This acclaimed dictionary is an invaluable introduction to the theories and theorists in the field and will prove an authoritative resource for all students.

    She shows us that this most intellectual of poets is in fact the most personal of poets; that his words are not devoted to epistemological questions alone but are also "words chosen out of desire."

    By delving into lives that would otherwise go unremarked, Kelly documents the modernization of the sex industry during the neoliberal era in the city of Tuxtla Gutiérrez and illustrates how state-regulated sex became part of a broader effort by government officials to bring modernity to Chiapas, one of Mexico's poorest and most conflicted states. Kelly's innovative approach locates prostitution in a political-economic context by treating it as work. Most valuably, she conveys her analysis through vivid portraits of the lives of the sex workers themselves and shows how the women involved are neither victims nor heroines.

    Contributors include Peter Straub, Burton Hatlan (King's former English professor), Fritz Leiber, Alan Ryan, Deborah Notkin, Don Herron, and others.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    Now revised to include new words and updated essays, Keywords focuses on the sociology of language, demonstrating how the key words we use to understand our society take on new meanings and how these changes reflect the political bent and values of society.

    'For the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story-whatever the medium. Chatman, whose approach here is at once dualist and structuralist, divides his subject into the 'what' of the narrative (Story) and the 'way'(Discourse)... Chatman's command of his material is impressive.'

    It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.

    Within this structure, Shlomith Rimmon-Kenan addresses key approaches to narrative fiction, including New Criticism, formlaism, structuralism and phenomenology, but also offers views of the modifications to these theroies. While presenting an analysis of the system governing all fictional narratives, whether in the form of novel, short story or narrative poem, she also suggests how individual narratives can be studied against the background of this general system. A broad range of literary examples illustrate key aspects of the study.This edition is brought fully up-to-date with an invaluable new chapter, reflecting on recent developments in narratology. Readers are also directed to key recent works in the field. These additions to a classic text ensure that Narrative Fiction will remain the ideal starting point for anyone new to narrative theory.

    The play, based on a sensational witchcraft trial of 1621, presents Mother Sawyer and her local community in the grip of a witch-mania reflecting popular belief and superstition of the time. This edition offers a thorough reconsideration of the text with a complete transcription of the original pamphlet by Henry Goodcole. This edition will be of particular interest not only to students of Renaissance Drama but also of the cultural history of the seventeenth century. Open University adopted text (for their new Renaissance Drama module).

    In the first book designed to introduce students to the broad outlines and significant legacies of the affair, the author deftly interweaves text with documents, tracing the course of events. He highlights the many issues connected with the case, including anti-Semitism, militant nationalism, socialism, the birth of modern Zionism, and the separation of church and state. Sixty-six documents are embedded in the narrative, offering students a broad range of sources to examine, including newspaper editorials, letters, trial testimony, and diary entries. A list of the principal characters is included in the appendices.

    Demons & Deadly Encounters. A Journey into the ultimate Heart of Darkness. Excerpts; ‘It’s the middle of the night and he thinks he’s been asleep for a while but he’s wide awake now. Something is pushing down on his chest, hard. He’s fighting to breathe and he tries to move, to get it off him, but his body won’t move. He’s paralysed and filled with panic. He tries to scream but nothing comes out...’ ‘They told her they were going to kill her and she didn't have a chance; they were too many...’ ‘Stood in the hall was a dark figure. The presence was finally showing itself to me...’ ‘The children’s eyes were rolling in their heads, blood pouring from their ears and mouths, talking in strange languages, and being thrown involuntarily across rooms...’ ‘Marks appeared on the neck of our three year old son. They were purple. They looked like strangulation marks.’ ‘Her eyes, which had moments before looked lacklustre and vacant, suddenly blazed with inhuman light.' ‘As the Doctor looked down at the blood in the bowl, he saw it swirling around in a most unnatural way, before rearing up in a solid column and leaping out of the bowl on to the floor. At this point the bowl shattered into a hundred pieces. The doctor fled in terror.’ ‘There are practitioners who have attempted to summon demons, and have been found with every bone in their body broken the next day.’ “I wake to see a tall, dark, hooded figure, standing still, right by my bed; his face covered by his hood, but watching me. I know he was real; I could hear his breathing...” “Her eyes rolled in the back of her head, her face contorted and she would tell him ‘they’ were going to kill her, that she belonged to Satan. It was a deep man’s voice that came out of her. The voice said, “We can kill her at any time we want...” “I’d lie in bed and feel someone’s arms around me. It wasn’t a safe feeling but a menacing one, as if someone was showing me that I belonged to them.” ‘According to the police report, one of the women had killed herself after she’d told friends she’d been hearing a voice that kept telling her to kill herself.’ “A creature appeared in the room, its eyes were glowing red. This creature was physical; at least after it had entered into our reality. It was naked, no hair, extremely muscular. I estimate his height about six foot five but his bone structure was bigger than in a human. His mouth was huge. There was no way to describe it other than as a demon.” "It was just supposed to be fun; we were asking it questions, and then it asked if it could visit us, so I said yes, thinking it was one of the children doing it; but it wasn’t one of the kids. And that’s when the horror started...” ‘Suddenly it was like a stake pierced my chest and gradually, I felt the sensation of it pulling open my ribs. I thought I would die...’ “I saw a boy sat at a table. He called me over to him and started talking to me. He spoke as if he knew all my thoughts. He finished my sentences for me. He promised me everything I always wanted. But there was one condition; I give my soul over to Satan.” “As I lay there I would see demons appearing in different forms; the most hideous faces, covered with blood, with sharp teeth and claws." “When I opened my eyes there was a black shadowed figure. It loomed over me, then took hold of me. I tried to get out of its grip but its strength was overpowering.

    

    This book is about making those encounters as compelling as we can make them." -Harvey "Smokey" Daniels and Steven ZemelmanWe are specialists to the bone-in science, math, social studies, art, music, business, and foreign language. But now, the Common Core and state standards require us to help our students better understand the distinctive texts in our subject areas. "Nobody's making us into reading teachers," write Smokey Daniels and Steve Zemelman, "but we must become teachers of disciplinary thinking through our students' reading."If this shift sounds like a tough one, Subjects Matter, Second Edition is your solution. Smokey and Steve, two of America's most popular educators, share exactly what you need to help students read your nonfiction content closely and strategically: 27 proven teaching strategies that help meet-and exceed-the standards how-to suggestions for engaging kids with content through wide, real-world reading a lively look at using "boring" textbooks motivating instruction that's powered by student collaboration specifics for helping struggling readers succeed.Subjects Matter, Second Edition enables deep, thoughtful learning for your students, while keeping the irreverent, inspiring heart that's made the first edition indispensable. You'll discover fresh and re-energized lessons, completely updated research, and vibrant vignettes from new colleagues and old friends who have as much passion for their subjects as you do."We'll be using methods particular to our fields as well as engaging reading materials that help students understand and remember our content better," write Smokey and Steve. "We can realize that vision of the light going on in kids' heads and maybe fill them with enthusiasm about the amazing subject matter that we have to offer. Sound good? Let's get to work." Read a sample chapter from Subjects Matter, Second Edition.