This volume provides her readers and fans with additional insights into her life and work. The first section provides a biographical chapter and literary heritage. The second and third sections analyze the Tales of Tortall and the Magic Circle Sagas as a whole, providing details into the characters and settings of each. The final section of the book, Perspectives, includes both a section on literary techniques along with an interview of Tamora Pierce herself. Appendices include a section on Power Female Heroes, and Fantasy Adventures.Novels include: *The Song of the Lioness Quartet *The Immortals Quartet *The Protector of the Small Quartet *The Trickster Duology *The Magic Circle Quartet *The Circle Opens Quartet *The Will of the Empress

    York Notes author John Scicluna discusses all aspect of An Inspector Calls --a thorough run-down very helpful to anyone studying the famous Priestley play.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    The aim of the series is to give readers accessible and informative introductions to some of the most popular, most acclaimed and most influential novels of recent years - from ‘The Remains of the Day' to ‘White Teeth'. A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question.

    

    This anthology of classic and cutting-edge statements in literary theory has now been updated to include recent influential texts in the areas of Ethnic Studies, Postcolonialism and International StudiesA definitive collection of classic statements in criticism and new theoretical work from the past few decades All the major schools and methods that make up the dynamic field of literary theory are represented, from Formalism to Postcolonialism Enables students to familiarise themselves with the most recent developments in literary theory and with the traditions from which these new theories derive

    Sebald travelled to Manchester in 1966, he packed in his bags certain literary favourites which would remain central to him throughout the rest of his life and during the years when he was settled in England. In A Place in the Country, he reflects on the six of the figures who shaped him as a person and as a writer, including Jean-Jacques Rousseau, Robert Walser and Jan Peter Tripp.Fusing biography and essay, and finding, as ever, inspiration in place – as when he journeys to the Ile St. Pierre, the tiny, lonely Swiss island where Jean-Jacques Rousseau found solace and inspiration – Sebald lovingly brings his subjects to life in his distinctive, inimitable voice.A Place in the Country is a window into the mind of this much loved and much missed writer.

    That's why the trusted experts at Good Food magazine, the UK's best-selling cookery magazine, have put together this essential guide to making the most of your slow cooker. With recipes for comfort food favourites like curries, chillis, soups and puddings, through to fresh ideas for meaty stews, braised fish and melt-in-the-mouth vegetarian meals, there is a slow-cooked meal to suit every taste and occasion. Accompanied throughout with full-colour photographs and a nutritional breakdown of every recipe, this collection of Good Food's favourite triple-tested slow cooker recipes will work first time, every time. A blend of timeless classics, clever twists and irresistible flavours, Slow Cooker Favourites is packed with recipe ideas for a whole host of mouth-watering treats. This edition is revised and updated with brand new recipes and a fresh new look.

    Selection includes the following: RALPH WALDO EMERSON: Art, Character, Circles, Compensation, Divinity School Address, Experience, Friendship, Gifts, Heroism, History, Intellect, Literary Ethics, Love, Man the Reformer, Nature, New England Reformers, Nominalist and Realist, Politics, Prudence, Representative Men, Self-Reliance, The American Scholar, The Conservative, The Method of Nature, The Over-Soul, The Poet, The Transcendentalist, The Young American, HENRY DAVID THOREAU: An Excursion to Canada, A Plea for Captain John Brown, A Week on the Concord and Merrimack Rivers, Autumnal Tints, Civil Disobedience, Life Without Principle, Night and Moonlight, Slavery in Massachusetts, The Landlord, Walden, Walking

    The best way to lose weight is by developing a style of eating you can live with, because it’s flexible and probably unique to you. But often that’s easier said than done.You’ve no doubt tried some different things already. Maybe you’ve been advised to eat only when hungry and stop when full; to overeat your favourite foods so you’d learn to get over them; to find the right kind or combination of carbs, proteins and fats, or micronutrients; to deal with your emotions in order to stop wanting to eat so much.None of this takes into account what happens in your brain when your natural, survival drive to eat (and eat and eat) becomes activated. The purpose of this drive is to get you through the next famine, but in these times of plenty it’s a disaster. In the face of this, nutritional advice may not make much of a difference. You can know what’s healthy, but find it impossible to stick to for long enough.Do you feel hungry after a meal, no matter what was in it? Do you lose weight only to yo-yo back again? Do you think about food too much of the time? Would you like to stop dieting and eat ‘like a normal person’?<b>DITCHING DIETS</b> explains how to stop eating so much by thinking in a way that’s the opposite of dieting. The opposite because it’s the dieting mindset – especially the prohibitions - that contribute to the problem in the first place.You will discover how to eat in ways you truly want to live with, rather than ways you later regret; how to eat less without following any rules, either your own or those taken on from others; how to develop the motivation to make changes, and stay in touch with that motivation long term.You will learn how to eliminate:• persistent cravings and obsession with food• feeling deprived, miserable or irritable when you don’t overeat• an all-or-nothing relationship with food• rebellious overeating and bingeing.<b>DITCHING DIETS</b> will give you control around food so that you can lose weight – and maintain that weight loss in the longer term. This is about how to make a shift in your thinking about food that will last, and once you’ve made that shift there will be no need to diet again.<b>DITCHING DIETS</b> is easy to read, with thought-provoking and practical advice that the author has taught in seminars for many years. Not a book on nutrition, this is a common sense, gimmick-free approach that enables you to overcome your attraction to all that food you don’t really need. <i>“Her way of achieving a healthy lifestyle and junking diets for ever has to be the only way forward in my life.” </i>ELLE<i>“I can sense the shift in my thought process and I am no longer grazing from the fridge all night.” </i>The Daily Telegraph<i>“I am eating healthier food and less of it. What I like most is the idea of never going on a diet again.” </i>The Independent<b>A NOTE FROM THE AUTHOR</b>Many years ago I signed up for a liquid diet programme, and the day I was to begin I woke up with a strong desire for a large, fried, English breakfast. The thing was, I didn’t ever eat breakfasts like that at that time.

    Here, the stigmatized condition of a spinster; there, a writer's unequalled display of absolute, impersonal authority. In between, the secret work of Austen's style: to keep at bay the social doom that would follow if she ever wrote as the person she is.For no Jane Austen could ever appear in Jane Austen. Amid happy wives and pathetic old maids, we see no successfully unmarried woman, and, despite the multitude of girls seeking to acquire "accomplishments," no artist either. What does appear is a ghostly No One, a narrative voice unmarked by age, gender, marital status, all the particulars that make a person--and might make a person peculiar. The Austen heroine must suppress her wit to become the one and not the other, to become, that is, a person fit to be tied in a conjugal knot. But for herself, Austen refuses personhood, with all its constraints and needs, and disappears into the sourceless anonymity of her style. Though often treasured for its universality, that style marks the specific impasse of a writer whose self-representation is impossible without the prospect of shame.D.A. Miller argues this case not only through the close reading that Austen's style always demands, but also through the close writing, the slavish imitation, that it sometimes inspires.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.

    An exploration of the ideas, groupings and the social tensions that shaped the transformation of life caused by the changes of modernity in art, science, politics and philosophy

    . . Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on paraphilosophical modes of discourse. The sections on Céline, for example, are indispensable reading for those interested in this writer and place him within a context that is both illuminating and of general interest." -Paul de Man