New features include: a new chapter on queer theory; every chapter has been revised with new introductions with appropriate new critical vocabulary, critical terms, further readings sections, and web sites; new student essays; structuralism and deconstruction have been combined into one section to make the material clearer and more streamlined; and the addition of Plotinus, Giovanni Boccaccio, Joseph Addison, Percy Pysshe Shelley, and Mikhail Bakhtin.

    Starting at 'The Beginning' and concluding with 'The End', chapters range from the familiar, such as 'Character', 'Narrative' and 'The Author', to the more unusual, such as 'Secrets', 'Pleasure' and 'Ghosts'. Now in its fifth edition, Bennett and Royle's classic textbook successfully illuminates complex ideas by engaging directly with literary works, so that a reading of Jane Eyre opens up ways of thinking about racial difference, for example, while Chaucer, Raymond Chandler and Monty Python are all invoked in a discussion of literature and laughter.The fifth edition has been revised throughout and includes four new chapters - 'Feelings', 'Wounds', 'Body' and 'Love' - to incorporate exciting recent developments in literary studies. In addition to further reading sections at the end of each chapter, the book contains a comprehensive bibliography and a glossary of key literary terms.A breath of fresh air in a field that can often seem dry and dauntingly theoretical, this book will open the reader's eyes to the exhilarating possibilities of reading and studying literature.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    The ideas in De la grammatologie sparked lively debates in intellectual circles that included students of literature, philosophy, and the humanities, inspiring these students to ask questions of their disciplines that had previously been considered improper. Thirty years later, the immense influence of Derrida's work is still igniting controversy, thanks in part to Gayatri Spivak's translation, which captures the richness and complexity of the original. This corrected edition adds a new index of the critics and philosophers cited in the text and makes one of contemporary criticism's most indispensable works even more accessible and usable.

    The addition of Angela Eaton of Texas Tech University brings a fresh tone to her updates of content and pedagogy while retaining the authoritative voice of Carolyn Rude. Some of the text's changes include an update to Chapter 6, "Electronic Editing," and examples about editing Web sites are found throughout the text to support the increased role of online resources in every aspect of communication.

    This makes it especially suitable if you are a trainee teacher or a practising teacher working independently to develop your professional knowledge. It is written in a clear, readable style without unnecessary technical jargon - this has helped to make it a standard text for trainee teachers throughout the world.There are evaluations and case studies throughout the book so that you can see a practical context for the research ideas you are reading about. Many of these examples are taken directly from real first and second language classrooms. There are also a number of opportunities for you to practise some of the observation and analysis techniques which are used in the research described in the book.The book is organized into seven chapters:Chapter 1: 'Language Learning in early childhood' (Includes a new section on childhood bilingualism.)Chapter 2: 'Explaining second language learning' (Includes new material for the 3rd edition on skill learning, connectionism, and the 'noticing hypothesis'.)Chapter 3: 'Individual differences in second language learning' (Topics covered include: intelligence, aptitude, learning styles, personality, motivation and attitudes, identity and ethic group affiliation, and learner beliefs.)Chapter 4: 'Learner language' (Describes the features and sequence of language development and includes discussion of how second language learning is affected by the student's first language)Chapter 5: 'Observing learning and teaching in the second language' (Looks at different learning environments and then discusses ways of observing and reporting on them.)Chapter 6: 'Second language learning in the classroom' (Contains six practical proposals for classroom teaching based on research findings and insights.)Chapter 7: 'Popular ideas about language learning revisited' (The authors list and give their personal perspective on some commonly held beliefs about language learning.)There is a Glossary to explain new and technical terms used in the book. There is also a list of suggestions for further reading at the end of each chapter, as well as a full bibliography at the end of the book.

    Now with the strongest coverage of research writing in a full-sized handbook, the seventh edition helps students meet one of the core challenges of academic writing: maintaining their own voice while writing from sources. This edition also adds innovative tips from writing center tutors, sound advice for writing across the curriculum, and substantially more help for writing with and writing about visuals.

    Now the celebrated producer, lecturer, teacher, and bestselling author has updated his classic guide for a new generation of filmmakers, offering a fresh insider’s perspective on the film industry today. From concept to character, from opening scene to finished script, here are easily understood guidelines to help aspiring screenwriters—from novices to practiced writers—hone their craft. Filled with updated material—including all-new personal anecdotes and insights, guidelines on marketing and collaboration, plus analyses of recent films, from American Beauty to Lord of the Rings—Screenplay presents a step-by-step, comprehensive technique for writing the screenplay that will succeed in Hollywood. Discover:•Why the first ten pages of your script are crucially important•How to visually “grab” the reader from page one, word one •Why structure and character are the essential foundation of your screenplay•How to adapt a novel, a play, or an article into a screenplay•Tips on protecting your work—three legal ways to claim ownership of your screenplay•The essentials of writing great dialogue, creating character, building a story line, overcoming writer’s block, getting an agent, and much more.With this newly updated edition of his bestselling classic, Syd Field proves yet again why he is revered as the master of the screenplay—and why his celebrated guide has become the industry’s gold standard for successful screenwriting.

    How to Read Literature is the book of choice for students new to the study of literature and for all other readers interested in deepening their understanding and enriching their reading experience. In a series of brilliant analyses, Eagleton shows how to read with due attention to tone, rhythm, texture, syntax, allusion, ambiguity, and other formal aspects of literary works. He also examines broader questions of character, plot, narrative, the creative imagination, the meaning of fictionality, and the tension between what works of literature say and what they show. Unfailingly authoritative and cheerfully opinionated, the author provides useful commentaries on classicism, Romanticism, modernism and postmodernism along with spellbinding insights into a huge range of authors, from Shakespeare and Jane Austen to Samuel Beckett and J. K. Rowling.

    Moving from the literary to the visual, from the artistic to the autobiographical, and from the psychoanalytic to the historical, the book defines for the first time the trauma of the Holocaust as a radical crisis of witnessing "the unprecedented historical occurrence of...an event eliminating its own witness." Through the alternation of a literary and clinical perspective, the authors focus on the henceforth modified relation between knowledge and event, literature and evidence, speech and survival, witnessing and ethics.

    Porter Abbott emphasizes that narrative is found not only in the arts but everywhere in the ordinary course of people's lives. An indispensable tool for students and teachers alike, this book will guide readers through the fundamental aspects of narrative.

    But the essays of Julia Kristeva in this volume, though they often deal with literature and art, do not amount to either "literary criticism" or "art criticism." Their concern, writes Kristeva, "remains intratheoretical: they are based on art and literature in order to subvert the very theoretical, philosophical, or semiological apparatus."Probing beyond the discoveries of Sigmund Freud, Jacques Lacan, Roman Jakobson, and others, Julia Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. Desire in Language fully shows what Roman Jakobson has called Kristeva's "genuine gift of questioning generally adopted 'axioms, ' and her contrary gift of releasing various 'damned questions' from their traditional question marks."

    The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magic Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accesible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their applications demonstrated.Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspiring writers, and anyone who wishes to understand how literature works.Beginning (Jane Austen, Ford Madox Ford) --The intrusive author (George Eliot, E.M. Forster) --Suspense (Thomas Hardy) --Teenage Skaz (J.D. Salinger) --The epistolary novel (Michael Frayn) --Point of view (Henry James) --Mystery (Rudyard Kipling) --Names (David Lodge, Paul Auster) --The stream of consciousness (Virginia Woolf) --Interior monologue (James Joyce) --Defamiliarization (Charlotte Bronte) --The sense of place (Martin Amis) --Lists (F. Scott Fitzgerald) --Introducing a character (Christopher Isherwood) --Surprise (William Makepeace Thackeray) --Time-shift (Muriel Spark) --The reader in the text (Laurence Sterne) --Weather (Jane Austen, Charles Dickens) --Repetition (Ernest Hemingway) --Fancy prose (Vladimir Nabokov) --Intertextuality (Joseph Conrad) --The experimental novel (Henry Green) --The comic novel (Kingsley Amis) --Magic realism (Milan Kundera) --Staying on the surface (Malcolm Bradbury) --Showing and telling (Henry Fielding) --Telling in different voices (Fay Weldon) --A sense of the past (John Fowles). Imagining the future (George Orwell) --Symbolism (D.H. Lawrence) --Allegory (Samuel Butler) --Epiphany (John Updike) --Coincidence (Henry James) --The unreliable narrator (Kazuo Ishiguro) --The exotic (Graham Greene) --Chapters etc. (Tobias Smollett, Laurence Sterne, Sil Walter Scott, George Eliot, James Joyce) --The telephone (Evelyn Waugh) --Surrealism (Leonora Carringotn) --Irony (Arnold Bennett) --Motivation (George Eliot) --Duration (Donald Barthelme) --Implication (William Cooper) --The title (George Gissing) --Ideas (Anthony Burgess) --The non-fiction novel (Thomas Carlyle) --Metafiction (John Barth) --The uncanny (Edgar Allen Poe) --Narrative structure (Leonard Michaels) --Aporia (Samuel Beckett) --Ending (Jane Austen, William Golding)

    With carefully honed apparatus that helps students work with the challenging selections, Ways of Reading guides students through the process of developing intellectual skills necessary for college-level academic work by engaging them in conversations with key academic and cultural texts. It also bridges the gap between contemporary critical theory and composition so that instructors can connect their own scholarly work with their teaching.

    This book helps students, academics and nonfiction writers to get more done, write intelligent texts and learn for the long run. It teaches you how to take smart notes and ensure they bring you and your projects forward. The Take Smart Notes principle is based on established psychological insight and draws from a tried and tested note-taking-technique. This is the first comprehensive guide and description of this system in English, and not only does it explain how it works, but also why. It suits students and academics in the social sciences and humanities, nonfiction writers and others who are in the business of reading, thinking and writing. Instead of wasting your time searching for notes, quotes or references, you can focus on what really counts: thinking, understanding and developing new ideas in writing. It does not matter if you prefer taking notes with pen and paper or on a computer, be it Windows, Mac or Linux. And you can start right away.