Mouse works in the scullery at Dunston Manor, peeling onions, stirring the pots, sweeping the floors, and doing her best not to get into trouble with the fractious cook. Alone at night in the dark corner she calls home, she wishes for something wondrous to happen and dreams of a better life. But what chance does she have, a girl born with nothing, not even a proper name? Then Mouse sees a puppet play and knows at once what she must do. Somehow she must learn to make the puppets dance. Somehow she must become the puppeteer's apprentice. But the puppeteer is harboring some uncomfortable secrets, and Mouse doesn't know whether she has the courage it takes to fulfill her dreams. How Mouse finds her place in the world, and a very special name, is the heart of this thoroughly absorbing and remarkable story set in medieval England.

Impressed by the work of the puppetmaster and his apprentice, Tavia’s ruler, The Margrave, has ordered dozens of life-size marionette soldiers to be sent to Wolfspire Hall. When the orders for more soldiers come in with increasingly urgent deadlines, the puppetmaster’s health suffers and Pirouette, his daughter and protégé, is left to build in his stead. But there is something far more twisted brewing at Wolfspire—the Margrave’s son wants Pirouette to create an assassin. And he wants her to give it life. With Tavia teetering on the brink of war and her father dying in the dungeons, Pirouette has no choice but to accept. Racing against the rise of the next blue moon—the magic that will bring her creations to life—she can't help but wonder, is she making a masterpiece...or a monster?

Who is the man called Sabura, the mysterious bandit who robs the rich and helps the poor? And what is his connection with Yosida, the harsh and ill- tempered master of feudal Japan's most famous puppet theater? Young Jiro, an apprentice to Yosida, is determined to find out, even at risk to his own life. Meamwhile, Jiro devotes himself to learning puppetry. Kinshi, the puppet master's son, tutors him. When his sheltered life at the theater is shattered by mobs of hungry, rioting peasants, Jiro becomes aware of responsibilities greater that his craft. As he schemes to help his friend Kinshi and to find his own parent, Jiro stumbles onto a dangerous and powerful secret....

Linking actual instances of language use with structures of social power in francophone Belgium, Gross outlines the history and contemporary configuration of rod puppetry in Liège. The analysis of this working class performance art moves between what occurs on and off stage. As puppeteers speak in other voices, sometimes in Walloon and sometimes in French, they create a sociolinguistic model based on 19th century renditions of medieval texts, the voices of past puppeteers, and the language that surrounds them. The high level of linguistic reflexivity created by the regional language movement has led to frequent metalinguistic and metapragmatic commentaries within the puppet shows. This complex speech genre embedded in social context shows the influence of identity struggles: from local class oppositions to imperial designs abroad. Keeping a tight focus on language, Speaking in Other Voices examines the process of entextualization and recontextualization as stories of war and religion are transmitted to succeeding generations.

Puppetry is an exciting, flexible, malleable art form that can engage the creative forces of children or adults. Puppets can not only tell a story, they can be used to enhance the curriculum, present an idea or a concept in a compelling way, or teach any number of necessary skills. Children and adults presenting a puppet play are given a sense of their own inventive power. This reference work offers an A to Z view of working with puppets. It covers everything from the basic strategies of advertising and marketing puppet productions, to assembling the puppets out of household materials such as paper bags, cereal boxes, or gloves, to the more elaborate sculpting of armatures. Stages, curtains and props are also discussed along with the history of puppetry. Numerous illustrations give a visual of many of the finished products. This work concludes with an annotated bibliography and index.

Edward Baltram is overwhelmed with guilt. His nasty little prank has gone horribly wrong: He has fed his closest friend a sandwich laced with a hallucinogenic drug and the young man has fallen out of a window to his death. Edward searches for redemption through a reunion with his famous father, the reclusive painter Jesse Baltram. Funny and compelling, The Good Apprentice is at once a supremely sophisticated entertainment and an inquiry into the spiritual crises that afflict the modern world. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

This volume recommends some 500 positive, heart-warming stories for young readers—stories of the human spirit and what it can accomplish; stories of loving families surviving crises in positive ways; historical tales full of quick-witted people (especially girls); fairy tales with strong women; true stories of survival; and more. These gentle and uplifting reads span every genre—from science fiction and fantasy, to mysteries, realistic fiction, biographies, and nonfiction. They are Accelerated Reader titles, Reading Counts titles, and Junior Library Guild selections. Primarily intended for grades 5 to 9, this is a list of reading suggestions for the young adult who wants a great read but does not want to be offended. Grades 5-9.

Tracing the development in Sicily of a chivalric tradition based on the medieval stories of Charlemagne and his knights, this is an analysis of Sicilian storytelling, puppetry, festivals, cart painting and other folk art. Interviews with puppeteers are documented, and hand painted cart panels and playbill posters are described and illustrated. The diffusion of the chivalric tradition in Sicily is explained in part by the "sense of honor" that has permeated Sicilian life. The story of one puppeteer, Girolamo Cuticchio, and his family sheds light on the hardships and uncertain future of this art.

Doll Bones meets Splendors and Glooms as a boy who trades bodies with a wooden marionette. . . . The Museum of Peculiar Arts holds many oddities--a mechanical heart, a diary bound in its owner's skin . . . and Penny, a child-size marionette who almost looks alive. Fog clouds Penny's memories from before the museum, but she catches glimpses here and there: a stage, deep red curtains, long-fingered hands gripping her strings. One day, a boy named Chance touches Penny's strings and hears her voice in his head. Penny can listen, and watch, and think? Now someone else is watching Penny and Chance--a man with a sharp face, a puppeteer who has the tools to change things. A string through a needle. A twist of a spindle. And suddenly Chance is trapped in Penny's marionette body, while Penny is free to run and dance. She knows that finding a way to switch back is the right thing to do. But this body feels so wonderful, so full of life! How can Penny ever return to her puppet shell?

The tales contained in this collection were first told in the dark decade of Burmese history (1876–85) during the coming event of the British conquest. The stories combine exotic background with strong details that offer the Western reader both a picture of Burma in the nineteenth century and an understanding of the basic good sense, gaiety, and gentleness of the Burmese people and the Buddhist clergy. The characters that appear in the book illustrate timeless truths about human nature, which today's reader can apply to existing people and situations. For the first time since the eleventh century the future of Burmese Buddhism became uncertain, and there was widespread fear, both in Upper Burma still under a Burmese king and in Lower Burma already under British rule, that the final fall of the Burmese kingdom would result in the total extinction of both the national religion and the Burmese way of life. Told with the purpose of allaying this anxiety and fear, these tales give a full and faithful résumé and appraisal of the position of Burmese Buddhism on the eve of the British conquest of 1886.