Second edition of a popular introductory textbook, combining breadth of coverage, practical examples, and student-friendly features Includes new sections on metaphor, framing, stance and style, multimodal discourse, and Gricean pragmatics Considers a variety of approaches to the subject, including critical discourse analysis, conversation analysis, interactional and variationist sociolinguistics, ethnography, corpus linguistics, and other qualitative and quantitative methods Features detailed descriptions of the results of discourse analysts' work Retains and expands the useful student features, including discussion questions, exercises, and ideas for small research projects.

    His humor and short fiction appear in various publications throughout the Southeast.

    not merely interesting and novel, but also exceedingly provocative and heuristically fertile." --The Review of Metaphysics... essential reading for anyone interesting in... the new reader-centered forms of criticism." --Library JournalIn this erudite and imaginative book, Umberto Eco sets forth a dialectic between 'open' and 'closed' texts.

    This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer.  This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early  rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias.  In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.  From the Hardcover edition.

    Challenging queer theory’s recent emphasis on loss and trauma, Elizabeth Freeman foregrounds bodily pleasure in the experience and representation of time as she interprets an eclectic archive of queer literature, film, video, and art. She examines work by visual artists who emerged in a commodified, “postfeminist,” and “postgay” world. Yet they do not fully accept the dissipation of political and critical power implied by the idea that various political and social battles have been won and are now consigned to the past. By privileging temporal gaps and narrative detours in their work, these artists suggest ways of putting the past into meaningful, transformative relation with the present. Such “queer asynchronies” provide opportunities for rethinking historical consciousness in erotic terms, thereby countering the methods of traditional and Marxist historiography. Central to Freeman’s argument are the concepts of chrononormativity, the use of time to organize individual human bodies toward maximum productivity; temporal drag, the visceral pull of the past on the supposedly revolutionary present; and erotohistoriography, the conscious use of the body as a channel for and means of understanding the past. Time Binds emphasizes the critique of temporality and history as crucial to queer politics.

    This book provides professors and their graduate teaching assistants--those at the front line of interactions with students--with techniques and approaches they can use in class to help at-risk students raise their skills so that they can successfully complete their studies.

    In this critical anthology, the first of its kind, editors Lois Parkinson Zamora and Wendy B. Faris show magical realism to be an international movement with a wide-ranging history and a significant influence among the literatures of the world. In essays on texts by writers as diverse as Toni Morrison, Günter Grass, Salman Rushdie, Derek Walcott, Abe Kobo, Gabriel García Márquez, and many others, magical realism is examined as a worldwide phenomenon.Presenting the first English translation of Franz Roh’s 1925 essay in which the term magical realism was coined, as well as Alejo Carpentier’s classic 1949 essay that introduced the concept of lo real maravilloso to the Americas, this anthology begins by tracing the foundations of magical realism from its origins in the art world to its current literary contexts. It offers a broad range of critical perspectives and theoretical approaches to this movement, as well as intensive analyses of various cultural traditions and individual texts from Eastern Europe, Asia, North America, Africa, the Caribbean, and Australia, in addition to those from Latin America. In situating magical realism within the expanse of literary and cultural history, this collection describes a mode of writing that has been a catalyst in the development of new regional literatures and a revitalizing force for more established narrative traditions—writing particularly alive in postcolonial contexts and a major component of postmodernist fiction.

    In seven provocative essays, Zipes discusses the importance of investigating oral folk tales in their socio-political context and traces their evolution into literary fairy tales, a metamorphosis that often diminished the ideology of the original narrative. Zipes also looks at how folk tales influence our popular belie

    The teaching of poetry languishes, and that region of youthful neurological terrain capable of being ignited only by poetry is largely dark, unpopulated, and silent, like a classroom whose shades are drawn. This is more than a shame, for poetry is our common treasure-house, and we need its vitality, its respect for the subconscious, its willingness to entertain ambiguity, its plaintive truth-telling, and its imaginative exhibitions of linguistic freedom, which confront the general culture's more grotesque manipulations. We need the emotional training sessions poetry conducts us through. We need its previews of coming attractions: heartbreak, survival, failure, endurance, understanding, more heartbreak.—from "Twenty Poems That Could Save America"Twenty Poems That Could Save America presents insightful essays on the craft of poetry and a bold conversation about the role of poetry in contemporary culture. Essays on the "vertigo" effects of new poetry give way to appraisals of Robert Bly, Sharon Olds, and Dean Young. At the heart of this book is an honesty and curiosity about the ways poetry can influence America at both the private and public levels. Tony Hoagland is already one of this country's most provocative poets, and this book confirms his role as a restless and perceptive literary and cultural critic.

    It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century.Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle.Crary approaches these issues through multiple analyses of single works by three key modernist painters -- Manet, Seurat, and Cezanne -- who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices."Suspensions of Perception" decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception -- in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.

    “Why We Left: An Anthology of American Women Expats” is a fun, inspiring and humorous read you'll enjoy from cover to cover, full of useful and encouraging words of wisdom from 27 women who made the move and couldn’t be happier. In inspiring words straight from the heart, the contributors share their plans and preparations, hardships and challenges, joys and satisfactions as their new lives in Mexico unfold.

    Having uprooted herself from a promising career in publishing in her adopted Brooklyn, Palmer embarks on a quest to determine the fate of her lost homes—and of a community that has been erased by unchecked Southern progress. Palmer's journey takes her from the ruins of kudzu-covered, airport-owned ghost towns to carefully preserved cemeteries wedged between the runways; into awkward confrontations with airport planners, developers, and even her own parents. Along the way, Palmer becomes an amateur detective, an urban historian, and a mother. Lyrically chronicling the overlooked devastation and beauty along the airport’s fringe communities in the tradition of John Jeremiah Sullivan and Leslie Jamison, Palmer unearths the startling narratives about race, power, and place that continue to shape American cities. Part memoir, part urban history, Flight Path: A Search for My Roots beneath the World's Busiest Airport is a riveting account of one young mother's attempt at making a home where there’s little home left.

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

    Is it the covers? Is it because the audience and authors are largely comprised of women? Or is it something else? Perhaps the bad reputation of romance has to do with surprising dictionary definitions, women, window taxes, the poor, the cost of a ream of paper in the nineteenth century, the rise of the love match marriage, the social status quo, the industrial revolution, and the ongoing tension between high and low art. Discover the origins of the stigma against popular romance novels, those who read it and those who wrote it. It has nothing to do with the covers. These books were scorned because they were dangerous.

    Caroline Levine argues that forms organize not only works of art but also political life-and our attempts to know both art and politics. Inescapable and frequently troubling, forms shape every aspect of our experience. Yet, forms don't impose their order in any simple way. Multiple shapes, patterns, and arrangements, overlapping and colliding, generate complex and unpredictable social landscapes that challenge and unsettle conventional analytic models in literary and cultural studies. Borrowing the concept of affordances from design theory, this book investigates the specific ways that four major forms-wholes, rhythms, hierarchies, and networks-have structured culture, politics, and scholarly knowledge across periods, and it proposes exciting new ways of linking formalism to historicism and literature to politics. Levine rereads both formalist and antiformalist theorists, including Cleanth Brooks, Michel Foucault, Jacques Rancière, Mary Poovey, and Judith Butler, and she offers engaging accounts of a wide range of objects, from medieval convents and modern theme parks to Sophocles's Antigone and the television series The Wire. The result is a radically new way of thinking about form for the next generation and essential reading for scholars and students across the humanities who must wrestle with the problem of form and context.