Visar resultat för..."Fountain Press Ltd"

The fountain pen as we know it today developed over thousands of years, from the simple stylus used for cutting marks into clay tablets, to the brush, through the reed, the quill and the steel-nib dip pen, and finally to the self-contained fountain pen. The advent of electronic communication of the written word has failed to dim the appeal of the fountain pen, and names such as Parker, Waterman and Sheaffer remain household names. Fountain Pens covers the complete history of the fountain pen with useful advice on how to build a collection and where best to look for fountain pens, from car boot sales to the internet.

Islamic gardens are enchanting places. Just the names of some of the most beautiful gardens in the world - the Alhambra, the Generalife, the Shalimar - conjure up images of calm and even divine beauty. No visitor is left untouched by their magic. This new paperback edition of The Art of the Islamic Garden is an introduction to the design, symbolism and making of an Islamic Garden and it examines that magic, describes the component parts which allow a deeper understanding of the beauty. Topics covered include: history, symbolism and the Quran in relation to the traditional Islamic garden; significance of design and layout of the garden explained, geometry, hard landscaping and architectural elements and aguide to designing the garden with water, and recommendations for trees, shrubs and flowers. There is a unique account of the design and planting of HRH The Prince of Wales' Carpet Garden at Highgrove.

Why, surrounded by screens and smart devices, we feel a deep connection to the analog—vinyl records, fountain pens, Kodak film, and other nondigital tools.We’re surrounded by screens; our music comes in the form of digital files; we tap words into a notes app. Why do we still crave the “realness” of analog, seeking out vinyl records, fountain pens, cameras with film? In this volume in the MIT Press Essential Knowledge series, Robert Hassan explores our deep connection to analog technology. Our analog urge, he explains, is about what we’ve lost from our technological past, something that’s not there in our digital present. We’re nostalgic for what we remember indistinctly as somehow more real, more human. Surveying some of the major developments of analog technology, Hassan shows us what’s been lost with the digital. Along the way, he discusses the appeal of the 2011 silent, black-and-white Oscar-winning film The Artist; the revival of the non-e-book book; the early mechanical clocks that enforced prayer and worship times; and the programmable loom. He describes the effect of the typewriter on Nietzsche’s productivity, the pivotal invention of the telegraph, and the popularity of the first televisions despite their iffy picture quality.The transition to digital is marked by the downgrading of human participation in the human-technology relationship. We have unwittingly unmoored ourselves, Hassan warns, from the anchors of analog technology and the natural world. Our analog nostalgia is for those ancient aspects of who and what we are.

The text of Finnegans Wake is not as monolithic as it might seem. It grew out of a set of short vignettes, sections and fragments. Several of these sections, which James Joyce confidently claimed would "fuse of themselves", are still recognizable in the text of Finnegans Wake. And while they are undeniably integrated very skillfully, they also function separately. In this publication history, Dirk Van Hulle examines the interaction between the private composition process and the public life of Joyce's 'Work in Progress', from the creation of the separate sections through their publication in periodicals and as separately published sections. Van Hulle highlights the beautifully crafted editions published by fine arts presses and Joyce's encouragement of his daughter's creative talents, even as his own creative process was slowing down in the 1930s. All of these pre-book publications were "alive" in both bibliographic and textual terms, as Joyce continually changed the texts in order to prepare the book publication of Finnegans Wake. Van Hulle's book offers a fresh perspective on these texts, showing that they are not just preparatory versions of Finnegans Wake but a 'Work in Progress' in their own right.

The text of Finnegans Wake is not as monolithic as it might seem. It grew out of a set of short vignettes, sections and fragments. Several of these sections, which James Joyce confidently claimed would "fuse of themselves", are still recognizable in the text of Finnegans Wake. And while they are undeniably integrated very skillfully, they also function separately. In this publication history, Dirk Van Hulle examines the interaction between the private composition process and the public life of Joyce's 'Work in Progress', from the creation of the separate sections through their publication in periodicals and as separately published sections. Van Hulle highlights the beautifully crafted editions published by fine arts presses and Joyce's encouragement of his daughter's creative talents, even as his own creative process was slowing down in the 1930s. All of these pre-book publications were "alive" in both bibliographic and textual terms, as Joyce continually changed the texts in order to prepare the book publication of Finnegans Wake. Van Hulle's book offers a fresh perspective on these texts, showing that they are not just preparatory versions of Finnegans Wake but a 'Work in Progress' in their own right.

Carter Jones is astonished early one morning when he finds a real English butler, bowler hat and all, on the doorstep. He announces he is here to stay to help the Jones family, which is a little bit broken.In addition to figuring out middle school, Carter has to adjust to the unwelcome presence of this new know-it-all adult in his life and navigate the butler's notions of decorum and love of cricket. And ultimately, when his burden of grief and anger from the past can no longer be ignored, Carter learns that a burden becomes lighter when it is shared.Sparkling with humour, this insightful and compassionate story is the latest from the award-winning author of Orbiting Jupiter.

Longlisted for the Carnegie MedalFelix Knutsson is nearly thirteen, lives with his mother and pet gerbil Horatio, and is brilliant at memorising facts and trivia. But Felix and his mom Astrid have a secret: they are living in a van. Astrid promises it’s only for a while until she finds a new job, and begs Felix not to breathe a word about it. So when Felix starts at a new school, he does his very best to hide the fact that most of his clothes are in storage, he only showers weekly at the community centre, and that he doesn’t have enough to eat. When his friends Dylan and Winnie ask to visit, Felix always has an excuse.But Felix has a plan to turn his and Astrid’s lives around. All he needs is a little luck and a lot of brain power . . .

Wilbur is sure he’s a loser: he spends his life being bullied, his best friend is 85 years old, and his only talent is playing the triangle in the school band. But things start to look up when he gets the chance to be part of the French exchange. Wilbur’s billet Charlie arrives to spend the week with him and his two moms . . . and it turns out that Charlie is a girl. An amazing, sophisticated, French girl who Wilbur instantly falls in love with.Keen to win her heart, Wilbur agrees to a total life makeover before he sees Charlie again on the return trip to Paris. But the course of true amour never did run smooth . . .