A Rhetoric for Writing Program Administrators (2nd Edition) presents the major issues and questions in the field of writing program administration. The collection provides aspiring, new, and seasoned WPAs with the theoretical lenses, terminologies, historical contexts, and research they need to understand the nature, history, and complexities of their intellectual and administrative work.
First published in 1998. In a 1996 review article in College English, Elizabeth Rankin contrasted the method and epistemology of two recent books on writing pedagogy, describing one as "grounded in the experience of student writers and teachers" and the other as "academic." Rankin’s labels highlight one of the leading sources of tension in composition research—the tension between practice and theory—a tension that echoes in writing center research and publications. This collection of chapters seeks to build on the inherent collaborativeness of writing centers, capturing the voices of the student writers and tutors who are at the core of writing center work.
This volume reassesses working-class poetry and poetics in Victorian Britain, using Scotland as a focus and with particular attention to the role of the popular press in fostering and disseminating working-class verse cultures. It studies a very wide variety of writers who are unknown to scholarship, and assesses the political, social, and cultural work which their poetry performed. During the Victorian period, Scotland underwent unprecedented changes in terms of industrialization, the rise of the city, migration, and emigration. This study shows how poets who defined themselves as part of a specifically Scottish tradition responded to these changes. It substantially revises our understanding of Scottish literature in this period, while contributing to wider investigations of the role of popular verse in national and international cultures.
A series of 13 written workshops covering: conflict and character: the dominant image: Tennessee Williams and Arthur Miller; Overheard voices: Ibsen and Shakespeare; The solo performance piece: listening for stories; Terror and vulnerability: Ionesco; The point of absurdity: creating without possessing: Pinter and Beckett; and much more.
How To Be a Writer is a comprehensive guide to the career of writing from experienced writer and creative writing tutor Sally O'Reilly. The book will cover questions such as: If you want to be a writer, should you invest in a creative writing course? If so, which one? Are writing groups a good thing? What grants, awards and prizes are available to the aspiring writer? How should you plan your career in the long term? It will also feature an introduction from Fay Weldon - 'Why I wish I'd read this book when I was 25' - and will include comments and case studies from other established authors, agents and industry experts. How To Be a Writer will include everything that a writer needs to know about running their own career, from choosing an agent to café scribbling, and from filing a tax return to flirting with the literati and will be an essential reference book for any author who takes their work seriously.
Intended as a text for undergraduate students of English for their course on Women’s Writings in the Nineteenth and Twentieth centuries, this compact and well-organized book provides both the history of the development of the short story in America and Britain and a comprehensive introduction to the modes on critical practices based on feminist thinking. It takes into account the strategies used by women writers, and discusses the politics of reception and production keeping especially the gender issue in mind. The text is divided into three parts—Part I: Introduction—containing two chapters that deal with the development of the American short story and the resurgence of radical feminism in America. These provide the historical and the feminist frame within which the short stories by the Anglo American Women’s Writers should be read. Part II gives four short stories: Kate Chopin—The Story of An Hour; Charlotte Perkins Gilman—The Yellow Wallpaper; Willa Cather—Coming, Aphrodite!; and Katherine Mansfield—Bliss. Each short story is preceded by a critical introduction, detailed references for further reading, and a biographical time line. Part III comprises three critical essays which provide sharp insights into the period in which the four women writers were writing. This book will be treasured not only by students but also by those who wish to study critically the feminist writings of the period. In addition, it will enrich readers’ understanding of American and British literary history and culture. The critical introduction to each short story traces the development of the form from its origins, both historically and in terms of female literary contributions to its development. The chapter on Radical Feminism is mapped in the context of social, political and cultural development. The book provides historical, literary and biographical contexts of the writers and their short stories.
Urban design continues to grow as an increasingly important and expanding field of study, research and professional endeavour. Distinguished by its broad scope and comprehensiveness on the subject of urban design, this new collection combines selected essays from both practitioners and academia. Writing Urbanism is the ideal volume for both students, architects and urban designers.
