Part comedy of manners, part social commentary, love story, mystic narration and thriller, it is a sort of Indian version of Oliver Goldsmith's THE VICAR OF WAKEFIELD.

    If you’re struggling to learn English and speak it well in your work, business, teaching or daily life this is the book for you."Master English FAST – An Uncommon Guide to Speaking Extraordinary English", by Dr Julian Northbrook, will get you started on the right track by showing you step-by-step what to do as an intermediate or advanced English learner to speak English as a second language at a very high level.This is Julian's most complete and comprehensive guide on the topic and is the recommended starting point for all of his English improvement books.

    Readers familiar with the previous edition will find a text that retains all the features that make Rulebook ideally suited for use as a supplementary course book -- including its modest price and compact size. Unlike most textbooks on argumentative writing, Rulebook is organised around specific rules, illustrated and explained soundly and briefly. It is not a textbook, but a rulebook, whose goal is to help students get on with writing a paper or assessing an argument.

    He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.

    It is a book that models the types of issues that best suit different approaches and allows students to understand when to use mixed methods. Furthermore, its focus on theory and paradigms is done in a way that helps students decode their meaning." --MARTHA MONTERO-SIEBURTH, University of Massachusetts, BostonNew to the Second Edition:Because mixed methods research has come into its own since the publication of the first edition, every chapter now shows how to implement a mixed methods design in your proposal or plan as well as showing how to implement qualitative and quantitative approaches Ethical issues that may arise in quantitative, qualitative and mixed methods designs have been added to a new section in Chapter 3 Writing tips and considerations have been expanded and moved to the first part of the book to get your research plan started in the right direction The latest developments in qualitative inquiry, including advocacy, participatory, and emancipatory approaches have been added to Chapter 10 Mixed methods procedures (Chapter 11) show readers how to identify types of mixed methods strategy, select data collection and analysis approaches, and plan the overall structure of the study

    Essential reading for students and anyone interested in the great philosophers, this book opens up appreciation of Heidegger beyond the study of philosophy to the reaches of poetry and our fundamental relationship to the world. Featuring "The Origin of the Work of Art," a milestone in Heidegger's canon, this enduring volume provides potent, accessible entry to one of the most brilliant thinkers of modern times.

      John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here.

    Lucier explains in detail how each piece is made, unlocking secrets of the composers' style and technique. The book as a whole charts the progress of American experimental music from the 1950s to the present, covering such topics as indeterminacy, electronics, and minimalism, as well as radical innovations in music for the piano, string quartet, and opera. Clear, approachable and lively, Music 109 is Lucier's indispensable guide to late 20th-century composition. No previous musical knowledge is required, and all readers are welcome.

    In a satisfying story or novel, all of the pieces seem to fit together so effortlessly, so seamlessly, that it's easy to find yourself wondering, "How on earth did the author do this?" The answer is simple: He sat alone at his desk, considered an array of options, and made smart, careful choices.In Alone With All That Could Happen, award-winning author and respected creative writing professor David Jauss addresses overlooked or commonly misunderstood aspects of fiction writing, offering practical information and advice that will help you make smart creative and technical decisions about such topics as:writing prose whose syntax and rhythm create a "soundtrack" for the story it tellschoosing the right point of view to create the appropriate degree of "distance" between your characters and the readerwriting valid and convincing epiphaniesharnessing the power of contradiction in the creative processIn one thought-provoking essay after another, Jauss sorts through unique fiction-writing conundrums, including how to create those exquisite intersections between truth and fabrication that make all great works of fiction so much more resonant and powerful than fiction that follows the generic "write what you know" approach that's so often preached.

    Hofstadter has been grappling with the mysteries of human thought for over thirty years. Now, with his trademark wit and special talent for making complex ideas vivid, he has partnered with Sander to put forth a highly novel perspective on cognition.We are constantly faced with a swirling and intermingling multitude of ill-defined situations. Our brain’s job is to try to make sense of this unpredictable, swarming chaos of stimuli. How does it do so? The ceaseless hail of input triggers analogies galore, helping us to pinpoint the essence of what is going on. Often this means the spontaneous evocation of words, sometimes idioms, sometimes the triggering of nameless, long-buried memories.Why did two-year-old Camille proudly exclaim, “I undressed the banana!”? Why do people who hear a story often blurt out, “Exactly the same thing happened to me!” when it was a completely different event? How do we recognize an aggressive driver from a split-second glance in our rearview mirror? What in a friend’s remark triggers the offhand reply, “That’s just sour grapes”? What did Albert Einstein see that made him suspect that light consists of particles when a century of research had driven the final nail in the coffin of that long-dead idea?The answer to all these questions, of course, is analogy-making—the meat and potatoes, the heart and soul, the fuel and fire, the gist and the crux, the lifeblood and the wellsprings of thought. Analogy-making, far from happening at rare intervals, occurs at all moments, defining thinking from top to toe, from the tiniest and most fleeting thoughts to the most creative scientific insights.Like Gödel, Escher, Bach before it, Surfaces and Essences will profoundly enrich our understanding of our own minds. By plunging the reader into an extraordinary variety of colorful situations involving language, thought, and memory, by revealing bit by bit the constantly churning cognitive mechanisms normally completely hidden from view, and by discovering in them one central, invariant core—the incessant, unconscious quest for strong analogical links to past experiences—this book puts forth a radical and deeply surprising new vision of the act of thinking.

    And your next, and your next... The technique I share within these pages is extremely easy to learn and do. You will be able to start using it now, today, and see immediate differences in your writing.It's also a fast read. I've condensed the book down to just a handful of pages, so you can read it all in less than an hour. I know what it's like to try and improve my writing by reading books on how to write. Too much time is lost wading through pages and pages of filler. And the more of these books that we read, the thicker our brains become, with too many details and steps and opinions. This book is different. Read it over lunch, and then go try it out. You'll see for yourself that it works.Here is a bit more about why Tell, Don't Show! is truly worth your time.First of all, the words will come much easier. I promise it. I've seen it transform the writing of many students and friends over the years, and before that, my own writing. The technique is so simple that you won't have any excuse for not using it the next time you sit down to write. It's a real pleasure to write this way. Forget about being a suffering writer. With this one little technique, you'll actually learn to love the process of writing.And do you ever wonder why you aren't writing so much? Do you think that if you could write faster, much faster, you'd want to write more? We're not talking about blindly banging away at the keys, but rather, quickly penning powerful stories and novels in a fraction of the time it takes you right now. That is, if you're even writing now. The truth is that when our writing is too slow and introspective, we lose momentum, and sooner or later, we finally stop. Don't do that. Write faster. The technique I'm sharing in this book will show you how to write faster and a lot more than you are now.Finally, by using this technique, you'll find your creativity expanding by the hour, by the day! It will free up your imagination to focus on the big picture, lifting you up and away from both micromanagement and nitpickiness, such common traps during first drafts. Your stories will grow richer and deeper, and you'll find yourself seeing your characters and settings more vividly. Subtext and subplots will rise up and beg for your attention. And this is just the beginning.You'll find all of the above and much more in Tell, Don't Show!

    Sixties Scoop. Bill C-31. Blood quantum. Appropriation. Two-Spirit. Tsilhqot’in. Status. TRC. RCAP. FNPOA. Pass and permit. Numbered Treaties. Terra nullius. The Great Peace…Are you familiar with the terms listed above? In Indigenous Writes, Chelsea Vowel, legal scholar, teacher, and intellectual, opens an important dialogue about these (and more) concepts and the wider social beliefs associated with the relationship between Indigenous peoples and Canada. In 31 essays, Chelsea explores the Indigenous experience from the time of contact to the present, through five categories – Terminology of Relationships; Culture and Identity; Myth-Busting; State Violence; and Land, Learning, Law, and Treaties. She answers the questions that many people have on these topics to spark further conversations at home, in the classroom, and in the larger community.Indigenous Writes is one title in The Debwe Series.

    It takes the student from the beginning assignment of a paper through the research phase to the finished paper. This second edition gives improvements and added material for such things as the expanding field of online research and doing church-related research in a professional manner. Resources for doing research are updated throughout the book.

    Topics covered include law review articles and student notes, seminar term papers, how to shift from research to writing, cite-checking others' work, publishing, and publicizing written works. With supporting documents available on http://volokh.com/writing, the book helps law students and everyone else involved in academic legal writing: professors save time and effort communicating basic points to students; law schools satisfy the American Bar Association's second- and third-year writing requirements; and law reviews receive better notes from their staff.

    Invaluable for students, arts professionals and other aspiring writers, the book first navigates readers through the key elements of style and content, from the aims and structure of a piece to its tone and language. Brimming with practical tips that range across the complete spectrum of art-writing, the second part of the book is organized around its specific forms, including academic essays; press releases and news articles; texts for auction and exhibition catalogues, gallery guides and wall labels; op-ed journalism and exhibition reviews; and writing for websites and blogs.In counseling the reader against common pitfalls—such as jargon and poor structure—Gilda Williams points instead to the power of close looking and research, showing how to deploy language effectively; how to develop new ideas; and how to construct compelling texts. More than 30 illustrations throughout support closely analysed case studies of the best writing, in Source Texts by 64 authors, including Claire Bishop, Thomas Crow, T.J. Demos, Okwui Enwezor, Dave Hickey, John Kelsey, Chris Kraus, Rosalind Krauss, Stuart Morgan, Hito Steyerl, and Adam Szymczyk.Supplemented by a general bibliography, advice on the use and misuse of grammar, and tips on how to construct your own contemporary art library, How to Write About Contemporary Art is the essential handbook for all those interested in communicating about the art of today.