the run-down house on Henley Street was home to a butcher shop and a pub. Saved from the threat of an ignominious sale to P. T. Barnum, it was purchased for the English nation in 1847 and given the picturesque half-timbered faÇade first seen in a fanciful 1769 engraving of the building. A perfect confluence of nationalism, nostalgia, and the easy access afforded by rail travel turned the house in which the Bard first drew breath into a major tourist attraction, one artifact in a sea of Shakespeare handkerchiefs, eggcups, and door-knockers.It was clear to Victorians on pilgrimage to Stratford just who Shakespeare was, how he lived, and to whom he belonged, Thomas writes, and the answers were inseparable from Victorian notions of class, domesticity, and national identity. In Shakespeare's Shrine she has written a richly documented and witty account of how both the Bard and the Warwickshire market town of his birth were turned into enduring symbols of British heritage-and of just how closely contemporary visitors to Stratford are following in the footsteps of their Victorian predecessors.

The Victorians were image obsessed. The middle decades of the nineteenth century saw an unprecedented growth in the picture industry. Technological advances enabled the Victorians to adorn with images the pages of their books and the walls of their homes. But this was not a wholly visual culture. Pictorial Victorians focuses on two of the most popular mid-nineteenth-century genres—illustration and narrative painting—that blurred the line between the visual and textual.Illustration negotiated text and image on the printed page, while narrative painting juxtaposed the two media in its formulation of pictorial stories. Author Julia Thomas reassesses mid-nineteenth-century values in the light of this interplay. The dialogue between word and image generates meanings that are intimately related to the Victorians' image of themselves. Illustrations in Victorian publications and the narrative scenes that lined the walls of the Royal Academy reveal the Victorians' ideas about the world in which they lived and their notions of gender, class, and race.Pictorial Victorians surveys a range of material, from representations of the crinoline, to the illustrations that accompanied Harriet Beecher Stowe's novel Uncle Tom's Cabin and Tennyson's poetry, to paintings of adultery. It demonstrates that the space between text and image is one in which values are both constructed and questioned.

Can an eight-year-old girl really make a difference?See what happens when one girl sets her mind to help others. Children will learn that they can make a difference in their own community even if they're only eight.

This book brings the study of nineteenth-century illustrations into the digital age. The key issues discussed include the difficulties of making illustrations visible online, the mechanisms for searching the content of illustrations, and the politics of crowdsourced image tagging. Analyzing a range of online resources, the book offers a conceptual and critical model for engaging with and understanding nineteenth-century illustration through its interplay with the digital.In its exploration of the intersections between historic illustrations and the digital, the book is of interest to those working in illustration studies, digital humanities, word and image, nineteenth-century studies, and visual culture.