Gerald is careful. Piggie is not. Piggie cannot help smiling. Gerald can. Gerald and Piggie are best friends. In Can I Play Too? Gerald and Piggie meet a new snake friend who wants to join in a game of catch. But don't you need arms to catch? Mo Willems’ Geisel Award-winning duo never fails to tickle readers of all ages. Like previous Elephant & Piggie Books, this adve...(展开全部)

Gerald is careful. Piggie is not. Piggie cannot help smiling. Gerald can. Gerald and Piggie are best friends. In Can I Play Too? Gerald and Piggie meet a new snake friend who wants to join in a game of catch. But don't you need arms to catch? Mo Willems’ Geisel Award-winning duo never fails to tickle readers of all ages. Like previous Elephant & Piggie Books, this adve...(展开全部)

According to Roger Caillois, play is "an occasion of pure waste: waste of time, energy, ingenuity, skill, and often of money." In spite of this - or because of it - play constitutes an essential element of human social and spiritual development. In this classic study, Caillois defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from...(展开全部)

According to Roger Caillois, play is "an occasion of pure waste: waste of time, energy, ingenuity, skill, and often of money." In spite of this - or because of it - play constitutes an essential element of human social and spiritual development. In this classic study, Caillois defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from...(展开全部)

罗伯特•费希尔（Robert Fisher）：布鲁内尔大学的教育学教授。他曾在英国、非洲和香港等地从事教育工作20余年。此外，他还著有30余本教育学方面的专著，包括《教孩子学会思考》（Teaching Children to Think）、《教孩子学会学习》（Teaching Children to Learn）、《思考的故事》（Stories for Thinking）和《创造性对话》（Creative Dialogue）等。 更多关于孩子教育的信息，请参阅罗伯特•费希尔教授的网页：www.teachingthinking.net

" The inertia of language, " declares Geoffrey Hill, is also " the coercive force of language." Good poets write against coercion, and "Against Coercion" is essentially about the power of words. Looking at our most highly organized form of words, poems, and how they work, it observes how that work speaks-- always indirectly-- to historical, ethical, and aesthetic questions, inc...(展开全部)

一本爱意浓浓的小画册，绘制于1965年，至今仍然是爱人们互赠礼物的小甜点。罗密欧可以把它送给茱丽叶，查理布朗可以把它送给史努比，better把它送给bad，隔着山川河流，两个小时的时差，还有32天的见面，你可以把它送给你身边最特别的人。 我喜欢你 你也喜欢我 "You know how to be silly That's why I like you Boy are you ever silly I never met anybody sillier than me till I met you." "I like you because you know when it's time to stop being silly Maybe day after tomorrow... Maybe never Oops, too late, it's a...(展开全部)

安东尼·布朗 1946年出生在英格兰的雪菲尔，自小喜爱画画与说故事。十六岁进入里兹艺术学院（Leeds College of Art）学习，在美术馆里接触英国超现实主义画家法兰斯·培根（Francis Bacon）的作品。十七岁那年，父亲猝然离世，在安东尼·布朗心里造成极大的冲击。艺术学院毕业后，安东尼·布朗参加了圣巴瑟洛莫（St.Bartholomow's Hospital）提供的医学绘画课程，课程结束后，进入曼彻斯特皇家医院担任人体解剖图的绘制工作。从1971年开始，他为世界著名的Gordon Fraser卡片公司设计贺卡，深受大众喜爱之后，他又运用熟练的插画技巧制作图画书，于1976年出版了第一本图画书《穿越魔镜》（Through the Magic Mirror）,由此开启了图画书创作的生涯。他自写自画的《大猩猩》（Gorilla）、《动物园...(展开全部)