Included are definitions of common Spanish words arranged by such categories as foods, numbers, days of the week, months, colors, the seasons, and family. The heart of the book is a dictionary, from a to zapato, in which each word is used in a Spanish sentence (with English translation) demonstrating its proper use. This useful learning and teaching tool was compiled by Seymour Resnick, a noted language teacher. It belongs at the fingertips of anyone studying the Spanish language.

    It has its origins in a mode of self-examination and even self-obsession - 'it is many years now that I have had only myself as object of my thoughts', writes Montaigne in his essay 'Of Practice' - but it is just as accurately defined by its vagrant and curious scope, its capacity to suborn any and every object to its elegant remit. It may not in fact be 'well made' at all, but a thing of fragments and unfinished apercus, or an omnium-gatherum like Robert Burton's capacious but recognizably essayistic Anatomy of Melancholy. The essay may not even be written, but instead a photo essay, film essay, radio essay or some hybrid of these and the literary archetype. It may belong to a self-conscious genre and have been written by an essayist who self-declares as such; or it might be conjured from a milieu where the labels 'essay' and 'essayist' would make no sense at all. The essay, in short, is a varied and various artefact. Its occasion might be scholarly - there are academic essays, though they tend to be essays to the extent that they wish to stop being academic - or it may be journalistic, institutional or 'creative'. The essay can be tethered to a specific (perhaps polemical) context or written with an ambition to timeless or universal import. Whatever its motivation or avowed theme, the essay possesses a style and a voice. Generic, structural and contextual definitions will vary, but the essay is at least recognizable by its having a certain texture - the essay alters or interferes to some degree with the language of non-fiction. Essayism is a personal, critical and polemical book about the genre, its history and its contemporary possibilities, itself an example of what it describes: an essay that is curious and digressive and at the same time held together

    The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action.Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.

    Providing the ideal first step in understanding the often bewildering world of literary theory, this text is an easy to follow and clearly presented introduction to this fascinating area.

    to A.D. 1600. The lectures begin by asking just what "Western civilization" actually is, or what it has been thought to be. Throughout the lectures, there are reflections on where Western civilization finds its primary locus at any given moment - beginning in the ancient Near East and moving to Greece, then to Rome; exploring the shape and impact of large ancient empires, including the Persian, Alexander the Great's, and Rome's; then moving on to Western Europe, and witnessing Europe's gradual physical and cultural expansion, into finally the globalization of Western civilization with the Portuguese and Spanish voyages of exploration and discovery.

    Simon Critchley skilfully probes some of the most perennial but least understood aspects of humour, such as our tendency to laugh at animals and our bodies, why we mock death with comedy and why we think it's funny when people act like machines. He also looks at the darker side of humour, as rife in sexism and racism and argues that it is important for reminding us of people we would rather not be.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    David Foster Wallace not only took issue with Taylor's method, which, according to him, scrambled the relations of logic, language, and the physical world, but also noted a semantic trick at the heart of Taylor's argument.Fate, Time, and Language presents Wallace's brilliant critique of Taylor's work. Written long before the publication of his fiction and essays, Wallace's thesis reveals his great skepticism of abstract thinking made to function as a negation of something more genuine and real. He was especially suspicious of certain paradigms of thought-the cerebral aestheticism of modernism, the clever gimmickry of postmodernism-that abandoned "the very old traditional human verities that have to do with spirituality and emotion and community." As Wallace rises to meet the challenge to free will presented by Taylor, we witness the developing perspective of this major novelist, along with his struggle to establish solid logical ground for his convictions. This volume, edited by Steven M. Cahn and Maureen Eckert, reproduces Taylor's original article and other works on fatalism cited by Wallace. James Ryerson's introduction connects Wallace's early philosophical work to the themes and explorations of his later fiction, and Jay Garfield supplies a critical biographical epilogue.

    To Taylor, self-fulfillment, although often expressed in self-centered ways, isn't necessarily a rejection of traditional values and social commitment; it also reflects something authentic and valuable in modern culture. Only by distinguishing what is good in this modern striving from what is socially and politically dangerous, Taylor says, can our age be made to deliver its promise.

    Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

    Discussing philosophy's ability to clarifyour thoughts, he explains why such clarification depends on the development of philosophical theories, and how those theories can be tested by imaginative thought experiments, and compared against each other by standards similar to those used in the natural and social sciences. He also shows howlogical rigor can be understood as a way of enhancing the explanatory power of philosophical theories.Drawing on the history of philosophy to provide a track record of philosophical thinking's successes and failures, Williams overturns widely held dogmas about the distinctive nature of philosophy in comparison to the sciences, demystifies its methods, and considers the future of the discipline. Fromthought experiments, to deduction, to theories, this little book will cause you to totally rethink what philosophy is.

    He is especially penetrating on Hermann Broch, and his exploration of the world of Kafka's novels vividly reveals the comic terror of Kafka's bureaucratized universe.Kundera's discussion of his own work includes his views on the role of historical events in fiction, the meaning of action, and the creation of character in the post-psychological novel.

    Ranging through history, literature, folklore, linguistics, and sociology, this is a breezy, straightforward primer of surprising breadth.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    But in Cents and Sensibility, an eminent literary critic and a leading economist make the case that the humanities, especially the study of literature, offer economists ways to make their models more realistic, their predictions more accurate, and their policies more effective and just.Gary Saul Morson and Morton Schapiro trace the connection between Adam Smith's great classic, The Wealth of Nations, and his less celebrated book on The Theory of Moral Sentiments, and contend that a few decades later Jane Austen invented her groundbreaking method of novelistic narration in order to give life to the empathy that Smith believed essential to humanity.Morson and Schapiro argue that Smith's heirs include Austen, Anton Chekhov, and Leo Tolstoy as well as John Maynard Keynes and Milton Friedman. Economists need a richer appreciation of behavior, ethics, culture, and narrative--all of which the great writers teach better than anyone.Cents and Sensibility demonstrates the benefits of a freewheeling dialogue between economics and the humanities by addressing a wide range of problems drawn from the economics of higher education, the economics of the family, and the development of poor nations. It offers new insights about everything from the manipulation of college rankings to why some countries grow faster than others. At the same time, the book shows how looking at real-world problems can revitalize the study of literature itself.Original, provocative, and inspiring, Cents and Sensibility brings economics back to its place in the human conversation.