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Imitating Authors is a major study of the theory and practice of imitatio (the imitation of one author by another) from antiquity to the present day. It extends from early Greek texts right up to recent fictions about clones and artificial humans, and illuminates both the theory and practice of imitation. At its centre lie the imitating authors of the English Renaissance, including Ben Jonson and the most imitated imitator of them all, John Milton. Imitating Authors argues that imitation was not simply a matter of borrowing words, or of alluding to an earlier author. Imitators learnt practices from earlier writers. They imitated the structures and forms of earlier writing in ways that enabled them to create a new style which itself could be imitated. That made imitation an engine of literary change. Imitating Authors also shows how the metaphors used by theorists to explain this complex practice fed into works which were themselves imitations, and how those metaphors have come to influence present-day anxieties about imitation human beings and artificial forms of intelligence. It explores relationships between imitation and authorial style, its fraught connections with plagiarism, and how emerging ideas of genius and intellectual property changed how imitation was practised. In refreshing and jargon-free prose Burrow explains not just what imitation was in the past, but how it influences the present, and what it could be in the future. Imitating Authors includes detailed discussion of Plato, Roman rhetorical theory, Virgil, Lucretius, Petrarch, Cervantes, Ben Jonson, Milton, Pope, Wordsworth, Mary Shelley, and Kazuo Ishiguro.
This is a bank of ideas designed to help teachers to develop the writing of primary-school pupils. It is concerned mainly with the compositional aspects of writing, rather than spelling, handwriting and punctuation, and consists of five main sections, dealing with writing stories and poems, writing for information, writing from reading, writing from personal experience, and redrafting and proof-reading.
The Imitation in Writing Series is designed to teach aspiring writers the art and discipline of crafting delightful prose and poetry by using the time-tested method of imitation. Included are well-written fairy tales, fables, and Greek myths from the past, formatted so that students can outline and imitate each one. A great tool for teaching plot, character development, vocabulary, and paragraphing.
Writing & Rhetoric Book 1: Fable Teacher's Edition includes the comlete studetn text, as well as answer keys, teacher's notes, and explanations. For every writing assignment, this edition also supplies descriptions and examples of waht excellentstudent writing should look like, providing the teacher with meaningful and concrete guidance."
Craft matters. Point of view matters-its controlling effect often overlooked in the study of authors' rhetorical choices. This book showcases creative writing from students in the University of Vermont Honors College course, Crafting Point of View, that evolved through experimentation. These writers tackled stylistic imitations of novelists, memoirists, and poets who chose unconventional points of view in their prosaic and poetic story telling: the dialect and direct-address of Celie's letters to God in Alice Walker's The Color Purple; the masterful and inventive manipulation of multiple points of view, sometimes within the same chapter or paragraph, in Lydia Davis's Collected Stories-predominantly "Break It Down"-and Abigail Thomas's Safekeeping; the surreal seemingness of "How to Tell a True War Story" in Tim O'Brien's metafictional The Things They Carried; the ways for means that poets like Maya Angelou, Donald Hall, and Jane Kenyon shift points of view, sometimes to alter the lens on pain; and the utilization of that "say you are...," "imagine this," all-inclusive assumedness of the second-person in Jay McInernay's Bright Lights, Big City and Mark Richard's House of Prayer No. 2. In the explorations that follow each story, essay, poem, or media message, student reflections on the crafting process will enlighten readers about the power and purpose of this often-undervalued element of style in writing: point of view.
Writing & Rhetoric Book 2: Narrative 1 Teacher's Edition includes the complete student text, as well as answer keys, teacher's notes, and explanations. For every writing assignment, this edition also supplies diescriptions adn examples of what excellent student writing should look like, providing the teacher with meaningful and concrete guidance.
The Writing & Rhetoric series method employs fluent reading, careful listening, models for imitation, and progressive steps. It assumes that students learn the best by reading excellent, whole-story examples of litereature and by growing their skills through imitatiion. Each excercise is intended to impart a skill (or tool) that can be employed in all kids of writing and speaking. The excercises are arranged from simple to more complex. What's more, the exercises are cumulative, meaning that later exercises incorporate the skills acquired preceding exercises. This series is a step-by-step apprenticeship in the art of writing and rhetoric. Fable, the first book in the Writing & Rhetoric series, teaches students the practice of close reading and comprehension, summarizing a story aloud and in writing, and amplification of a story through description and dialogue. Students learn how to identify different kinds of stories; determine the beginning, middle, and end of stories; recognize point of view; and see analogous situations, among other essential tools. The Writing & Rhetoric series recovers a proven method of teaching writing, using fables to teach beginning writers the craft of writing well.