M. Forster, perhaps the greatest living author of the time. Subsequent issues carried interviews with, among others, François Mauriac, Graham Greene, Irwin Shaw, William Styron, Ralph Ellison, and William Faulkner; in the intervening years, many of the world's most significant writers (Ezra Pound, Robert Frost, Ernest Hemingway, John Updike, and John Dos Passos) sat down with The Paris Review. Many of the interviews have been collected in a series of volumes entitled Writers at Work. From these interviews, The Paris Review's editor, George Plimpton, has selected the best and most illuminating insights that the writers have provided and arranged them by subject rather than by author. The book is divided into four parts: "The Writer: A Profile" (including the sections "On Reading," "On Work Habits," On the Audi-ence," etc.); Part II is "Technical Matters" ("On Style," "On Plot," etc.); Part III is "Different Forms" ("On Biography," "On Journalism"); and Part IV is "The Writer's Life," covering topics like conferences, courses, and teaching, along with a section in which writers provided portraits of other writers.         The Writer's Chapbook is a fund of observations by writers on writing. These range from marvel-ous one-liners (Eugene O'Neill on critics: "I love every bone in their heads"; T. S. Eliot on editors: "I suppose some editors are failed writers--but so are most writers") to expositions on plot, character, and the technical process of putting pen to paper and doing it for a living. "I don't even have a plot," says Norman Mailer; Paul Bowles describes writing in bed; Toni Morrison talks about inventing characters; and Edward Albee and Tom Wolfe explain where they discovered the titles for Who's Afraid of Virginia Woolf and The Bonfire of the Vanities.        This book is a treasure. But beware: What is true for the Writers at Work series holds for The Writer's Chapbook even more--a reader who picks it up, intending just to dip into it, might not emerge for days.

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    Bellow. Strauss. Friedman. The University of Chicago has been the home of some of the most important thinkers of the modern age. But perhaps no name has been spoken with more respect than Turabian. The dissertation secretary at Chicago for decades, Kate Turabian literally wrote the book on the successful completion and submission of the student paper. Her Manual for Writers of Research Papers, Theses, and Dissertations, created from her years of experience with research projects across all fields, has sold more than seven million copies since it was first published in 1937.Now, with this seventh edition, Turabian’s Manual has undergone its most extensive revision, ensuring that it will remain the most valuable handbook for writers at every level—from first-year undergraduates, to dissertation writers apprehensively submitting final manuscripts, to senior scholars who may be old hands at research and writing but less familiar with new media citation styles. Gregory G. Colomb, Joseph M. Williams, and the late Wayne C. Booth—the gifted team behind The Craft of Research—and the University of Chicago Press Editorial Staff combined their wide-ranging expertise to remake this classic resource. They preserve Turabian’s clear and practical advice while fully embracing the new modes of research, writing, and source citation brought about by the age of the Internet.Booth, Colomb, and Williams significantly expand the scope of previous editions by creating a guide, generous in length and tone, to the art of research and writing. Growing out of the authors’ best-selling Craft of Research, this new section provides students with an overview of every step of the research and writing process, from formulating the right questions to reading critically to building arguments and revising drafts. This leads naturally to the second part of the Manual for Writers, which offers an authoritative overview of citation practices in scholarly writing, as well as detailed information on the two main citation styles (“notes-bibliography” and “author-date”). This section has been fully revised to reflect the recommendations of the fifteenth edition of The Chicago Manual of Style and to present an expanded array of source types and updated examples, including guidance on citing electronic sources.The final section of the book treats issues of style—the details that go into making a strong paper. Here writers will find advice on a wide range of topics, including punctuation, table formatting, and use of quotations. The appendix draws together everything writers need to know about formatting research papers, theses, and dissertations and preparing them for submission. This material has been thoroughly vetted by dissertation officials at colleges and universities across the country.This seventh edition of Turabian’s Manual for Writers of Research Papers, Theses, and Dissertations is a classic reference revised for a new age. It is tailored to a new generation of writers using tools its original author could not have imagined—while retaining the clarity and authority that generations of scholars have come to associate with the name Turabian.

    Historically, the humanities have been central to education because they have rightly been seen as essential for creating competent democratic citizens. But recently, Nussbaum argues, thinking about the aims of education has gone disturbingly awry both in the United States and abroad. Anxiously focused on national economic growth, we increasingly treat education as though its primary goal were to teach students to be economically productive rather than to think critically and become knowledgeable and empathetic citizens. This shortsighted focus on profitable skills has eroded our ability to criticize authority, reduced our sympathy with the marginalized and different, and damaged our competence to deal with complex global problems. And the loss of these basic capacities jeopardizes the health of democracies and the hope of a decent world. In response to this dire situation, Nussbaum argues that we must resist efforts to reduce education to a tool of the gross national product. Rather, we must work to reconnect education to the humanities in order to give students the capacity to be true democratic citizens of their countries and the world. Drawing on the stories of troubling--and hopeful--educational developments from around the world, Nussbaum offers a manifesto that should be a rallying cry for anyone who cares about the deepest purposes of education.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    Is 'alright' all right? You'll find out right here. From dangling clauses to gerunds, you'll also discover why Santa's helpers are subordinate clauses.In Have You Eaten Grandma?, he waxes lyrical about the importance of language as, after all, it is what we use to define ourselves and is ultimately what makes us human.

    Using such poems as Theodore Roethke’s "My Papa’s Waltz" and Robert Hayden’s "Those Winter Sundays," the Primer encourages young writers to approach their "thresholds"—those places where disorder meets order, where shaping imagination can turn language into urgent and persuasive poems. It provides the poet with more than a dozen focused writing exercises and explains essential topics such as the personal and cultural threshold; the four forces that animate poetic language (naming, singing, saying, imagining); tactics of revision; ecstasy and engagement as motives for poetry; and how to locate and learn from our personal poetic forebears.

    She presents here a collection of essays that explore life in various Eastern European countries since the fall of communism. As a citizen of Croatia (formerly part of Yugoslavia) living now in Vienna with her Swedish husband, she writes knowingly as a survivor of a communist regime, as one who realizes that pitfalls still lie ahead for nations emerging from the Soviet yoke. In Albania, she observes rage everywhere in people who seem to want to smash all vestiges of the Hoxha regime. In Romania, she comments on the execrable state in which public toilets are maintained: "[T]he standard of Romanian toilets reflects the nature of the communist system of which it is a legacy"; "the absence of any improvement is... a warning for the future of democracy" there. Drakulic's pungent and insightful ruminations not only describe life in her part of the world?she makes us feel it as well.--Publishers Weekly

    Did you know that your answers to just a handful of questions can predict the zip code of where you grew up? Speaking American offers a visual atlas of the American vernacular--who says what, and where they say it--revealing the history of our nation, our regions, and the language that divides and unites us.

    Apple products, indie music, food co-ops, and vintage T-shirts make them weak in the knees. They believe they’re unique, yet somehow they’re all exactly the same, talking about how they “get” Sarah Silverman’s “subversive” comedy and Wes Anderson’s “droll” films. They’re also down with diversity and up on all the best microbrews, breakfast spots, foreign cinema, and authentic sushi. They’re organic, ironic, and do not own TVs. You know who they are: They’re white people. And they’re here, and you’re gonna have to deal. Fortunately, here’s a book that investigates, explains, and offers advice for finding social success with the Caucasian persuasion. So kick back on your IKEA couch and lose yourself in the ultimate guide to the unbearable whiteness of being.