- Table View
- List View
Writing Groups Inside and Outside the Classroom (International Writing Centers Association (IWCA) Press Series)
by Beverly J. Moss Nels P. Highberg Melissa NicolasThis unique collection considers the nature of writing groups inside and outside the academic environment. Exploring writing groups as contextual literacy events, editors Beverly J. Moss, Nels P. Highberg, and Melissa Nicolas bring together contributors to document and reflect on the various types of collaborations that occur in writing groups in a wide range of settings, both within and outside the academy. The chapters in this volume respond to a variety of questions about writing groups, including: *What is the impact of gender, race, and socioeconomic class on power dynamics in writing groups? *When is a writing group a community and are all writing groups communities? *How does the local community of a writing group impact the participation of group members in other local or global communities? *How does the local community of a writing group impact the participation of group members in other local or global communities? *What actions contribute to a strong community of writers and what actions contribute to the breakdown of community? *When and for whom are writing groups ineffective? *What is it about belonging to a community of writers that makes writing groups appealing to so many within and beyond the academy?Each chapter highlights how writing groups, whether or not they are labeled as such, function in various spaces and locations, and how collaboration works when writers from a variety of backgrounds with diverse interests come together. Writing Groups Inside and Outside the Classroom illustrates that writing groups outside of the academy are worthy of study and serve as important sites of writing and literacy instruction. Offering significant insights into the roles of writing groups in literacy and writing practice, this volume is appropriate for scholars and teachers of writing, rhetoric, composition, and literacy; for writing center administrators and staff; and for writing group participants.
Writing Groups Inside and Outside the Classroom (International Writing Centers Association (IWCA) Press Series)
by Beverly J. Moss Nels P. Highberg Melissa NicolasThis unique collection considers the nature of writing groups inside and outside the academic environment. Exploring writing groups as contextual literacy events, editors Beverly J. Moss, Nels P. Highberg, and Melissa Nicolas bring together contributors to document and reflect on the various types of collaborations that occur in writing groups in a wide range of settings, both within and outside the academy. The chapters in this volume respond to a variety of questions about writing groups, including: *What is the impact of gender, race, and socioeconomic class on power dynamics in writing groups? *When is a writing group a community and are all writing groups communities? *How does the local community of a writing group impact the participation of group members in other local or global communities? *How does the local community of a writing group impact the participation of group members in other local or global communities? *What actions contribute to a strong community of writers and what actions contribute to the breakdown of community? *When and for whom are writing groups ineffective? *What is it about belonging to a community of writers that makes writing groups appealing to so many within and beyond the academy?Each chapter highlights how writing groups, whether or not they are labeled as such, function in various spaces and locations, and how collaboration works when writers from a variety of backgrounds with diverse interests come together. Writing Groups Inside and Outside the Classroom illustrates that writing groups outside of the academy are worthy of study and serve as important sites of writing and literacy instruction. Offering significant insights into the roles of writing groups in literacy and writing practice, this volume is appropriate for scholars and teachers of writing, rhetoric, composition, and literacy; for writing center administrators and staff; and for writing group participants.
Writing Historical Fiction: A Writers' and Artists' Companion (Writers’ and Artists’ Companions)
by Celia Brayfield Duncan SprottWriting Historical Fiction: A Writers' & Artists' Companion is an invaluable companion for a writer working in this challenging and popular literary genre, whether your period is Ancient Rome or World War II. PART 1 includes reflections on the genre and provides a short history of historical fiction. PART 2 contains guest contributions from Margaret Atwood, Ian Beck, Madison Smartt Bell, Ronan Bennett, Vanora Bennett, Tracy Chevalier, Lindsay Clarke, Elizabeth Cook, Anne Doughty, Sarah Dunant, Michel Faber, Margaret George, Philippa Gregory, Katharine McMahon, Valerio Massimo Manfredi, Hilary Mantel, Alan Massie, Ian Mortimer, Kate Mosse, Charles Palliser, Orhan Pamuk, Edward Rutherfurd, Manda Scott, Adam Thorpe, Stella Tillyard, Rose Tremain, Alison Weir and Louisa Young. PART 3 offers practical exercises and advice on such topics as research, plots and characters, mastering authentic but accessible dialogue and navigating the world of agents and publishers.
Writing Historical Fiction: A Writers' and Artists' Companion (Writers’ and Artists’ Companions)
by Celia Brayfield Duncan SprottWriting Historical Fiction: A Writers' & Artists' Companion is an invaluable companion for a writer working in this challenging and popular literary genre, whether your period is Ancient Rome or World War II. PART 1 includes reflections on the genre and provides a short history of historical fiction. PART 2 contains guest contributions from Margaret Atwood, Ian Beck, Madison Smartt Bell, Ronan Bennett, Vanora Bennett, Tracy Chevalier, Lindsay Clarke, Elizabeth Cook, Anne Doughty, Sarah Dunant, Michel Faber, Margaret George, Philippa Gregory, Katharine McMahon, Valerio Massimo Manfredi, Hilary Mantel, Alan Massie, Ian Mortimer, Kate Mosse, Charles Palliser, Orhan Pamuk, Edward Rutherfurd, Manda Scott, Adam Thorpe, Stella Tillyard, Rose Tremain, Alison Weir and Louisa Young. PART 3 offers practical exercises and advice on such topics as research, plots and characters, mastering authentic but accessible dialogue and navigating the world of agents and publishers.
Writing History: Theory and Practice (Writing History)
by Stefan Berger Heiko Feldner Kevin PassmoreThe third edition of Writing History provides students and teachers with a comprehensive overview of how the study of history is informed by a broader intellectual and analytical framework, exploring the emergence and development of history as a discipline and the major theoretical developments that have informed historical writing. Instead of focusing on theory, this book offers succinct explanations of key concepts that illuminate the study of history and practical writing, and demonstrates the ways they have informed practical work. This fully revised new edition comprehensively rewrites and updates original chapters but also includes new features such as:- new chapters on postcolonial, environmental and transnational history;- chapter introductions setting them within the context of historiography;- a new substantive introduction from the editors, providing a useful road-map for students;- an expanded glossary.In its new incarnation Writing History is, more than ever, an invaluable introduction to the central debates that have shaped history.
Writing History: Theory and Practice (Writing History)
by Stefan Berger Heiko Feldner Kevin PassmoreThe third edition of Writing History provides students and teachers with a comprehensive overview of how the study of history is informed by a broader intellectual and analytical framework, exploring the emergence and development of history as a discipline and the major theoretical developments that have informed historical writing. Instead of focusing on theory, this book offers succinct explanations of key concepts that illuminate the study of history and practical writing, and demonstrates the ways they have informed practical work. This fully revised new edition comprehensively rewrites and updates original chapters but also includes new features such as:- new chapters on postcolonial, environmental and transnational history;- chapter introductions setting them within the context of historiography;- a new substantive introduction from the editors, providing a useful road-map for students;- an expanded glossary.In its new incarnation Writing History is, more than ever, an invaluable introduction to the central debates that have shaped history.
Writing History: A Guide For Students (pdf)
by William Kelleher StoreyAn indispensable resource for thousands of history students over five editions, Writing History: A Guide for Students provides a wealth of tips and advice to help students research and write essays for history classes. Bringing together practical methods from both history and composition, it covers all aspects of writing about history, including finding and researching topics, interpreting source materials, drawing inferences from sources, and constructing arguments. It concludes with three chapters that discuss writing effective sentences, using precise wording, and revising. Using numerous examples from the works of cultural, political, and social historians, Writing History serves as an ideal text for any history course that asks students to conduct research. The sixth edition offers better guidance on how to begin a research paper and expanded sections on oral history and visual and material sources
Writing History Essays (Palgrave Study Skills Ser.)
by Ian MabbettTo write history successfully, it is essential to understand the nuts and bolts of technique as well as the underlying principles which govern the whole process. Writing History Essays takes you step by step through the process of writing an assignment, breaking it down into a series of manageable tasks, including: • selecting sources • reading critically • taking notes • planning and drafting your essay • referencing correctly and avoiding plagiarism This book also takes you beyond the essay, with practical advice on writing book reviews, reports and dissertations, as well as guidance on sitting examinations. This new edition includes reflective questions at the end of each chapter and discussion of visual and web-based sources, making it an indispensable guide for history students.
Writing History in Film
by William GuynnHistorical film has been an important genre since the earliest silent films. The French Revolution, the American Civil War, the conquest of the New World, World War II--all have been repeatedly represented in film. But how do we distinguish between fictionalized spectacle and authentic historical representation? Writing History in Film sets out the narratological, semiological, rhetorical, and philosophical bases for understanding how film can function as a form of historical interpretation and representation. With case studies and an interdisciplinary approach, William Guynn examines the key issues facing film students and scholars, historians, and anyone interested in how we see our historical past.
Writing History in Film
by William GuynnHistorical film has been an important genre since the earliest silent films. The French Revolution, the American Civil War, the conquest of the New World, World War II--all have been repeatedly represented in film. But how do we distinguish between fictionalized spectacle and authentic historical representation? Writing History in Film sets out the narratological, semiological, rhetorical, and philosophical bases for understanding how film can function as a form of historical interpretation and representation. With case studies and an interdisciplinary approach, William Guynn examines the key issues facing film students and scholars, historians, and anyone interested in how we see our historical past.
Writing History in Late Imperial Russia: Scholarship and the Literary Canon (Library of Modern Russia)
by Frances NethercottIt is commonly held that a strict divide between literature and history emerged in the 19th century, with the latter evolving into a more serious disciple of rigorous science. Yet, in turning to works of historical writing during late Imperial Russia, Frances Nethercott reveals how this was not so; rather, she argues, fiction, lyric poetry, and sometimes even the lives of artists, consistently and significantly shaped historical enquiry. Grounding its analysis in the works of historians Timofei Granovskii, Vasilii Klyuchevskii, and Ivan Grevs, Writing History in Late Imperial Russia explores how Russian thinkers--being sensitive to the social, cultural, and psychological resonances of creative writing--drew on the literary canon as a valuable resource for understanding the past. The result is a novel and nuanced discussion of the influences of literature on the development of Russian historiography, which shines new light on late Imperial attitudes to historical investigation and considers the legacy of such historical practice on Russia today.
Writing History in Late Imperial Russia: Scholarship and the Literary Canon (Library of Modern Russia)
by Frances NethercottIt is commonly held that a strict divide between literature and history emerged in the 19th century, with the latter evolving into a more serious disciple of rigorous science. Yet, in turning to works of historical writing during late Imperial Russia, Frances Nethercott reveals how this was not so; rather, she argues, fiction, lyric poetry, and sometimes even the lives of artists, consistently and significantly shaped historical enquiry. Grounding its analysis in the works of historians Timofei Granovskii, Vasilii Klyuchevskii, and Ivan Grevs, Writing History in Late Imperial Russia explores how Russian thinkers--being sensitive to the social, cultural, and psychological resonances of creative writing--drew on the literary canon as a valuable resource for understanding the past. The result is a novel and nuanced discussion of the influences of literature on the development of Russian historiography, which shines new light on late Imperial attitudes to historical investigation and considers the legacy of such historical practice on Russia today.
Writing History in the Digital Age: Writing History In The Digital Age (Digital Humanities)
by Jack Dougherty Kristen NawrotzkiWriting History in the Digital Age began as a “what-if” experiment by posing a question: How have Internet technologies influenced how historians think, teach, author, and publish? To illustrate their answer, the contributors agreed to share the stages of their book-in-progress as it was constructed on the public web. To facilitate this innovative volume, editors Jack Dougherty and Kristen Nawrotzki designed a born-digital, open-access, and open peer review process to capture commentary from appointed experts and general readers. A customized WordPress plug-in allowed audiences to add page- and paragraph-level comments to the manuscript, transforming it into a socially networked text. The initial six-week proposal phase generated over 250 comments, and the subsequent eight-week public review of full drafts drew 942 additional comments from readers across different parts of the globe. The finished product now presents 20 essays from a wide array of notable scholars, each examining (and then breaking apart and reexamining) if and how digital and emergent technologies have changed the historical profession.
Writing History in the Soviet Union: Making the Past Work
by Arup BanerjiThe history of the Soviet Union has been charted in several studies over the decades. These depictions while combining accuracy, elegance, readability and imaginativeness, have failed to draw attention to the political and academic environment within which these histories were composed. Writing History in the Soviet Union: Making the Past Work is aimed at understanding this environment. The book seeks to identify the significant hallmarks of the production of Soviet history by Soviet as well as Western historians. It traces how the Russian Revolution of 1917 triggered a shift in official policy towards historians and the publication of history textbooks for schools. In 1985, the Soviet past was again summoned for polemical revision as part and parcel of an attitude of openness (glasnost') and in this, literary figures joined their energies to those of historians. The Communist regime sought to equate the history of the country with that of the Communist Party itself in 1938 and 1962 and this imposed a blanket of conformity on history writing in the Soviet Union. The book also surveys the rich abundance of writing the Russian Revolution generated as well as the divergent approaches to the history of the period. The conditions for research in Soviet archives are described as an aspect of official monitoring of history writing. Another instance of this is the manner by which history textbooks have, through the years, been withdrawn from schools and others officially nursed into circulation. This intervention, occasioned in the present circumstance by statements by President Putin himself, in the manner in which history is taught in Russian schools, continues to this day. In other words, over the years, the regime has always worked to make the past work. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh & Sri Lanka
Writing History in the Soviet Union: Making the Past Work
by Arup BanerjiThe history of the Soviet Union has been charted in several studies over the decades. These depictions while combining accuracy, elegance, readability and imaginativeness, have failed to draw attention to the political and academic environment within which these histories were composed. Writing History in the Soviet Union: Making the Past Work is aimed at understanding this environment. The book seeks to identify the significant hallmarks of the production of Soviet history by Soviet as well as Western historians. It traces how the Russian Revolution of 1917 triggered a shift in official policy towards historians and the publication of history textbooks for schools. In 1985, the Soviet past was again summoned for polemical revision as part and parcel of an attitude of openness (glasnost') and in this, literary figures joined their energies to those of historians. The Communist regime sought to equate the history of the country with that of the Communist Party itself in 1938 and 1962 and this imposed a blanket of conformity on history writing in the Soviet Union. The book also surveys the rich abundance of writing the Russian Revolution generated as well as the divergent approaches to the history of the period. The conditions for research in Soviet archives are described as an aspect of official monitoring of history writing. Another instance of this is the manner by which history textbooks have, through the years, been withdrawn from schools and others officially nursed into circulation. This intervention, occasioned in the present circumstance by statements by President Putin himself, in the manner in which history is taught in Russian schools, continues to this day. In other words, over the years, the regime has always worked to make the past work. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh & Sri Lanka
Writing History in Twentieth-Century Russia: A View from Within
by A. LitvinIn this fascinating book Alter Litvin tells us what life was really like for professional Soviet historians from Lenin to Gorbachev, and assesses the efforts made since 1991 to create a more truthful picture of the turbulent Russian past. Passionate yet fair-minded, this is the first account of the subject to appear in English. Designed primarily for the general reader, it contains much fresh material of specialist interest and an ample up-to-date bibliography.
Writing History, Writing Trauma (Parallax: Re-visions of Culture and Society)
by Dominick LaCapraTrauma and its aftermath pose acute problems for historical representation and understanding. In Writing History, Writing Trauma, Dominick LaCapra critically analyzes attempts by theorists and literary critics to come to terms with trauma and with the crucial role post-traumatic testimonies—notably Holocaust testimonies—assume in thought and in writing. These attempts are addressed in a series of six interlocking essays that adapt psychoanalytic concepts to historical analysis, while employing sociocultural and political critique to elucidate trauma and its aftereffects in culture and in people. This updated edition includes a substantive new preface that reconsiders some of the issues raised in the book.
Writing History, Writing Trauma (Parallax: Re-visions of Culture and Society)
by Dominick LaCapraTrauma and its aftermath pose acute problems for historical representation and understanding. In Writing History, Writing Trauma, Dominick LaCapra critically analyzes attempts by theorists and literary critics to come to terms with trauma and with the crucial role post-traumatic testimonies�notably Holocaust testimonies�assume in thought and in writing. These attempts are addressed in a series of six interlocking essays that adapt psychoanalytic concepts to historical analysis, while employing sociocultural and political critique to elucidate trauma and its aftereffects in culture and in people. This updated edition includes a substantive new preface that reconsiders some of the issues raised in the book.
Writing Hollywood: The Work and Professional Culture of Television Writers
by Patricia F. PhalenWriting Hollywood highlights the writing process in the production of television drama and comedy series in the U.S. The way writers do their jobs is heavily dependent not only on the demands of commercial business, but also on the uncertainties inherent in a writing career in Hollywood. Drawing on literature in the fields of Media Industry Studies and Occupational Culture, Writing Hollywood explains writers’ efforts to control risk and survive in a constantly changing environment. Using data from personal interviews and a six-week participant observation at a prime time drama, Dr. Phalen analyzes the relationships among writers in series television, describes the interactions between writers and studio/network executives, and explains how endogenous and exogenous pressures affect the occupational culture of the television writing profession.
Writing Hollywood: The Work and Professional Culture of Television Writers
by Patricia F. PhalenWriting Hollywood highlights the writing process in the production of television drama and comedy series in the U.S. The way writers do their jobs is heavily dependent not only on the demands of commercial business, but also on the uncertainties inherent in a writing career in Hollywood. Drawing on literature in the fields of Media Industry Studies and Occupational Culture, Writing Hollywood explains writers’ efforts to control risk and survive in a constantly changing environment. Using data from personal interviews and a six-week participant observation at a prime time drama, Dr. Phalen analyzes the relationships among writers in series television, describes the interactions between writers and studio/network executives, and explains how endogenous and exogenous pressures affect the occupational culture of the television writing profession.
Writing Home
by Alan BennettAlready a bestseller, this is a wonderfully entertaining collection of Alan Bennett's prose writings. Writing Home brings together diaries, reminiscences and reviews to give us a unique and unforgettable portrait of one of England's leading playwrights. As a memoir it covers the production of his very first play, Forty Years On, which starred John Gieldgud. His television series 'Talking Heads' has become a modern-day classic; as part of the 1960s revue 'Beyond the Fringe' Bennett helped to kick-start the English satire revolution, and has since remained one of our leading dramatists, most recently with The History Boys at the National Theatre. At the heart of the book is The Lady in The Van, since adapted into a radio play featuring Dame Maggie Smith. It is the true account of Miss Mary Shepherd, a homeless tramp who took up residence in Bennett's garden and stayed for fifteen years. This new edition also includes Bennett's introduction to his Oscar-nominated screenplay for The Madness of King George and his more recent diaries.
Writing Horror and the Body: The Fiction of Stephen King, Clive Barker, and Anne Rice (Contributions to the Study of Popular Culture)
by Linda BadleyIn this sequel to Film, Horror, and the Body Fantastic, Badley examines horror fiction as a fantastic genre in which images of the body and the self are articulated and modified. Badley places horror fiction in its cultural context, drawing important connections to theories of gender and sexuality. As our culture places increasing importance on body image, horror fiction has provided a language for imagining the self in new ways—often as ungendered, transformed, or re-generated. Focusing on the works of Stephen King, Clive Barker, and Anne Rice, Badley approaches horror as a discourse that articulates the anxieties of our culture.
Writing Horror Fiction (Writing Handbooks)
by Guy N. SmithThis writer's guide explains how to write short stories and horror fiction for children and adults. The author shows how to build on the initial idea and develop characters and plot. There are ideas for selecting and approaching publishers and information about contracts and publication.
Writing Horror Fiction (Writing Handbooks #51)
by Guy N. SmithThis writer's guide explains how to write short stories and horror fiction for children and adults. The author shows how to build on the initial idea and develop characters and plot. There are ideas for selecting and approaching publishers and information about contracts and publication.
Writing Human Factors Research Papers: A Guidebook
by Don HarrisWriting high-quality papers suitable for publication within international scientific journals is now an essential skill for all early-career researchers; their career progression and the reputation of the department in which they work depends upon it. However, many manuscripts are rejected or sent back for major re-working not because the science they contain is in any way 'bad', but because the same problems keep occurring in the way that the material is presented. It is one thing to write a good scientific paper, however it is quite another thing to get it published. This requires some additional nous. In writing this book Don Harris draws upon nearly a quarter of a century of experience as an author and reviewer of research papers, and ultimately as a journal editor. By his own admission, it contains all the things he wished that his mentors had told him 25 years ago, but didn't. The material in the book is drawn from many years of finding all these things out for himself, usually by trial and error (but mostly error!). The text adopts a much lighter touch than is normally found in books of this type - after all, who really wants to read a book about writing research papers? The author describes his own unique approach to writing journal papers (which, in his own words, has proved to be extremely successful). All major points are illustrated with examples from his own, published works. The book is written in the form of a manual for constructing a journal manuscript: read a chapter, write a section. However, the material it contains goes beyond just this and also describes how to select a target journal, the manuscript submission process, what referees are looking for in a good journal paper, and how to deal with the referees' comments. Each chapter concludes with a checklist to ensure all the key elements have been addressed.