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What Girls Are Made Of (Oberon Modern Plays)

by Cora Bissett

It’s 1992. In a small town in Fife, a girl is busting to get out into the world and see what's on offer. And an ad in the local paper declares: BAND SEEKS SINGER.Grunge has just gone global, scruffy indie kids are inheriting the earth, and a schoolgirl from Glenrothes is catapulted to a rock star lifestyle as the singer in a hot new indie band. Touring with Radiohead, partying with Blur, she was living the dream. Until she wasn’t.Based on her meticulously detailed, pull-no-punches teenage diaries, this is the true story of Cora Bissett’s rollercoaster journey from the girl she was to the woman she wanted to be.

What Graeco-Roman Grammar Was About

by P. H. Matthews

This book explains how the grammarians of the Graeco-Romance world perceived the nature and structure of the languages they taught. The volume focuses primarily on the early centuries AD, a time when the Roman Empire was at its peak; in this period, a grammarian not only had a secure place in the ancient system of education, but could take for granted an established technical understanding of language. By delineating what that ancient model of grammar was, P. H. Matthews highlights both those aspects that have persisted to this day and seem reassuringly familiar, such as 'parts of speech', as well as those aspects that are wholly dissimilar to our present understanding of grammar and language. The volume is written to be accessible to students of linguistics from undergraduate level upwards, and assumes no knowledge of Latin or Ancient Greek.

What Happens On Vacation: The brand-new enemies-to-lovers rom-com you won't want to go on holiday without!

by Jo Watson

Two rivals. One holiday. A trip they will never forget.Jo Watson returns with a hilarious and heartfelt new enemies-to-lovers, forced-proximity rom-com! It's the book you won't want to go on holiday without! Perfect for fans of Emily Henry, Beth O'Leary and Christina Lauren..........................................Journalist Margaret needs a vacation. After a difficult couple of years, some R&R is on the cards, and she's taking her mom with her. Luckily, the office Quiz Night is coming up and the prize is an all-expenses-paid trip to Zanzibar. Good thing Margaret has never met a quiz question she didn't like. But Margaret has also never played against Jagger Villain. For the last six months, they have shared a desk and not a day has gone by when he hasn't driven her to distraction. The idea of sharing anything else with Jagger is unthinkable. But if she's going get what she needs from this trip, Margaret might have to compromise. Away from the office and in a tropical paradise, Margaret beings to wonder if her archnemesis maybe has some qualities. Could the holiday from hell turn into the vacation of her dreams? .........................................Love funny, romantic stories? You don't want to miss Jo Watson:'The perfect choice for fans of romantic comedies' Gina's Bookshelf'It was amazing, it was hilarious' Rachel's Random Reads'A brilliant read from beginning to end' Hopeless Romantics'Sitting here open mouthed in disbelief at just how wonderful this book is' Rachel's Random Reads'A stunning heart-warming read' Donna's Book Blog

What Ho! P. G. Wodehouse on Cats & Dogs: And Other Animals (What Ho! P. G. Wodehouse)

by Paul Kent

It was a confusion of ideas between him and one of the lions he was hunting in Kenya that had caused A.B. Spottsworth to make the obituary column. He thought the lion was dead, and the lion thought it wasn't. Whether you're a fan of cats, dogs, lions or even gnus, P. G. "Plum" Wodehouse has got your back. A lifelong animal-lover, he even founded a shelter for strays – in addition to the pack of pekes, dachshunds, wolfhounds, cats, parrots and canaries that overran his home. Which is not to mention the cassowaries, gorillas, horses, snakes, rabbits, chimpanzees, alligators, newts, swans, and pigs that populate his masterful comedies. The sixth of Paul Kent's occasional essays on matters Wodehousean features the entire menagerie. But it's the dogs and cats (along with their respective owners and staff) that are the real stars. Whichever claims your loyalty, with Wodehouse you're bound to see their funny side.

What Ho! P. G. Wodehouse on Childhood (What Ho! P. G. Wodehouse)

by Paul Kent

"What are the chances of a cobra biting Harold, Jeeves?" "Slight, I should imagine, sir. And in such an event, knowing the boy as intimately as I do, my anxiety would be entirely for the snake." Children – or should we say "fiends in human shape" – tend to get a raw deal in the hilarious tales of P. G. "Plum" Wodehouse, coming out with things like "Daddee, are daisies little bits of the stars that have been chipped off by the angels?" or even "You've got a face like a fish!" When not turning the brains of normally sane, rational adults into soppy, sentimental lumps of blancmange, they are actually noisy, messy, cunning, and even venomous. The ninth of Paul Kent's occasional essays on matters Wodehousean is a fascinating tour through Plum's alternative brand of tongue-in-cheek pedagogy, and a timely reminder that lurking somewhere in our adult selves is the child we all once were.

What Ho! P. G. Wodehouse on Class (What Ho! P. G. Wodehouse)

by Paul Kent

"I am not very well up in the Peerage. I seldom read it except to get a laugh out of the names." P. G. "Plum" Wodehouse rarely stood on ceremony, and the snooty English class system was a favourite target for his satire. A demolisher of privilege, pretension and snobbery, Plum presents us with a cavalcade of potty peers, dotty dowagers and perfidious plutocrats who anatomize the nation's social hierarchy more successfully than the fieriest political orator could ever manage – and all the while making us laugh. The fourth of Paul Kent's occasional essays on matters Wodehousean takes us on a hilarious tour round 20th-century English society, proving time and again that in Plum's world rank is but a guinea stamp, and kind hearts are always worth more than coronets.

What Ho! P. G. Wodehouse on Faith (What Ho! P. G. Wodehouse)

by Paul Kent

So you've won the Scripture-knowledge prize, have you?""Sir, yes, sir.""Yes," said Gussie, "you look just the sort of little tick who would." P. G. "Plum" Wodehouse has been described as "strenuously agnostic", yet he still wrote brilliantly, affectionately – and hilariously – about the Anglican Church. Brimming with over 50 clergymen of every rank (including the Reverends 'Pieface' Brandon and Sidney Potter-Pirbright who looks like he's been stuffed by an inexperienced taxidermist), his stories also contain over 2,300 quotations from the King James Bible, proving Plum knew his Acts from his Ezekiel. The tenth of Paul Kent's occasional essays on matters Wodehousean takes us on a joyous journey from Plum's childhood visits to his four clerical uncles, to his later attendance at séances and his none-too serious musings on the Hereafter ("we'll have to wait and see"). Proof, if proof were needed that in Wodehouse World nothing, but nothing is sacred.

What Ho! P. G. Wodehouse on Fashion (What Ho! P. G. Wodehouse)

by Paul Kent

"There are moments, Jeeves, when one asks oneself, 'Do trousers matter?'""The mood will pass, sir." Not only do trousers matter in the crazy world of P. G. "Plum" Wodehouse, they speak volumes: as does one's choice of suit, shirt, cuffs, studs, collar, tie, socks, shoes, spatterdashes, hat and stick. Jeeves, Bertie Wooster's "infallible" valet, is always there to guide us through this sartorial minefield, his trained eye able to spot the microscopic detail that separates the chic, de rigueur, and le dernier cri from the outré and farouche. The seventh of Paul Kent's occasional essays on matters Wodehousean takes us on a fascinating and informative tour of what the well-dressed man (and woman) should wear in order to look just right, transporting us back to an era of top hats, white ties and tailoring that positively reeks with 1920s and 30s elegance.

What Ho! P. G. Wodehouse on Food (What Ho! P. G. Wodehouse)

by Paul Kent

"Wooster", those who know me have sometimes said, "may be a pretty total loss during the daytime hours, but plunge the world in darkness, switch on the soft lights, uncork the champagne and shove a dinner into him, and you'd be surprised."The hilarious fictional world of P. G. "Plum" Wodehouse is a gourmand's paradise. From Bertie Wooster demolishingSylphides à la Crème d'Écrevisses, to Lord Emsworth tucking into a well-jammed roly-poly pudding, to a schoolboy toasting a muffin at the study fire, "browsing and sluicing" is not simply eating and drinking but a daily celebration of being alive. How many other writers actually make their readers feel hungry? Plum can ... and does, while alerting them to the perils of over-consumption, dieting and food fads. So grab yourself a half bot of something half decent and settle back with this, the first of Paul Kent's occasional amuse-bouches on Wodehousean themes. Bon appétit!

What Ho! P. G. Wodehouse on Hollywood (What Ho! P. G. Wodehouse)

by Paul Kent

"It isn't half such a crazy place as it's made out to be. I know two- three people in Hollywood that are part sane." A talking gorilla called Cyril who graduated from Oxford University; a sword-wielding diva driven crazy by her orange juice diet; an English milord swapping bodies with a gobby 12 year-old film star – these are screwball plots even by P. G. 'Plum' Wodehouse's brilliant comic standards. But not so surprising when we learn they take place in "the weirdest place" he had ever worked – Hollywood. Paul Kent's eighth essay on matters Wodehousean is a backstage pass to "Dottyville-on-the-Pacific's" Golden Age in the 1930's, replete with glamour, glitter and the monstrous egos of its biggest movers and shakers. You'll be SHOCKED! You'll be THRILLED! – but above all, you'll be ENTERTAINED!

What Ho! P. G. Wodehouse on Love (What Ho! P. G. Wodehouse)

by Paul Kent

"Jeeves, I'm engaged." "I hope you will be very happy, sir." "Don't be an ass. I'm engaged to Miss Bassett." P. G. "Plum" Wodehouse was the father of the modern rom-com. In his hilarious fictional world, love is all around, in the air and a many-splendoured thing. It's a fact of life, ready and waiting to be fallen in and out of by his men and women, be they willing volunteers, helpless victims, or, like Bertie Wooster, sprinting in the opposite direction ("The voice of Love seemed to call to me, but it was a wrong number.") The third of Paul Kent's occasional essays on matters Wodehousean leads us on a merry dance up those three steps to heaven, guiding us through some of the funniest and unlikely love stories ever written. An ideal present, in fact, for the love of your life.

What Ho! P. G. Wodehouse on Money (What Ho! P. G. Wodehouse)

by Paul Kent

"[I'm] as broke as the ten commandments." P. G. "Plum" Wodehouse knew a thing or two about the money-go-round; in 1938 he was the world's highest paid writer. At times, his financial affairs read like one of his own comic plots, as British and American tax inspectors chased him from pillar to post across two continents. Many of his characters are similarly afflicted: but whether they have too much or too little splosh in the old sock, they always seem to learn – in the funniest ways possible – that money is an excellent servant and a terrible master. The fifth of Paul Kent's occasional essays on matters Wodehousean is packed with paupers and plutocrats, meritocrats and misers all mooching with Mammon. It most certainly is funny in this rich man's world!

What Ho! P. G. Wodehouse on Sport (What Ho! P. G. Wodehouse)

by Paul Kent

"To the philosophical student of golf like myself" (said the Oldest Member), perhaps the most outstanding virtue of this noble pursuit is the fact that it is a medicine for the soul." Sport, in the hilarious fictional world of P. G. "Plum" Wodehouse, is not exclusively about sweaty blokes in shorts, flannels or garish pullovers. Because they're only incidentally about the game in question, just about any-one, sports fan or not, can read his tales of the ring, pitch or links with unalloyed pleasure. So when he writes about cricket, rugby or golf, it's not all runs, tries and holes-in-one but friendship, competitiveness, and in the last of those sports, love. And being a tidy sportsman himself, he brings the ups and downs of playing the game vividly to life as few other writers can, for to Plum they were all part of the broader human comedy. So settle down in your deckchair with the second of Paul Kent's occasional essays on Wodehousean subjects – it's a trophy-winner!

What if Derrida was wrong about Saussure?

by Russell Daylight

Between 1907 and 1911, Ferdinand de Saussure gave three series of lectures on the topic of general linguistics. After his death, these lecture notes were gathered together by his students and published as the 'Course in General Linguistics'. And in the past one hundred years, there has been no more influential and divisive reading of Saussure than that of Jacques Derrida. This book is an examination of Derrida's philosophical reconstruction of Saussurean linguistics, of the paradigm shift from structuralism to post-structuralism, and of the consequences that continue to resonate in every field of the humanities today. Despite the importance of Derrida's critique of Saussure for cultural studies, philosophy, linguistics and literary theory, no comprehensive analysis has before been written. The magnitude of the task undertaken here makes this book an invaluable resource for those wishing to interrogate the encounter beyond appearances or received wisdom. In this process of a close reading, the following themes become sites of debate between Derrida and Saussure: o the originality of Saussure within the history of Western metaphysics o the relationship between speech and writing o the relationship between 'différance' and difference o the intervention of time in structuralism o linguistic relativism and the role of the language user. This long-overdue commentary also poses new questions to structuralism and post-structuralism, and opens up exciting new terrain in linguistic and political thought.

What if Derrida was wrong about Saussure?

by Russell Daylight

This book is an examination of Derrida's philosophical reconstruction of Saussurean linguistics, of the paradigm shift from structuralism to post-structuralism, and of the consequences that continue to resonate in every field of the humanities today.

What If We Stopped Pretending?

by Jonathan Franzen

The climate change is coming. To prepare for it, we need to admit that we can’t prevent it.

What Is a Classic?: Postcolonial Rewriting and Invention of the Canon (Cultural Memory in the Present)

by Ankhi Mukherjee

What Is a Classic? revisits the famous question posed by critics from Sainte-Beuve and T. S. Eliot to J. M. Coetzee to ask how classics emanate from postcolonial histories and societies. Exploring definitive trends in twentieth- and twenty-first century English and Anglophone literature, Ankhi Mukherjee demonstrates the relevance of the question of the classic for the global politics of identifying and perpetuating so-called core texts. Emergent canons are scrutinized in the context of the wider cultural phenomena of book prizes, the translation and distribution of world literatures, and multimedia adaptations of world classics. Throughout, Mukherjee attunes traditional literary critical concerns to the value contestations mobilizing postcolonial and world literature. The breadth of debates and topics she addresses, as well as the book's ambitious historical schema, which includes South Asia, Africa, the Middle East, the West Indies, Australia, New Zealand, Europe, and North America, set this study apart from related titles on the bookshelf today.

What Is a Classic in History?: The Making of a Historical Canon

by null Jaume Aurell

What is a classic in historical writing? How do we explain the continued interest in certain historical texts, even when their accounts and interpretations of particular periods have been displaced or revised by newer generations of historians? How do these texts help to maintain the historiographical canon? Jaume Aurell's innovative study ranges from the heroic writings of ancient Greek historians such as Herodotus to the twentieth century microhistories of Carlo Ginzburg. The book explores how certain texts have been able to stand the test of time, gain their status as historiographical classics, and capture the imaginations of readers across generations. Investigating the processes of permanence and change in both historiography and history, Aurell further examines the creation of historical genres and canons. Taking influence from methodologies including sociology, literary criticism, theology, and postcolonial studies, What Is a Classic in History? encourages readers to re-evaluate their ideas of history and historiography alike.

What Is a Human?: Language, Mind, and Culture

by James Paul Gee

In a sweeping synthesis of new research in a number of different disciplines, this book argues that we humans are not who we think we are. As he explores the interconnections between cutting-edge work in bioanthropology, evolutionary biology, neuroscience, human language and learning, and beyond, James Paul Gee advances, also, a personal philosophy of language, learning, and culture, informed by his decades of work across linguistics and the social sciences. Gee argues that our schools, institutions, legal systems, and societies are designed for creatures that do not exist, thus resulting in multiple, interacting crises, such as climate change, failing institutions, and the rise of nationalist nationalism. As Gee constructs an understanding of the human that takes into account our social, collective, and historical nature, as established by recent research, he inspires readers to reflect for themselves on the very question of who we are—a key consideration for anyone interested in society, government, schools, health, activism, culture and diversity, or even just survival.

What Is a Jewish Classicist?: Essays on the Personal Voice and Disciplinary Politics (Rubicon)

by Simon Goldhill

In recent years, there has been no issue that has convulsed academia and its role in society more stridently than the personal politics of its institutions: who has access to education? How does who you are change what you study and how you engage with it? How does scholarship reflect the politics of society – how should it? These new essays from one of the best-known scholars of ancient Greece offer a refreshing and provocative contribution to these discussions. What is a Jewish Classicist? analyses how the personal voice of a scholar plays a role in scholarship, how religion and cultural identity are acted out within an academic discipline, and how translation, the heart of any engagement with the literature of antiquity, is a transformational practice. Topical, engaging, revelatory, this book opens a sharp and personal perspective on how and why the study of antiquity has become such a battlefield in contemporary culture. The first essay looks at how academics can and should talk about themselves, and how such positionality affects a scholar's work – can anyone can tell his or her own story with enough self-consciousness, sophistication and care? The second essay, which gives the book its title, takes a more socio-anthropological approach to the discipline, and asks how its patterns of inclusion and exclusion, its strategies of identification and recognition, have contributed to the shape of the discipline of classics. This initial enquiry opens into a fascinating history of change – how Jews were excluded from the discipline for many years but gradually after the Second World war became more easily assimilated into it. This in turn raises difficult questions for the current focus on race and colour as the defining aspects of personal identification, and about how academia reflects or contributes to the broader politics of society. The third essay takes a different historical approach and looks at the infrastructure or technology of the discipline through one of its integral and time-honoured practices, namely, translation. It discusses how translation, far from being a mere technique, is a transformational activity that helps make each classicist what they are. Indeed, each generation needs its own translations as each era redefines its relation to antiquity.

What Is a Jewish Classicist?: Essays on the Personal Voice and Disciplinary Politics (Rubicon)

by Simon Goldhill

In recent years, there has been no issue that has convulsed academia and its role in society more stridently than the personal politics of its institutions: who has access to education? How does who you are change what you study and how you engage with it? How does scholarship reflect the politics of society – how should it? These new essays from one of the best-known scholars of ancient Greece offer a refreshing and provocative contribution to these discussions. What is a Jewish Classicist? analyses how the personal voice of a scholar plays a role in scholarship, how religion and cultural identity are acted out within an academic discipline, and how translation, the heart of any engagement with the literature of antiquity, is a transformational practice. Topical, engaging, revelatory, this book opens a sharp and personal perspective on how and why the study of antiquity has become such a battlefield in contemporary culture. The first essay looks at how academics can and should talk about themselves, and how such positionality affects a scholar's work – can anyone can tell his or her own story with enough self-consciousness, sophistication and care? The second essay, which gives the book its title, takes a more socio-anthropological approach to the discipline, and asks how its patterns of inclusion and exclusion, its strategies of identification and recognition, have contributed to the shape of the discipline of classics. This initial enquiry opens into a fascinating history of change – how Jews were excluded from the discipline for many years but gradually after the Second World war became more easily assimilated into it. This in turn raises difficult questions for the current focus on race and colour as the defining aspects of personal identification, and about how academia reflects or contributes to the broader politics of society. The third essay takes a different historical approach and looks at the infrastructure or technology of the discipline through one of its integral and time-honoured practices, namely, translation. It discusses how translation, far from being a mere technique, is a transformational activity that helps make each classicist what they are. Indeed, each generation needs its own translations as each era redefines its relation to antiquity.

What is a Wookiee? (Purple B) NF (PDF)

by Laura Buller

In Star Wars, lots of creatures live far, far away in space. This book will tell you about some of them. You will learn about Wookiees and many other amazing creatures. Find out about furry, friendly Wookiees, and other aliens from the Star Wars world.

What is African American Literature? (Wiley-Blackwell Manifestos)

by Margo N. Crawford

After Kenneth W. Warren's What Was African American Literature?, Margo N. Crawford delivers What is African American Literature? The idea of African American literature may be much more than literature written by authors who identify as "Black". What is African American Literature? focuses on feeling as form in order to show that African American literature is an archive of feelings, a tradition of the tension between uncontainable black affect and rigid historical structure. Margo N. Crawford argues that textual production of affect (such as blush, vibration, shiver, twitch, and wink) reveals that African American literature keeps reimagining a black collective nervous system. Crawford foregrounds the "idea" of African American literature and uncovers the "black feeling world" co-created by writers and readers. Rejecting the notion that there are no formal lines separating African American literature and a broader American literary tradition, Crawford contends that the distinguishing feature of African American literature is a "moodscape" that is as stable as electricity. Presenting a fresh perspective on the affective atmosphere of African American literature, this compelling text frames central questions around the "idea" of African American literature, shows the limits of historicism in explaining the mood of African American literature and addresses textual production in the creation of the African American literary tradition. Part of the acclaimed Wiley Blackwell Manifestos series, What is African American Literature? is a significant addition to scholarship in the field. Professors and students of American literature, African American literature, and Black Studies will find this book an invaluable source of fresh perspectives and new insights on America's black literary tradition.

What is African American Literature? (Wiley-Blackwell Manifestos)

by Margo N. Crawford

After Kenneth W. Warren's What Was African American Literature?, Margo N. Crawford delivers What is African American Literature? The idea of African American literature may be much more than literature written by authors who identify as "Black". What is African American Literature? focuses on feeling as form in order to show that African American literature is an archive of feelings, a tradition of the tension between uncontainable black affect and rigid historical structure. Margo N. Crawford argues that textual production of affect (such as blush, vibration, shiver, twitch, and wink) reveals that African American literature keeps reimagining a black collective nervous system. Crawford foregrounds the "idea" of African American literature and uncovers the "black feeling world" co-created by writers and readers. Rejecting the notion that there are no formal lines separating African American literature and a broader American literary tradition, Crawford contends that the distinguishing feature of African American literature is a "moodscape" that is as stable as electricity. Presenting a fresh perspective on the affective atmosphere of African American literature, this compelling text frames central questions around the "idea" of African American literature, shows the limits of historicism in explaining the mood of African American literature and addresses textual production in the creation of the African American literary tradition. Part of the acclaimed Wiley Blackwell Manifestos series, What is African American Literature? is a significant addition to scholarship in the field. Professors and students of American literature, African American literature, and Black Studies will find this book an invaluable source of fresh perspectives and new insights on America's black literary tradition.

What is Art?: What Is Art? The Christian Teaching - Scholar's Choice Edition (Barnes And Noble Digital Library)

by Leo Tolstoy Larissa Volokhonsky Richard Pevear

During his decades of world fame as a novelist, Tolstoy also wrote prolifically in a series of essays and polemics on issues of morality, social justice and religion. These works culminated in What is Art?, published in 1898. Impassioned and iconoclastic, this powerfully influential work both criticizes the elitist nature of art in nineteenth-century Western society, and rejects the idea that its sole purpose should be the creation of beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire and Wagner are all vigorously condemned, as Tolstoy explores what he believes to be the spiritual role of the artist - arguing that true art must work with religion and science as a force for the advancement of mankind.

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