Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today.

    Their groundbreaking new reader, Writing About Writing, does exactly that, by encouraging students to draw on what they know in order to contribute to ongoing conversations about writing and literacy. Class-tested by thousands of students, Writing about Writing presents accessible writing studies research by authors such as Donald Murray, Mike Rose, and Deborah Brandt, together with popular texts by authors such as Malcolm X, Sherman Alexie, and Junot Díaz. Throughout the book, friendly explanations and scaffolded questions help students connect to readings and — even more important — develop knowledge about writing they can use at work, in their everyday lives, and in college. The conversation on writing about writing continues on the authors' blog, Write On: Notes on Writing about Writing (a channel on Bedford Bits, Bedford/St.Martin's blog for teachers of writing).

    Instead of insisting on the uniqueness and newness of electronic writing and interactive fiction, however, Aarseth situates these literary forms within the tradition of "ergodic" literature—a term borrowed from physics to describe open, dynamic texts such as the I Ching or Apollinaire's calligrams, with which the reader must perform specific actions to generate a literary sequence.Constructing a theoretical model that describes how new electronic forms build on this tradition, Aarseth bridges the widely assumed divide between paper texts and electronic texts. He then uses the perspective of ergodic aesthetics to reexamine literary theories of narrative, semiotics, and rhetoric and to explore the implications of applying these theories to materials for which they were not intended.

    The Language of African Literature2. The Language of African Theatre3. The Language of African Fiction4. The Quest for RelevanceIndex

    . . . The combination of utility with beauty makes Kondo's book required reading, for those with an interest not only in Japan but also in reflexive anthropology, women's studies, field methods, the anthropology of work, social psychology, Asian Americans, and even modern literature."—Paul H. Noguchi, American Anthropologist"Kondo's work is significant because she goes beyond disharmony, insisting on complexity. Kondo shows that inequalities are not simply oppressive-they are meaningful ways to establish identities."—Nancy Rosenberger, Journal of Asian Studies

    Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

    Steiner Kvale examines the role of the interview in the research process, and then considers some of the key philosophical issues relating to interviewing, such as the interview as conversation, hermeneutics, phenomenology, ethics and postmodernism.

    For many students this can be a terrifying experience. Although colleges and universities may have different systems, basic principles for planning research and making the compromise between what is desirable and what is feasable are the same. This book aims to provide a plain guide to ways of producing a dissertation with minimum stress and frustration. It covers such areas as choosing a subject, planning the total work, selecting research methods and techniques, written style and presentation.

    This text covers four main areas: Language, Ideology and Power; Discourse and Sociocultural Change; Textual Analysis in Social Research; and Critical Language Awareness.

    Fully updated and now in two colour, the text is accessible and well structured with numerous real life examples and student learning aids. The text is also accompanied by a fully comprehensive companion web site.

    Narratology is a systematic account of narrative techniques, methods, their transmission, and reception, in which Bal distills years of study of the ways in which we understand both literary and non-literary works.In this third edition, Bal updates the book to include more analysis of film narratives while also sharpening and tightening her language to make it the most readable and student-friendly edition to date. Bal also introduces new sections that treat and clarify several modernist texts that pose narratological challenges. With changes prompted by ten years of feedback from scholars and teachers, Narratology remains the most important contribution to the study of the way narratives work, are formed, and are received.

    Written specifically for students with no previous experience of research and research methodology, the writing style is simple and clear and the author presents this complex subject in a straightforward way that empowers readers to tackle research with confidence. The book has been revised and updated to include extended coverage of qualitative research methods in addition to existing comprehensive coverage of quantitative methods. There are also brand new learning features such as reflective questions throughout the text to help students consolidate their knowledge.

    In a world before "gay" and "straight" referred to sexuality, men like Walt Whitman and John Addington Symonds created new ways to name and conceive of their erotic relationships with other men. Katz, diving into history through diaries, letters, newspapers, and poems, offers us a clearer picture than ever before of how men navigated the uncharted territory of male-male desire.

    The author shows how, as the novel has been eclipsed by the mass media, novelists have sought to retain and regain a wide readership by drawing on the themes and preoccupations of these forms. Making use of contemporary fiction by such writers as Fowles, Borges, Spark, Barthelme, Brautigan, Vonnegut and Barth, and drawing on Russian Formalist theories of literary evolution, the book argues that metafiction uses parody along with popular genres and non-literary forms as a way not only of exposing the inadequate and obsolescent conventions of the classic novel, but of stuggesting the lines along which fiction might develop in the future.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.