'For the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story-whatever the medium. Chatman, whose approach here is at once dualist and structuralist, divides his subject into the 'what' of the narrative (Story) and the 'way'(Discourse)... Chatman's command of his material is impressive.'

    From students with disabilities, culturally diverse students, and students with limited English proficiency to economically disadvantaged students this text provides teachers with the tools they need in their diverse classrooms. Revised to reflect the most current research, terminology and teaching practices, the strength of this text continues to be its numerous learning activities and sample lessons addressing both elementary and secondary classrooms. This edition continues its very popular multi- chapter unit on curriculum adaptations with specific strategies and activities for teaching reading, writing, and mathematics. With a new chapter on Response to Intervention and Progress Monitoring and full integration of the RTI framework, and the increase emphasis on middle and secondary students, this text continues its reign as an outstanding resource for all general education teachers. 0131381253 / 9780131381254 Teaching Students Who are Exceptional, Diverse, and at Risk in the General Education Classroom (with MyEducationLab) Package consists of 0135140870 / 9780135140871 MyEducationLab -- Access Card 0137151799 / 9780137151790 Teaching Students Who are Exceptional, Diverse, and at Risk in the General Education Classroom

    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.

    For parents helping with their children’s homework, casual theatre-goers who want to enhance their enjoyment of the most popular plays and the general reader who feels they should probably know more about Britain’s most splendid scribe, Shakespeare for Grown-ups covers Shakespeare's time; his personal life; his language; his key themes; his less familiar works and characters; his most famous speeches and quotations; phrases and words that have entered general usage, and much more. With lively in-depth chapters on all the major works including Hamlet, Othello, King Lear, The Tempest, Romeo and Juliet, Much Ado About Nothing, Antony and Cleopatra, Richard II, Henry V, A Midsummer Night's Dream, The Merchant of Venice and Macbeth, Shakespeare for Grown-ups is the only guide you’ll ever need.

    Professor Douglas makes points which illuminate matters in the philosophy of religion and the philosophy of science and help to show the rest of us just why and how anthropology has become a fundamentally intellectual discipline.

    To a classicist however, the word brings to mind the masterpieces of Sophocles, Shakespeare, and Racine; beautiful dramas featuring romanticized torment. What has tragedy been made to mean by dramatists, storytellers, philosophers, politicians, and journalists over the last two and a half millennia? Why do we still read, re-write, and stage these old plays? This lively and engaging work presents an entirely unique approach which shows the relevance of tragedy to today's world, and extends beyond drama and literature into visual art and everyday experience. Addressing questions about belief, blame, mourning, revenge, pain, and irony, noted scholar Adrian Poole demonstrates the age-old significance of our attempts to make sense of terrible suffering.

    Many of the best novels, plays, poetry, and films in the English language produced since Shakespeare’s death in 1616—from Jane Austen to The Godfather—are heavily influenced by Shakespeare’s stories, characters, language, and themes.  In a sense, his works are a kind of Bible for the modern world, bringing us together intellectually and spiritually.  Hamlet, Juliet, Macbeth, Ophelia, and a vast array of other singular Shakespearean characters have become the archetypes of our consciousness. To know some Shakespeare provides a head start in life.  In How to Teach Your Children Shakespeare, acclaimed playwright Ken Ludwig provides the tools you need to instill an understanding, and a love, of Shakespeare’s works in your children, and to have fun together along the way.Ken Ludwig devised his methods while teaching his own children, and his approach is friendly and easy to master. Beginning with  memorizing short specific passages from Shakespeare's plays, this method then instills children with cultural references they will utilize for years to come. Ludwig’s approach includes understanding of the time period and implications of Shakespeare’s diction as well as the invaluable lessons behind his words and stories.  Colorfully incorporating the history of Shakespearean theater and society, How to Teach Your Children Shakespeare guides readers on an informed and adventurous journey through the world in which the Bard wrote.This book’s simple process allows anyone to impart to children the wisdom of plays like A Midsummer Night’s Dream, Twelfth Night, Macbeth, and Romeo and Juliet. And there’s fun to be had along the way. Shakespeare novices and experts, and readers of all ages, will each find something delightfully irresistible in How to Teach Your Children Shakespeare.

    Influenced by works such as Don Juan, and the novels of Kafka, these essays begin with a meditation on suicide: the question of living or not living in an absurd universe devoid of order or meaning. With lyric eloquence, Camus posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

    Goddard takes readers on a tour through the works of William Shakespeare, celebrating his incomparable plays and unsurpassed literary genius.

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama.Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.

    Born in Martinique in 1928, Glissant earned a doctorate from the Sorbonne. When he returned to his native land in the mid-sixties, his writing began to focus on the idea of a "relational poetics," which laid the groundwork for the "créolité" movement, fueled by the understanding that Caribbean culture and identity are the positive products of a complex and multiple set of local historical circumstances. Some of the metaphors of local identity Glissant favored—the hinterland (or lack of it), the maroon (or runaway slave), the creole language—proved lasting and influential.In Poetics of Relation, Glissant turns the concrete particulars of Caribbean reality into a complex, energetic vision of a world in transformation. He sees the Antilles as enduring suffering imposed by history, yet as a place whose unique interactions will one day produce an emerging global consensus. Arguing that the writer alone can tap the unconscious of a people and apprehend its multiform culture to provide forms of memory capable of transcending "nonhistory," Glissant defines his "poetics of relation"—both aesthetic and political—as a transformative mode of history, capable of enunciating and making concrete a French-Caribbean reality with a self-defined past and future. Glissant's notions of identity as constructed in relation and not in isolation are germane not only to discussions of Caribbean creolization but also to our understanding of U.S. multiculturalism. In Glissant's view, we come to see that relation in all its senses—telling, listening, connecting, and the parallel consciousness of self and surroundings—is the key to transforming mentalities and reshaping societies.This translation of Glissant's work preserves the resonating quality of his prose and makes the richness and ambiguities of his voice accessible to readers in English.

    Sidney argues with wit and irony that poetry is the art which best teaches what is good and true.

    Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    Jonathan Culler's On Deconstruction is a typically patient, thoughtful, illuminating exposition of the ideas of Jacques Derrida and their application to literary studies."--David Lodge, Commonweal "Culler is lucid and thorough, can move into and out of other people's arguments without losing the sense of his own voice and argument, and can manage to seem equally at home with Freudianism, feminism, and traditional literary criticism."--Times Literary Supplement "As a practicing critic Culler has always been a deconstructor, and he approaches this topic with special immediacy and force. In On Deconstruction he offers generous summaries of numerous representative articles and a fine annotated bibliography. . . . His magisterial way of tracing particular topics and techniques through our diaspora of critical texts, and his provocative analyses, cannot fail to focus any critic's thinking about deconstruction."--Modern Language Quarterly "Gifted with grace and clarity, Culler provides us with a stimulating survey of contemporary literary criticism."--Antioch Review With an emphasis on readers and reading, Jonathan Culler considered deconstruction in terms of the questions raised by psychoanalytic, feminist, and reader-response criticism. On Deconstruction is both an authoritative synthesis of Derrida's thought and an analysis of the often-problematic relation between his philosophical writings and the work of literary critics. Culler's book is an indispensable guide for anyone interested in understanding modern critical thought. This edition marks the twenty-fifth anniversary of the first publication of this landmark work and includes a new preface by the author that surveys deconstruction's history since the 1980s and assesses its place within cultural theory today.