Austin was one of the leading philosophers of the twentieth century. The William James Lectures presented Austin's conclusions in the field to which he directed his main efforts on a wide variety of philosophical problems. These talks became the classic How to Do Things with Words.For this second edition, the editors have returned to Austin's original lecture notes, amending the printed text where it seemed necessary. Students will find the new text clearer, and, at the same time, more faithful to the actual lectures. An appendix contains literal transcriptions of a number of marginal notes made by Austin but not included in the text. Comparison of the text with these annotations provides new dimensions to the study of Austin's work.

    Its hands-on, completely accessible approach walks writers through each stage of the creative process, from the initial triggering idea to the revision of the final manuscript. It is unique in combing the three main aspects of creative writing instruction: process (finding inspiration, getting ideas on the page), craft (specific techniques like characterization), and anthology (learning by reading masters of the form). Succinct, clear definitions of basic terms of fiction are accompanied by examples, including excerpts from masterpieces of short fiction and essays as well as contemporary novels. A special highlight is Alice LaPlante's systematic debunking of many of the so-called rules of creative writing. This book is perfect for writers working alone as well as for creative writing classes, both introductory and advanced.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    Readers learn why theory matters in designing and implementing high-quality instruction; how to critically evaluate the assumptions and beliefs that guide their own work with students; and the benefits of approaching everyday teaching situations from multiple theoretical perspectives. Every chapter features classroom application activities and illuminating teaching vignettes. Of particular utility to graduate students, the book also addresses research applications, including descriptions of exemplary studies informed by each theoretical model.

    With more than twenty-five years of experience teaching creative writing between them, Anne Bernays and Pamela Painter offer more than seventy-five exercises for both beginners and more experienced writers. These exercises are designed to develop and refine two basic skills: writing like a writer and, just as important, thinking like a writer. They deal with such topics as discovering where to start and end a story; learning when to use dialogue and when to use indirect discourse; transforming real events into fiction; and finding language that both sings and communicates precisely. What If? will be an essential addition to every writer's library, a welcome and much-used companion, a book that gracefully borrows a whisper from the muse.

    The methodology of the late Paulo Freire has helped to empower countless impoverished and illiterate people throughout the world. Freire's work has taken on especial urgency in the United States and Western Europe, where the creation of a permanent underclass among the underprivileged and minorities in cities and urban centers is increasingly accepted as the norm. With a substantive new introduction on Freire's life and the remarkable impact of this book by writer and Freire confidant and authority Donaldo Macedo, this anniversary edition of Pedagogy of the Oppressed will inspire a new generation of educators, students, and general readers for years to come.

    Understanding Rhetoric: A Graphic Guide to Writing covers what first-year college writers need to know — the writing process, critical analysis, argument, research, revision, and presentation — in a visual format that brings rhetorical concepts to life through examples ranging from Aristotle to YouTube.

    Steele’s conclusions shed new light on a host of American social phenomena, from the racial and gender gaps in standardized test scores to the belief in the superior athletic prowess of black men. Steele explicates the dilemmas that arise in every American’s life around issues of identity, from the white student whose grades drop steadily in his African American Studies class to the female engineering students deciding whether or not to attend predominantly male professional conferences. Whistling Vivaldi offers insight into how we form our senses of identity and ultimately lays out a plan for mitigating the negative effects of “stereotype threat” and reshaping American identities.

    The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action.Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.

    Little has changed, however, since then: over half of our children still read at a basic level and few become highly proficient. Many American children and adults are not functionally literate, with serious consequences. Poor readers are more likely to drop out of the educational system and as adults are unable to fully participate in the workforce, adequately manage their own health care, or advance their children's education. In Language at the Speed of Sight, internationally renowned cognitive scientist Mark Seidenberg reveals the underexplored science of reading, which spans cognitive science, neurobiology, and linguistics. As Seidenberg shows, the disconnect between science and education is a major factor in America's chronic underachievement. How we teach reading places many children at risk of failure, discriminates against poorer kids, and discourages even those who could have become more successful readers. Children aren't taught basic print skills because educators cling to the disproved theory that good readers guess the words in texts, a strategy that encourages skimming instead of close reading. Interventions for children with reading disabilities are delayed because parents are mistakenly told their kids will catch up if they work harder. Learning to read is more difficult for children who speak a minority dialect in the home, but that is not reflected in classroom practices. By building on science's insights, we can improve how our children read, and take real steps toward solving the inequality that illiteracy breeds. Both an expert look at our relationship with the written word and a rousing call to action, Language at the Speed of Sight is essential for parents, educators, policy makers, and all others who want to understand why so many fail to read, and how to change that.

    Addressed to copyeditors in book publishing and corporate communications, this thoughtful handbook explains what copyeditors do, what they look for when they edit a manuscript, and how they develop the editorial judgment needed to make sound decisions.This revised edition reflects the most recent editions of The Chicago Manual of Style (15th ed.), the Publication Manual of the American Psychological Association (5th ed.), and Merriam-Webster's Collegiate Dictionary (11th ed.).

    It is possible to develop significant skills in order to make the writing process much easier than you think. In "Research Strategies," author William Badke offers a clear, simple, and often humorous roadmap for conducting research and navigating the vast new world of information and technology. In this, the fourth edition, Badke details the entire research paper process from start to finish. "Research Strategies" provides a plethora of insightful and helpful information, including:Finding and narrowing a topic Creating an outline Searching databases Understanding metadata Using library catalogs and journal databases Conducting Internet research Organizing research notes Writing the actual paper"Research Strategies" explains the skills and strategies you need to efficiently and effectively complete a research project from topic to finished product. With the information provided here, research doesn't have to be frustrating or boring. Badke's strategies present a sure path through the amazing and complex new world of information.

    Readers familiar with the previous edition will find a text that retains all the features that make Rulebook ideally suited for use as a supplementary course book -- including its modest price and compact size. Unlike most textbooks on argumentative writing, Rulebook is organised around specific rules, illustrated and explained soundly and briefly. It is not a textbook, but a rulebook, whose goal is to help students get on with writing a paper or assessing an argument.

    Helen Sword interviewed one hundred academics worldwide about their writing background and practices. Relatively few were trained as writers, she found, and yet all have developed strategies to thrive in their publish-or-perish environment.So how do these successful academics write, and where do they find the "air and light and time and space," in the words of poet Charles Bukowski, to get their writing done? What are their formative experiences, their daily routines, their habits of mind? How do they summon up the courage to take intellectual risks and the resilience to deal with rejection?Sword identifies four cornerstones that anchor any successful writing practice: Behavioral habits of discipline and persistence; Artisanal habits of craftsmanship and care; Social habits of collegiality and collaboration; and Emotional habits of positivity and pleasure. Building on this "BASE," she illuminates the emotional complexity of the writing process and exposes the lack of writing support typically available to early-career academics. She also lays to rest the myth that academics must produce safe, conventional prose or risk professional failure. The successful writers profiled here tell stories of intellectual passions indulged, disciplinary conventions subverted, and risk-taking rewarded. Grounded in empirical research and focused on sustainable change, Air & Light & Time & Space offers a customizable blueprint for refreshing personal habits and creating a collegial environment where all writers can flourish.