Tore Boeckmann and Leonard Peikoff for the first time now bring readers the edited transcript of these exciting personal statements. The Art of Fiction offers invaluable lessons, in which Rand analyzes the four essential elements of fiction: theme, plot, characterization, and style. She demonstrates her ideas by dissecting her best-known works, as well as those of other famous authors, such as Thomas Wolfe, Sinclair Lewis, and Victor Hugo. An historic accomplishment, this compendium will be a unique and fascinating resource for both writers and readers of fiction.

    Combining linguistics and cultural history, Gaston Dorren takes us on an intriguing tour of the continent, from Proto-Indo-European (the common ancestor of most European languages) to the rise and rise of English, via the complexities of Welsh plurals and Czech pronunciation. Along the way we learn why Esperanto will never catch on, how the language of William the Conqueror lives on in the Channel Islands and why Finnish is the easiest European language.Surprising, witty and full of extraordinary facts, this book will change the way you think about the languages around you. Polyglot Gaston Dorren might even persuade you that English is like Chinese.

    Starting at 'The Beginning' and concluding with 'The End', chapters range from the familiar, such as 'Character', 'Narrative' and 'The Author', to the more unusual, such as 'Secrets', 'Pleasure' and 'Ghosts'. Now in its fifth edition, Bennett and Royle's classic textbook successfully illuminates complex ideas by engaging directly with literary works, so that a reading of Jane Eyre opens up ways of thinking about racial difference, for example, while Chaucer, Raymond Chandler and Monty Python are all invoked in a discussion of literature and laughter.The fifth edition has been revised throughout and includes four new chapters - 'Feelings', 'Wounds', 'Body' and 'Love' - to incorporate exciting recent developments in literary studies. In addition to further reading sections at the end of each chapter, the book contains a comprehensive bibliography and a glossary of key literary terms.A breath of fresh air in a field that can often seem dry and dauntingly theoretical, this book will open the reader's eyes to the exhilarating possibilities of reading and studying literature.

    In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

    But it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores:*the relation of simple to complex genres*the history of literary genre in theory*the generic organisation of implied meanings*the structuring of interpretation by genre*the uses of genre in teaching.John Frow’s lucid exploration of this fascinating concept will be essential reading for students of literary and cultural studies.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    In seventy-six chapters he traces philosophy from the rise of Greek civilization to the emergence of logical analysis in the twentieth century. Among the philosophers considered are: Pythagoras, Heraclitus, Parmenides, Empedocles, Anaxagoras, the Atomists, Protagoras, Socrates, Plato, Aristotle, the Cynics, the Sceptics, the Epicureans, the Stoics, Plotinus, Ambrose, Jerome, Augustine, Benedict, Gregory the Great, John the Scot, Aquinas, Duns Scotus, William of Occam, Machiavelli, Erasmus, More, Bacon, Hobbes, Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, Rousseau, Kant, Hegel, Schopenhauer, Nietzsche, the Utilitarians, Marx, Bergson, James, Dewey, and lastly the philosophers with whom Lord Russell himself is most closely associated -- Cantor, Frege, and Whitehead, co-author with Russell of the monumental Principia Mathematica.

    She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    Utilizing nearly two hundred examples of modern fantasy, author Farah Mendlesohn uses this system to explore how fiction writers construct their fantastic worlds. Mendlesohn posits four categories of fantasy--portal-quest, immersive, intrusion, and liminal--that arise out of the relationship of the protagonist to the fantasy world. Using these sets, Mendlesohn argues that the author's stylistic decisions are then shaped by the inescapably political demands of the category in which they choose to write. Each chapter covers at least twenty books in detail, ranging from nineteenth-century fantasy and horror to extensive coverage of some of the best books in the contemporary field. Offering a wide-ranging discussion and penetrating comparative analysis, Rhetorics of Fantasy will excite fans and provide a wealth of material for scholarly and classroom discussion.Includes discussion of works by over 100 authors, including Lloyd Alexander, Peter Beagle, Marion Zimmer Bradley, John Crowley, Stephen R. Donaldson, Stephen King, C. S. Lewis, Gregory Maguire, Robin McKinley, China Mieville, Suniti Namjoshi, Philip Pullman, J. K. Rowling, Sheri S. Tepper, J. R. R. Tolkien, Tad Williams

    In this eminently readable guide to his abiding passion, he has distilled the essense of a library's--and a lifetime's--worth of delight.The pleasures of his own verse can be found in abundance here: economy, a natural ease, and most of all, surprise. What is English poetry? Fenton argues that it includes any recited words in English that marshall rhythm for their meaning--among them prisoners's work songs, Broadway show tunes, and the cries of street vendors captured in verse. From these beginnings, Fenton describes the rudiments of--and, most important, the inspiration for--the musical verse we find in books, and concludes with an illuminating discussion of operas and songs. Fenton illustrates his comments with verse from all over the English-speaking world.Catholic in his taste, shrewd in his distinctions, and charmingly frank, Fenton is an ideal guide to everything to do with poetry, from the temperament of poets to their accomplishment, in all its variety. In all his writing, prose or verse, Fenton has always had the virtue of saying, in a way that seems effortless, precisely what lies at the heart of the matter. In this vein, An Introduction to English Poetry is one of his highest accomplishments.

    Geared toward students, teachers, readers, and writers alike, The Penguin Dictionary of Literary Terms and Literary Theory explains critical jargon (intertextuality, aporia), schools of literary theory (structuralism, feminist criticism), literary forms (sonnet, ottava rima), and genres (elegy, pastoral) and examines artifacts, historic locales, archetypes, origins of well-known phrases, and much, much more. Scholarly, straightforward, comprehensive, and even entertaining, this is a resource that no word-lover should be without.

    The implications of this revolutionary scientific paradigm extend into virtually every aspect of our psychology, our history and culture, our religion -- and indeed our future.

    Rarely is there a response from experts in the fields of language and language development. In this book Laurie Bauer and Peter Trudgill have invited nineteen respected linguists from all over the world to address these "language myths"--showing that they vary from the misconceived to the downright wrong. With essays ranging from "Women Talk Too Much" and "In the Appalachians They Speak Like Shakespeare" to "Italian Is Beautiful, German Is Ugly" and "They Speak Really Bad English Down South and in New York City," Language Myths is a collection that is wide-ranging, entertaining, and authoritative.

    Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    It introduces the analysis of the key elements of language--sounds, words, structures and meanings, and provides a solid foundation in all of the essential topics. The third edition has been extensively revised to include new sections on important contemporary issues in language study, including language and culture, African American English, sign language, and slang. A comprehensive glossary provides useful explanations of technical terms, and each chapter contains a range of new study questions and research tasks, with suggested answers.