First published in 1974, it has remained the classic text on a significant form of music making and composing that developed alongside, and partly in opposition to, the postwar modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed toward concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass. This second edition contains a new Foreword, an updated discography, and a historical overview by the author.

    In the sequel, The Photographer's Mind, he explained the way that professional photographers think a picture through before taking it. Both of these international best-sellers featured Michael's own photography: stunning landscapes, revealing portraits, and fascinating street photography. Now, in The Photographer's Vision, he examines the work of photography's greats, explaining how to look at a photo - and how to learn from looking at it.

    A Glossary of Literary Terms covers the terminology of literature - from literary history to theory to criticism - making it a valuable addition to any literary theory or literature course.

    While his thoughts on the craft are well developed in “The Poet,” “The American Scholar,” Nature, “Goethe,” and “Persian Poetry,” less well known are the many pages in his private journals devoted to the relationship between writing and reading. Here, for the first time, is the Concord Sage’s energetic, exuberant, and unconventional advice on the idea of writing, focused and distilled by the preeminent Emerson biographer at work today.Emerson advised that “the way to write is to throw your body at the mark when your arrows are spent.” First We Read, Then We Write contains numerous such surprises—from “every word we speak is million-faced” to “talent alone cannot make a writer”—but it is no mere collection of aphorisms and exhortations. Instead, in Robert Richardson’s hands, the biographical and historical context in which Emerson worked becomes clear. Emerson’s advice grew from his personal experience; in practically every moment of his adult life he was either preparing to write, trying to write, or writing. Richardson shows us an Emerson who is no granite bust but instead is a fully fleshed, creative person disarmingly willing to confront his own failures. Emerson urges his readers to try anything—strategies, tricks, makeshifts—speaking not only of the nuts and bolts of writing but also of the grain and sinew of his determination. Whether a writer by trade or a novice, every reader will find something to treasure in this volume. Fearlessly wrestling with “the birthing stage of art,” Emerson’s counsel on being a reader and writer will be read and reread for years to come.

    Works such as The Gutenberg Galaxy, The Mechanical Bride , From Cliche to Archetype , and Understanding Media have established his reputation throughout the world and have profoundly influenced our understanding of contemporary communication. In his later years McLuhan was working on a 'unified field' theory of human culture, an effort in which he collaborated with and was assisted by his son, Eric McLuhan. This book is the result of that collaboration. The McLuhans are retrieving another way of understanding our world, a way known to some ancient Greeks (but not Aristotle), to medieval thinkers, to Francis Bacon and Giambattista Vico, and to T.S. Eliot and James Joyce in this century. It is based on the use of words and the conseuqent power of the 'logos' to shape all the elements of culture - media - with which we surround ourselves. The authors explain how the invention of the alphabet led to the dominance of visual-space conceptualizations over those of acoustic space and its creative words (and word-plays). They consider the differences between the left- and right-hand sides of our brains, and use Gestalt theories of figure and ground to explore the underlying principles that define media. 'Media, ' the word so closely connected with Marshall McLuhan's thought, is here explored in its broadest meaning, encompassing all that has been created by humans: artefacts, information, ideas - every example of human innovation, from computer program to a tea cup, from musical arrangement to the formula for a cold remedy, from an X-ray machine to the sentence you're reading right now. All these are media to whcih can be applied the laws the McLuhans have developed. The laws are based on a set of four questions - a tetrad - that can be applied to any artefact or idea: What does it enhance or intensify? What does it render obsolete or displace? What does it retrieve that was previoulsy obsolesced? What does it produce or become when pressed to an extreme? Inherent in every human innovation is an answer to each of the questions of this tetrad; anything that does not contain answers to these four questions is not the product of human creation. The laws identified by the McLuhans consitute a new scientific basis for media studies, testable, and able to allow for prediction. It takes in all human activities and speech; it breaks down barriers and reconsiders them as mere intervals. In the McLuhan tradition, this New Science offers a while new understanding of human creation, and a vision that could reshape our future.

    It will be a revelation to those who have known Habermas only through his theoretical writing to find his later interests in problems of legitimation and communication foreshadowed in this lucid study of the origins, nature, and evolution of public opinion in democratic societies.

    Senator S. I. Hayakawa discusses the role of language in human life, the many functions of language, and how language—sometimes without our knowing—shapes our thinking in this engaging and highly respected book. Provocative and erudite, it examines the relationship between language and racial and religious prejudice; the nature and dangers of advertising from a linguistic point of view; and, in an additional chapter called “The Empty Eye,” the content, form, and hidden message of television, from situation comedies to news coverage to political advertising.

    Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.”—Edward Bernays, PropagandaA seminal and controversial figure in the history of political thought and public relations, Edward Bernays (1891–1995), pioneered the scientific technique of shaping and manipulating public opinion, which he famously dubbed “engineering of consent.” During World War I, he was an integral part of the U.S. Committee on Public Information (CPI), a powerful propaganda apparatus that was mobilized to package, advertise and sell the war to the American people as one that would “Make the World Safe for Democracy.” The CPI would become the blueprint in which marketing strategies for future wars would be based upon.Bernays applied the techniques he had learned in the CPI and, incorporating some of the ideas of Walter Lipmann, became an outspoken proponent of propaganda as a tool for democratic and corporate manipulation of the population. His 1928 bombshell Propaganda lays out his eerily prescient vision for using propaganda to regiment the collective mind in a variety of areas, including government, politics, art, science and education. To read this book today is to frightfully comprehend what our contemporary institutions of government and business have become in regards to organized manipulation of the masses.This is the first reprint of Propaganda in over 30 years and features an introduction by Mark Crispin Miller, author of The Bush Dyslexicon: Observations on a National Disorder.

    

    Having grown up poor and been labeled this way, nationally acclaimed educator and author Mike Rose takes us into classrooms and communities to reveal what really lies behind the labels and test scores. With rich detail, Rose demonstrates innovative methods to initiate "problem" students into the world of language, literature, and written expression. This book challenges educators, policymakers, and parents to re-examine their assumptions about the capacities of a wide range of students.Already a classic, Lives on the Boundary offers a truly democratic vision, one that should be heeded by anyone concerned with America's future.A mirror to the many lacking perfect grammar and spelling who may see their dreams translated into reality after all. -Los Angeles Times Book Review Vividly written . . . tears apart all of society's prejudices about the academic abilities of the underprivileged. -New York Times

    N. Volosinov's important work, first published in Russian in 1929, had to wait a generation for recognition. This first paperback edition of the English translation will be capital for literary theorists, philosophers, linguists, psychologists, and many others.Volosinov is out to undo the old disciplinary boundaries between linguistics, rhetoric, and poetics in order to construct a new kind of field: semiotics or textual theory. Ladislav Matejka and I. R. Titunik have provided a new preface to discuss Volosinov in relation to the great resurgence of interest in all the writing of the circle of Mikhail Bakhtin.

    Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by", metaphors that can shape our perceptions and actions without our ever noticing them.In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.

    Bruno Latour's contention is that the word "social" as used by Social Scientists has become laden with assumptions to the point where it has become a misnomer. When the adjective is applied to a phenomenon, it is used to indicate a stabilized state of affairs, a bundle of ties that in due course may be used to account for another phenomenon. Latour also finds the word used as if it described a type of material, in a comparable way to an adjective such as "wooden" or "steely".Rather than simply indicating what is already assembled together, it is now used in a way that makes assumptions about the nature of what is assembled. It has become a word that designates two distinct things: a process of assembling: and a type of material, distinct from others. Latour shows why "the social" cannot be thought of as a kind of material or domain, and disputes attempts to provide a "social explanation" of other states of affairs. While these attempts have been productive (and probably necessary) in the past, the very success of the social sciences mean that they are largely no longer so. At the present stage it is no longer possible to inspect the precise constituents entering the social domain. Latour returns to the original meaning of "the social" to redefine the notion and allow it to trace connections again. It will then be possible to resume the traditional goal of the social sciences, but using more refined tools. Drawing on his extensive work examining the "assemblages" of nature, Latour finds it necessary to scrutinize thoroughly the exact content of what is assembled under the umbrella of Society. This approach, a "sociology of associations" has become known as Actor-Network-Theory, and this book is an essential introduction both for those seeking to understand Actor-Network-Theory, or the ideas of one of its most influential proponents.

    Unlike the eye of modern science (which sees the world as a giant specimen for us to dissect), poetry fosters and nurtures life by finding wonder in the nooks and crannies of ordinary life. Suzanne Rhodes, a longtime poet and teacher, offers The Roar on the Other Side as an introductory guide for students (junior high and up). Clear and imaginative, this book makes poetry approachable. Focusing on the importance of sight and the necessity of practice, Rhodes easily communicates the joy of words to her readers and helps them see how good poetry binds all seemingly-contradictory things together. Students will emerge from this book with a good handle on the basics of writing poetry and a new appreciation for the awesome world in which we live.

    This text provides a comprehensive guide for students on how to read and write about literature.