Every new reader's brain possesses the extraordinary capacity to rearrange itself beyond its original abilities in order to understand written symbols. But how does the brain learn to read? As world-renowned cognitive neuroscientist and scholar of reading Maryanne Wolf explains in this impassioned book, we taught our brain to read only a few thousand years ago, and in the process changed the intellectual evolution of our species.Wolf tells us that the brain that examined tiny clay tablets in the cuneiform script of the Sumerians is configured differently from the brain that reads alphabets or of one literate in today's technology.There are critical implications to such an evolving brain. Just as writing reduced the need for memory, the proliferation of information and the particular requirements of digital culture may short-circuit some of written language's unique contributions—with potentially profound consequences for our future.Turning her attention to the development of the individual reading brain, Wolf draws on her expertise in dyslexia to investigate what happens when the brain finds it difficult to read. Interweaving her vast knowledge of neuroscience, psychology, literature, and linguistics, Wolf takes the reader from the brains of a pre-literate Homer to a literacy-ambivalent Plato, from an infant listening to Goodnight Moon to an expert reader of Proust, and finally to an often misunderstood child with dyslexia whose gifts may be as real as the challenges he or she faces.As we come to appreciate how the evolution and development of reading have changed the very arrangement of our brain and our intellectual life, we begin to realize with ever greater comprehension that we truly are what we read. Ambitious, provocative, and rich with examples, Proust and the Squid celebrates reading, one of the single most remarkable inventions in history. Once embarked on this magnificent story of the reading brain, you will never again take for granted your ability to absorb the written word.

    This edition features optional quantitative reasoning boxes, basic equations throughout the book, new end-of-chapter problems, and a consolidated math appendix for professors who want to emphasize quantitative understanding in their course. Key figures have been annotated to guide student interpretation of difficult concepts. New two-page Cosmic Context illustration spreads throughout the book, and at the end of every part, visually tie together key concepts from across chapters and put them in context, driving home main ideas in a meaningful way.

    Here, an indigenous researcher issues a clarion call for the decolonization of research methods.The book is divided into two parts. In the first, the author critically examines the historical and philosophical base of Western research. Extending the work of Foucault, she explores the intersections of imperialism, knowledge and research, and the different ways in which imperialism is embedded in disciplines of knowledge and methodologies as 'regimes of truth'. Providing a history of knowledge from the Enlightenment to Postcoloniality, she also discusses the fate of concepts such as 'discovery, 'claiming' and 'naming' through which the west has incorporated and continues to incorporate the indigenous world within its own web.The second part of the book meets the urgent need for people who are carrying out their own research projects, for literature which validates their frustrations in dealing with various western paradigms, academic traditions and methodologies, which continue to position the indigenous as 'Other'. In setting an agenda for planning and implementing indigenous research, the author shows how such programmes are part of the wider project of reclaiming control over indigenous ways of knowing and being.Exploring the broad range of issues which have confronted, and continue to confront, indigenous peoples, in their encounters with western knowledge, this book also sets a standard for truly emancipatory research. It brilliantly demonstrates that "when indigenous peoples become the researchers and not merely the researched, the activity of research is transformed."

    Filled with examples and vignettes, the emphasis is always on teaching methods that promote student independence at all education levels. Its non-categorical approach helps ensure all students’ success regardless of their specific categories of exceptionality.The Sixth edition integrates today’s expectations for students with the authors’ strong commitment to inclusive practices, tempered by the realities of day-today teaching. This text provides a firm grounding in special education practices, an understanding of the professionals who support these students and the procedures followed to ensure their rights are upheld, and a wealth of research-based strategies and interventions that can foster their success.

    This engaging overview of the field combines an accessible account of some of the discipline's guiding principles and methodology with abundant examples and illustrations of anthropologists at work. Peter Just and John Monaghan begin by discussing anthropology's most important contributions to modern thought: its investigation of culture as a distinctively human characteristic, its doctrine of cultural relativism, and its methodology of fieldwork and ethnography. Drawing on examples from their own fieldwork in Indonesia and Mesoamerica, they examine specific ways in which social and cultural anthropology have advanced our understanding of human society and culture. Including an assessment of anthropology's present position, and a look forward to its likely future, Social and Cultural Anthropology will make fascinating reading for anyone curious about this social science. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

    It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    'The McGraw-Hill Handbook of English Grammar and Usage' does so in an entertaining way.

    Like its predecessor, this edition of Academic Writing for Graduate Students" explains understanding the intended audience, the purpose of the paper, and academic genres." includes the use of task-based methodology, analytic group discussion, and genre consciousness-raising." shows how to write summaries and critiques." features "language focus" sections that address linguistic elements as they affect the wider rhetorical objectives." helps students position themselves as junior scholars in their academic communities.The Commentary has also been revised and is available.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Now with a built-in Resource Manual and Study Guide, Language, Culture, and Society is the teaching text for the linguistic anthropology course.

    A growing number of scholars and political activists have invoked the term to describe a variety of changing economic, political, cultural, ideological, and environmental processes that are alleged to have accelerated in the last few decades. Rather than forcing such a complex social phenomenon into a single conceptual framework, Manfred Steger presents globalization in plain, readable English as a multifaceted process encompassing global, regional, and local aspects of social life. In addition to explaining the various dimensions of globalization, the author explores whether globalization should be considered a good or bad thing--a question that has been hotly debated in classrooms, boardrooms, and on the streets.

    How many authors would travel coast to coast on a bus to get their book into as many hands as possible? Not many. But that's just what Ron Clark, author of The Essential 55, did to keep his book and message in the public eye. And it worked. After his Oprah appearance, sales skyrocketed: we've sold more than 850,000 copies in six months! The book sat tenaciously on the New York Times bestseller list for 11 weeks. Ron Clark was featured on the Today show, and in the Chicago Tribune, Good Housekeeping, and the New York Daily News--not to mention the calls we've received from teachers and parents who want to get their hands on Ron's guidelines for teaching children. Now in paperback, The Essential 55 will be the perfect book for parents and teachers to slip into their own backpacks, to read on the train or at lunch, and to highlight the sections that resonate for them. And with an author who is truly a partner in getting his message to the masses, we just can't lose.

    If you want to be a writer, you begin by carefully observing the work of accomplished writers. Recognizing the importance that modeling plays in the learning process, high school English teacher Kelly Gallagher shares how he gets his students to stand next to and pay close attention to model writers, and how doing so elevates his students' writing abilities. Write Like This is built around a central premise: if students are to grow as writers, they need to read good writing, they need to study good writing, and, most important, they need to emulate good writers. In Write Like This, Kelly emphasizes real-world writing purposes, the kind of writing he wants his students to be doing twenty years from now. Each chapter focuses on a specific discourse: express and reflect, inform and explain, evaluate and judge, inquire and explore, analyze and interpret, and take a stand/propose a solution. In teaching these lessons, Kelly provides mentor texts (professional samples as well as models he has written in front of his students), student writing samples, and numerous assignments and strategies proven to elevate student writing. By helping teachers bring effective modeling practices into their classrooms, Write Like This enables students to become better adolescent writers. More important, the practices found in this book will help our students develop the writing skills they will need to become adult writers in the real world.

    In this text, two well respected poets bring their love of the craft of poetry into a book that teaches as well as inspires. The text also includes exercises, chapter summaries, games, diagrams, illustrations, and 4-color reproductions of great works of art.

    Lewis' The Discarded Image paints a lucid picture of the medieval world view, as historical and cultural background to the literature of the Middle Ages and Renaissance. It describes the image discarded by later ages as the medieval synthesis itself, the whole organization of their theology, science and history into a single, complex, harmonious mental model of the universe. This, Lewis' last book, was hailed as the final memorial to the work of a great scholar and teacher and a wise and noble mind.