Seasoned researchers and educators Gregory G. Colomb and Joseph M. Williams present an updated third edition of their classic handbook, whose first and second editions were written in collaboration with the late Wayne C. Booth. The Craft of Research explains how to build an argument that motivates readers to accept a claim; how to anticipate the reservations of readers and to respond to them appropriately; and how to create introductions and conclusions that answer that most demanding question, “So what?” The third edition includes an expanded discussion of the essential early stages of a research task: planning and drafting a paper. The authors have revised and fully updated their section on electronic research, emphasizing the need to distinguish between trustworthy sources (such as those found in libraries) and less reliable sources found with a quick Web search. A chapter on warrants has also been thoroughly reviewed to make this difficult subject easier for researchers Throughout, the authors have preserved the amiable tone, the reliable voice, and the sense of directness that have made this book indispensable for anyone undertaking a research project.

    This Penguin Classics edition is edited with an introduction by James Moore and Adrian Desmond.In The Origin of Species, Charles Darwin refused to discuss human evolution, believing the subject too 'surrounded with prejudices'. He had been reworking his notes since the 1830s, but only with trepidation did he finally publish The Descent of Man in 1871. The book notoriously put apes in our family tree and made the races one family, diversified by 'sexual selection' - Darwin's provocative theory that female choice among competing males leads to diverging racial characteristics. Named by Sigmund Freud as 'one of the ten most significant books' ever written, Darwin's Descent of Man continues to shape the way we think about what it is that makes us uniquely human.In their introduction, James Moore and Adrian Desmond, acclaimed biographers of Charles Darwin, call for a radical re-assessment of the book, arguing that its core ideas on race were fired by Darwin's hatred of slavery. The text is the second and definitive edition and this volume also contains suggestions for further reading, a chronology and biographical sketches of prominent individuals mentioned.Charles Darwin (1809-82), a Victorian scientist and naturalist, has become one of the most famous figures of science to date. The advent of On the Origin of Species by Means of Natural Selection in 1859 challenged and contradicted all contemporary biological and religious beliefs.If you enjoyed The Descent of Man, you might like Darwin's On the Origin of Species, also available in Penguin Classics.

    Ambitious, charismatic, and beautiful, Nefertiti is destined to marry Amunhotep, an unstable young pharaoh. It is hoped by all that her strong personality will temper the young Amunhotep's heretical desire to forsake Egypt's ancient gods, overthrow the priests of Amun, and introduce a new sun god for all to worship. From the moment of her arrival in Thebes, Nefertiti is beloved by the people. Her charisma is matched only by her husband's perceived generosity: Amunhotep showers his subjects with lofty promises. The love of the commoners will not be enough, however, if the royal couple is not able to conceive an heir, and as Nefertiti turns her attention to producing a son, she fails to see that the powerful priests, along with the military, are plotting against her husband's rule. The only person wise enough to recognize the shift in political winds--and brave enough to tell the queen--is her younger sister, Mutnodjmet.Observant and contemplative, Mutnodjmet has never shared her sister's desire for power. She yearns for a quiet existence away from family duty and the intrigues of court. Her greatest hope is to share her life with the general who has won her heart. But as Nefertiti learns of the precariousness of her reign, she declares that her sister must remain at court and marry for political gain, not love. To achieve her independence, Mutnodjmet must defy her sister, the most powerful woman in Egypt, while also remaining loyal to the needs of her family. Love, betrayal, political unrest, plague, and religious conflict, Nefertiti brings ancient Egypt to life in vivid detail. Fast-paced and historically accurate, it is the dramatic story of two unforgettable women living through a remarkable period in history.

    Taking as territory everything from the Big Bang to the rise of civilization, Bryson seeks to understand how we got from there being nothing at all to there being us. To that end, he has attached himself to a host of the world’s most advanced (and often obsessed) archaeologists, anthropologists, and mathematicians, travelling to their offices, laboratories, and field camps. He has read (or tried to read) their books, pestered them with questions, apprenticed himself to their powerful minds. A Short History of Nearly Everything is the record of this quest, and it is a sometimes profound, sometimes funny, and always supremely clear and entertaining adventure in the realms of human knowledge, as only Bill Bryson can render it. Science has never been more involving or entertaining.

    In the vivid and lucid style that we expect from the author of the popular Akhenaten, Redford presents a sweeping narrative of the love-hate relationship between the peoples of ancient Israel/Palestine and Egypt.

    What are the true roots of these influences, however, and how do our interpretations of these aspects of the classics differ from their original reality? This introduction to the classics begins with a visit to the British Museum to view the frieze which once decorated the Apollo Temple a Bassae. Through these sculptures John Henderson and Mary Beard prompt us to consider the significance of the study of Classics as a means of discovery and enquiry, its value in terms of literature, philosophy, and culture, its source of imagery, and the reasons for the continuation of these images into and beyond the twentieth century. Designed for the general reader and student alike, A Very Short Introduction to Classics challenges readers to adopt a fresh approach to the Classics as a major cultural influence, both in the ancient world and twentieth-century--emphasizing the continuing need to understand and investigate this enduring subject.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.

    A unique body of medieval literature, the Sagas rank with the world’s great literary treasures – as epic as Homer, as deep in tragedy as Sophocles, as engagingly human as Shakespeare. Set around the turn of the last millennium, these stories depict with an astonishingly modern realism the lives and deeds of the Norse men and women who first settled in Iceland and of their descendants, who ventured farther west to Greenland and, ultimately, North America. Sailing as far from the archetypal heroic adventure as the long ships did from home, the Sagas are written with psychological intensity, peopled by characters with depth, and explore perennial human issues like love, hate, fate and freedom.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    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

    This fascination has spawned a wealth of extraordinary fictional creations, from Puccini's Madame Butterfly to Arthur Golden's Memoirs of a Geisha. But as denizens of a world defined by silence and mystery, real geisha are notoriously difficult to meet and even to find. As a result, their history has long been cloaked in secrecy. Lesley Downer, an award-winning writer, Japanese scholar, and consummate storyteller, gained more access to this world than almost any other Westerner, and spent several months living in it. In Women of the Pleasure Quarters, she weaves together intimate portraits of modern geisha with the romantic legends and colorful historical tales that shape their fascinating past. Contrary to popular opinion, geisha are not prostitutes but, literally, "arts people." Accomplished singers, dancers, and musicians, they are, above all, masters of the art of conversation, soothing the worries and stroking the egos of wealthy businessmen who can afford their attentions. Looking into such traditions as mizuage, the ritual deflowering that was once a rite of passage for all geisha, and providing colorful descriptions of their dress, training, and homes, Downer transforms their reality into a captivating narrative, and reveals an enthralling world unlike any other.

    The earth-shaking changes that marked this era include such fundamental inventions as the wheel and the plow and intellectual feats such as the inventions of astronomy, law, and diplomacy.#374

    As soon as men began writing they made Helen of Troy their subject. For close to 3000 years she's been both the embodiment of absolute female beauty & a reminder of the terrible power beauty can wield. Because of her double marriage to the Greek king Menelaus & the Trojan prince Paris, Helen was held responsible for enmity between East & West. For millennia she's been viewed as an agent of extermination. But who was she? Helen exists in many guises: a matriarch from the Heroic Age who ruled over one of the most fertile areas of the Mycenaean world; Helen of Sparta, the focus of a cult that conflated the heroine with a pre-Greek fertility goddess; the home-wrecker of the Iliad; the bitch-whore of Greek tragedy; the pin-up of Romantic artists. Focusing on the “real” Helen–-a flesh-&-blood aristocrat from the Greek Bronze Age–-Hughes reconstructs the life context of this prehistoric princess. Thru the eyes of a young Mycenaean woman, she examines the physical, historical & cultural traces that Helen has left on locations in Greece, N. Africa & Asia Minor. This book unpacks the facts & myths surrounding one of the most enigmatic & notorious figures of all time.IllustrationsText AcknowledgementsMapsTimelineDramatis PersonaeFamily TreesForeword & AcknowledgementsIntroductionCherchez la femmeAn evil destiny Helen-hunting Goddess, princess, whore1. Helen's birth in pre-historyA dangerous landscapeA rape, a birthThe lost citadelThe MycenaeansThe pre-historic princess2. The land of beautiful womenThe rape of 'fair Hellen'Sparte kalligynaikaTender-eyed girls 3. The world's desireA trophy for heroes The kingmaker A royal wedding4. KourotrophosHermione A welcome burdenHelen, high priestessLa belle Hélène 5. A lover's gameThe golden apple Bearing gifts Alexander Helenam RapuitThe female of the species is more deadly than the male6. Eros & ErisHelen the whoreThe pain of AphroditeThe sea's foaming lanes7. Troy beckonsEast is east & west is westThe fair Troad The topless towers of IliumThe golden houses of the eastA fleet sets sail8. Troy besiegedHelen, destroyer of citiesDeath's dark cloud A beautiful death, Kalos ThanatosThe fall of Troy 9. Immortal HelenHome to Sparta The death of a queenThe age of heroes ends'Fragrant treasuries' The daughter of the ocean10. The face that launched a thousand shipsHelen in AthensHelen lost & Helen foundHelen, Homer & the chances of survivalVeyn fablesHelen of Troy & the bad SamaritanPerpulchra, more than beautifulDancing with the devilHelen's nemesisAppendicesThe Minotaur's islandLa ParisienneWomen of stone & clay & bronzeElemental Helen, she-gods & she-devilsRoyal purple, the color of congealed bloodEpilogue: Myth, history & historiaAbbreviationsNotesBibliographyIndex

    On a stiflingly hot day in August 30 b.c., the thirty-nine-year-old queen of Egypt, Cleopatra, took her own life rather than be paraded in chains through Rome by her conqueror, Octavian--the future first emperor, Augustus. A few days earlier, her lover of eleven years, Mark Antony, had himself committed suicide and died in her arms. Oceans of mythology have grown up around them, all of which Diana Preston explores in her stirring history of the lives and times of a couple whose names--more than two millennia later--still invoke passion, curiosity, and intrigue.Preston views the drama and romance of Cleopatra and Antony's personal lives as an integral part of the great military, political, and ideological struggle that culminated in the full-fledged rise of the Roman Empire, joined east and west. Perhaps not until Joanna in fourteenth-century Naples or Elizabeth I of England would another woman show such political shrewdness and staying power as did Cleopatra during her years atop the throne of Egypt. Her lengthy affair with Julius Caesar linked the might of Egypt with that of Rome; in the aftermath of the civil war that erupted following Caesar's murder, her alliance with Antony, and his subsequent split with Octavian, set the stage for the end of the Republic.With the keen eye for detail, abundant insight, and storytelling skill that have won awards for her previous books, Diana Preston sheds new light on a vitally important period in Western history. Indeed, had Cleopatra and Antony managed to win the battle of Actium, the centuries that followed, which included the life of Jesus himself, could well have played out differently.

    For the fifth edition, Mary Lynn Rampolla -- who is active in the fields of both history and composition -- provides more practical help with basic skills and new coverage of more sophisticated critical-thinking skills such as analyzing an assignment, reading critically, and constructing a strong argument. Organizational changes over several chapters make it even easier for students at all levels to find the information they need to succeed in their course, saving instructors valuable class time.

    Sometimes it's made when a chauffeur takes a wrong turn, a scientist forgets to clean up his lab, or a drunken soldier gets a bit rowdy. That's the kind of history you'll find in The Greatest Stories Never Told.This is history candy -- the good stuff. Here are 100 tales to astonish, bewilder, and stupefy: more than two thousand years of history filled with courage, cowardice, hope, triumph, sex, intrigue, folly, humor, and ambition. It's a historical delight and a visual feast with hundreds of photographs, drawings, and maps that bring each story to life. A new discovery waits on every page: stories that changed the course of history and stories that affected what you had for breakfast this morning.Consider:The Pilgrims landed on Plymouth Rock because they ran out of beerSome Roman officials were so corrupt that they actually stole time itselfThree cigars changed the course of the Civil WarThe Scottish kilt was invented by an EnglishmanBased on the popular Timelab 2000® history minutes hosted by Sam Waterston on The History Channel®, this collection of fascinating historical tidbits will have you shaking your head in wonder and disbelief. But they're all true. And you'll soon find yourself telling them to your friends.