The Prose Reader promotes the skills of thinking, reading, and writing, enabling the user to think more clearly and logically--both in his/her mind and on paper. Prose models are intended to inspire, encouraging improved writing with a partnership with some of the best examples of professional prose available today. Each chapter begins with an explanation of a single technique, with essays that follow each chapter introduction selected from a wide variety of well-known contemporary authors. It helps readers discover various ways of thinking about and analyzing the essay. The book progresses from selections that require literal skills (Description, Narration, and Example) through readings involving more interpretation (Process Analysis, Division/Classification, Comparison/Contrast, and Definition) to essays that demand a high degree of analytical thought (Cause/Effect and Argument/Persuasion). An excellent and demanding reader for anyone interested in building their reading, writing, and thinking skills.
An investigation into the ways in which early modern books were advertised, this study argues that those means of advertisement both record and help to shape social interactions between people and books. These interactions are not only fascinating in themselves, but also demonstrably linked to larger social phenomena, such as human commodification, the development of English nationalism, the increasingly unruly proliferation of literacy, and changing conceptions of literature. Within the context of recent developments of new textualism and new economic criticism, Saenger's approach makes use of formalist strategies of genre recognition as well as new historicist connections between social history and art. In this study Saenger illustrates his general account of the formal properties of front matter-titles and subtitles, prefatory epistles, and commendatory verses-with engaging readings of specific examples, including Feltham's Resolves, A Myrrovre for Magistrates, and Sidney's Arcadia. He explores the several ways in which paratextual authors sought to involve the reader in various active roles vis à vis the main text, whether those books were prose fiction or translated continental sermons. Some particular attention is devoted to printed drama, both because dramatic texts present printers with a unique set of challenges and because those texts have often been misread in recent criticism. This book offers a much-needed analysis of profound transformations-not only to the book trade as an industry, but also to the very concepts of reading and authorship-in an age which saw the relatively brief coincidence of ancient marketing strategies and systems and the burgeoning market of the mechanically reproduced text.
Tropes and the Literary-Scientific Revolution: Forms of Proof argues that the rise of mechanical science in the seventeenth century had a profound impact on both language and literature. To the extent that new ideas about things were accompanied by new attitudes toward words, what we commonly regard as the “scientific revolution” inevitably bore literary dimensions as well. Literary tropes and forms underwent tremendous reassessment in the seventeenth century, and early modern science was shaped just as powerfully by contest over the place of literary figures, from personification and metaphor to anamorphosis and allegory. In their rejection of teleological explanations of natural motion, for instance, early modern philosophers often disputed the value of personification, a figural projection of interiority onto what was becoming increasingly a mechanical world. And allegory—a dominant mode of literature from the late Middle Ages until well into the Renaissance—became “the vice of those times,” as Thomas Rymer described it in 1674. This book shows that its acute devaluation was possible only in conjunction with a distinctively modern physics. Analyzing writings by Sidney, Shakespeare, Bacon, Jonson, Brahe, Kepler, Galileo, Hobbes, Descartes, and more, it asserts that the scientific revolution was a literary phenomenon, just as the literary revolution was also a scientific one.
Michael Waters performs an Olympian act of storytelling, using the stories of these extraordinary athletes to explore in brilliant detail the struggle for understanding and equality." —Jonathan Eig, author of King: A Life The story of the early trans athletes and Olympic bureaucrats who lit the flame for today’s culture wars. In December 1935, Zdeněk Koubek, one of the most famous sprinters in European women’s sports, declared he was now living as a man. Around the same time, the celebrated British field athlete Mark Weston, also assigned female at birth, announced that he, too, was a man. Periodicals and radio programs across the world carried the news; both became global celebrities. A few decades later, they were all but forgotten. And in the wake of their transitions, what could have been a push toward equality became instead, through a confluence of bureaucracy, war, and sheer happenstance, the exact opposite: the now all-too-familiar panic around trans, intersex, and gender nonconforming athletes. In The Other Olympians, Michael Waters uncovers, for the first time, the gripping true stories of Koubek, Weston, and other pioneering trans and intersex athletes from their era. With dogged research and cinematic flair, Waters also tracks how International Olympic Committee members ignored Nazi Germany’s atrocities in order to pull off the Berlin Games, a partnership that ultimately influenced the IOC’s nearly century-long obsession with surveilling and cataloging gender. Immersive and revelatory, The Other Olympians is a groundbreaking, hidden-in-the-archives marvel, an inspiring call for equality, and an essential contribution toward understanding the contemporary culture wars over gender in sports.
Our modern narratives of science and technology can only go so far in teaching us about the death that we must all finally face. Can an act of the imagination, in the form of opera, take us the rest of the way? Might opera, an art form steeped in death, teach us how to die, as this provocative work suggests? In "Opera: The Art of Dying" a physician and a literary theorist bring together scientific and humanistic perspectives on the lessons on living and dying that this extravagant and seemingly artificial art imparts. Contrasting the experience of mortality in opera to that in tragedy, the Hutcheons find a more apt analogy in the medieval custom of "contemplatio mortis"--a dramatized exercise in imagining one's own death that prepared one for the inevitable end and helped one enjoy the life that remained. From the perspective of a contemporary audience, they explore concepts of mortality embodied in both the common and the more obscure operatic repertoire: the terror of death (in Poulenc's "Dialogues of the Carmelites"); the longing for death (in Wagner's "Tristan and Isolde"); preparation for the good death (in Wagner's "Ring of the Nibelung"); and suicide (in Puccini's "Madama Butterfly"). In works by Janacek, Ullmann, Berg, and Britten, among others, the Hutcheons examine how death is made to feel logical and even right morally, psychologically, and artistically--how, in the art of opera, we rehearse death in order to give life meaning.
The story of a man in his 70s who searched for a Nazi who was in hiding since the end of World War 2. This man in his 70s was touched by the memories of men, women and children murdered in Nazi concentration camps whose only crime was that they were Jewish. A fictional thought-provoking account of love, vengeance and justice.
Die Fortsetzung von THE SAUFBÄUREN CHORNICLES. Hauptwachtmeister Geisenheimer steht vor einem Rätsel. In den Vollmondnächten zieht ein grausamer Mörder durch die vorweihnachtlichen Wälder des kleinen Eifeldorfs Saufbäuren und hinterlässt grausam entstellte Leichen. Sein Stellvertreter, Wachtmeister Kraxlhuber, ist ihm keine große Hilfe und auch der Rest der sogenannten Ortspolizei sind Nägel zu seinem Sarg. Ein bös-witziges, irrsinniges Stück voller Blut, Sex, Gewalt und Humor. Die perfekte Mischung für alle, die glauben, schon alles gelesen zu haben.
Nexus presents the traditional rhetorical modes as different ways of thinking about our contemporary world, no matter the medium. It builds on students' multimedia communication skills by using a mix of readings in contemporary and traditional genres to improve students' college writing skills. Nexus starts where students' interests lie—with engaging essays, interviews, blog conversations, Web sites, and YouTube videos. These “readings” are presented in a lively, highly visual format that draws on the daily environment in which students are immersed, including electronic and visual sources that are stimulating, energizing, and directly related to topics they are studying. While the format of Nexus is contemporary and stimulating, the content is substantive and pedagogically sound. Students are asked continually throughout this text to pull ideas from multiple media and respond to them first with critical thinking and writing and then by creating a project through a written, oral, visual, or electronic medium of their own choice.
Designed for Developmental Writing courses (Essay level). An appealing alternative to the popular Reader's Choice, now in its third Canadian edition, Reader's Choice: Essays and Stories adds fiction to provide a broader range of models of writing. The book's primary purpose continues to be helping students improve their ability to think, read, and write on progressively more sophisticated levels.
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