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A "heartbreakingly resonant" thriller about the explosive intersection of love, race, and justice from a writer and producer of the Emmy-winning Fox TV show Empire (USA Today). "In Bluebird, Bluebird Attica Locke had both mastered the thriller and exceeded it."-Ann Patchett When it comes to law and order, East Texas plays by its own rules -- a fact that Darren Mathews, a black Texas Ranger, knows all too well. Deeply ambivalent about growing up black in the lone star state, he was the first in his family to get as far away from Texas as he could. Until duty called him home. When his allegiance to his roots puts his job in jeopardy, he travels up Highway 59 to the small town of Lark, where two murders -- a black lawyer from Chicago and a local white woman -- have stirred up a hornet's nest of resentment. Darren must solve the crimes -- and save himself in the process -- before Lark's long-simmering racial fault lines erupt. From a writer and producer of the Emmy winning Fox TV show Empire, Bluebird, Bluebird is a rural noir suffused with the unique music, color, and nuance of East Texas.
INTERNATIONAL BESTSELLER In the spirit of We Should All Be Feminists and How to Be an Antiracist, a poignant and sensible guide to questioning the meaning of whiteness and creating an antiracist world from the acclaimed historian and author of Twisted. Vital and empowering What White People Can Do Next teaches each of us how to be agents of change in the fight against racism and the establishment of a more just and equitable world. In this affecting and inspiring collection of essays, Emma Dabiri draws on both academic discipline and lived experience to probe the ways many of us are complacent and complicit—and can therefore combat—white supremacy. She outlines the actions we must take, including: Stop the Denial Interrogate Whiteness Abandon Guilt Redistribute Resources Realize this shit is killing you too . . . To move forward, we must begin to evaluate our prejudices, our social systems, and the ways in which white supremacy harms us all. Illuminating and practical, What White People Can Do Next is essential for everyone who wants to go beyond their current understanding and affect real—and lasting—change.
Examines Twin Peaks’s history and representations of female trauma and agency. Julie Grossman and Will Scheibel's enthusiastic book on the television series Twin Peakstakes fans through the world that Mark Frost and David Lynch created and examines its impact on society, genre, and the television industry. Grossman and Scheibel explore the influences of melodrama and film noir, the significance around the idea of "home," as well as female trauma and agency. In addition to this close investigation of the series itself, the authors examine the rich storytelling surrounding Twin Peaks that includes the film prequel, Mark Frost's novels, and Showtime's 2017 revival. In Twin Peaks, Grossman and Scheibel argue that the show has transcended conventional binaries not only in film and television but also in culture and gender. The book begins with a look into the publicity and critical discourses on authorship that framed Twin Peaks as an auteurist project rather than a prime-time soap opera. Despite critics' attempts to distance the series from the soap opera genre, Grossman and Scheibel explore how melodrama and noir are used in Twin Peaks. Grossman and Scheibel masterfully examine star performances in the series including Kyle MacLachlan's epic portrayal as the idiosyncratic Special Agent Dale Cooper and Sheryl Lee's haunting embodiment of Laura Palmer. The monograph finishes with an examination of the adaptation and remediation of Twin Peaksin a variety of different platforms, which have further expanded the boundaries of the series. Twin Peaksexplores the ways in which the series critiques multiple forms of objectification in culture and textuality. Readers interested in film, television, pop culture, and gender studies as well as fans and new audiences discovering Twin Peaks will embrace this book.
Studying works by William Blake, Walter Scott, and Jane Austen, this volume examines the extent to which Romantic literary works can be said to prefigure the ways in which readers will engage with them after the time of their creation.
Winner of the prestigious Tupelo Press Dorset Prize, selected by poet and MacArthur "genius grant" recipient Eleanor Wilner who says, "I'm so happy to have a manuscript that I believe in so powerfully, poetry with such a deep music. I love it." One might spend a lifetime reading books by emerging poets without finding the real thing, the writer who (to paraphrase Emily Dickinson) can take the top of your head off. Kaminsky is the real thing. Impossibly young, this Russian immigrant makes the English language sing with the sheer force of his music, a wondrous irony, as Ilya Kaminsky has been deaf since the age of four. In Odessa itself, "A city famous for its drunk tailors, huge gravestones of rabbis, horse owners and horse thieves, and most of all, for its stuffed and baked fish," Kaminksy dances with the strangest — and the most recognizable — of our bedfellows in a distinctive and utterly brilliant language, a language so particular and deft that it transcends all of our expectations, and is by turns luminous and universal.
In the aftermath of Prohibition, America's top scientists joined forces with AA members and put their clout behind a campaign to convince the nation that alcoholism is a disease. They had no proof, but they hoped to find it once research money came pouring in. The campaign spanned decades, and from it grew a multimillion-dollar treatment industry and a new government agency devoted to alcoholism. But scientists' research showed that problem drinking is not a singular disease but a complex phenomenon requiring an array of strategies. There's less scientific evidence for the effectiveness of AA than there is for most other treatments, including self-enforced moderation, therapy and counseling, and targeted medications; AA's own surveys show that it doesn't work for the overwhelming majority of problem drinkers. Five years in the making, Joe Miller's brilliant, in-depth investigative reporting into the history, politics, and science of alcoholism shows exactly how AA became our nation's de facto treatment policy, even as evidence accumulated for more effective remedies—and how, as a result, those who suffer the most often go untreated. US of AA is a character-driven, beautifully written exposÉ, full of secrecy, irony, liquor industry money, the shrillest of scare tactics, and, at its center, a grand deception. In the tradition of Crazy by Pete Earley and David Goldhill's Catastrophic Care, US of AA shines a much-needed spotlight on the addiction treatment industry. It will forever change the way we think about the entire enterprise.
Ernesto Macaro brings together a wealth of research on the rapidly expanding phenomenon of English Medium Instruction. Against a backdrop of theory, policy documents, and examples of practice, he weaves together research in both secondary and tertiary education, with a particular focus on the key stakeholders involved in EMI: the teachers and the students. Whilst acknowledging that the momentum of EMI is unlikely to be diminished, and identifying its potential benefits, the author raises questions about the ways it has been introduced and developed, and explores how we can arrive at a true cost–benefit analysis of its future impact. “This state-of-the-art monograph presents a wide-ranging, multi-perspectival yet coherent overview of research, policy, and practice of English Medium Instruction around the globe. It gives a thorough, in-depth, and thought-provoking treatment of an educational phenomenon that is spreading on an unprecedented scale.” Guangwei Hu, National Institute of Education, Singapore Additional online resources are available at www.oup.com/elt/teacher/emi Ernesto Macaro is Professor of Applied Linguistics at the University of Oxford and is the founding Director of the Centre for Research and Development on English Medium Instruction at the university. Oxford Applied Linguistics Series Advisers: Anne Burns and Diane Larsen-Freeman
From the author of Fresh Off the Boat, now a hit ABC sitcom, comes a hilarious and fiercely original story of culture, family, love, and red-cooked pork Eddie Huang was finally happy. Sort of. He’d written a bestselling book and was the star of a TV show that took him to far-flung places around the globe. His New York City restaurant was humming, his OKCupid hand was strong, and he’d even hung fresh Ralph Lauren curtains to create the illusion of a bedroom in the tiny apartment he shared with his younger brother Evan, who ran their restaurant business. Then he fell in love—and everything fell apart. The business was creating tension within the family; his life as a media star took him away from his first passion—food; and the woman he loved—an All-American white girl—made him wonder: How Chinese am I? The only way to find out, he decided, was to reverse his parents’ migration and head back to the motherland. On a quest to heal his family, reconnect with his culture, and figure out whether he should marry his American girl, Eddie flew to China with his two brothers and a mission: to set up shop to see if his food stood up to Chinese palates—and to immerse himself in the culture to see if his life made sense in China. Naturally, nothing went according to plan. Double Cup Love takes readers from Williamsburg dive bars to the skies over Mongolia, from Michelin-starred restaurants in Shanghai to street-side soup peddlers in Chengdu. The book rockets off as a sharply observed, globe-trotting comic adventure that turns into an existential suspense story with high stakes. Eddie takes readers to the crossroads where he has to choose between his past and his future, between who he once was and who he might become. Double Cup Love is about how we search for love and meaning—in family and culture, in romance and marriage—but also how that search, with all its aching and overpowering complexity, can deliver us to our truest selves. Praise for Eddie Huang’s Double Cup Love “Double Cup Love invites the readers to journey through [Eddie Huang’s] love story, new friendships, brotherhood, a whole lot of eating and more. Huang’s honest recounting shouts and whispers on every page in all-caps dialogues and hilarious side-commentary. Huang pulls simple truths and humor out of his complex adventure to China. His forthright sharing of anecdotes is sincere and generates uncontrollable laughter. . . . His latest memoir affirms not only that the self-described “human panda” is an engaging storyteller but a great listener, especially in the language of food.”—Chicago Tribune “An elaborate story of love and self-discovery . . . Huang’s writing is wry and zippy; he regards the world with an understanding of its absurdities and injustices and with a willingness to be surprised.”—Jon Caramanica, The New York Times “Huang is determined to tease out the subtle and not-so-subtle ways in which Asian-Americans give up parts of themselves in order to move forward. . . . Fortunately for us, he’s not afraid to speak up about it.”—The New Yorker “Huang connects in Chengdu the same way he assimilated in America—through food, hip-hop and a never-ending authenticity, which readers experience through his hilarious writing voice and style.”—New York Daily News
In Victorian Skin, Pamela K. Gilbert uses literary, philosophical, medical, and scientific discourses about skin to trace the development of a broader discussion of what it meant to be human in the nineteenth century. Where is subjectivity located? How do we communicate with and understand each other's feelings? How does our surface, which contains us and presents us to others, function and what does it signify? As Gilbert shows, for Victorians, the skin was a text to be read. Nineteenth-century scientific and philosophical perspectives had reconfigured the purpose and meaning of this organ as more than a wrapping and instead a membrane integral to the generation of the self. Victorian writers embraced this complex perspective on skin even as sanitary writings focused on the surface of the body as a dangerous point of contact between self and others. Drawing on novels and stories by Dickens, Collins, Hardy, and Wilde, among others, along with their French contemporaries and precursors among the eighteenth-century Scottish thinkers and German idealists, Gilbert examines the understandings and representations of skin in four categories: as a surface for the sensing and expressive self; as a permeable boundary; as an alienable substance; and as the site of inherent and inscribed properties. At the same time, Gilbert connects the ways in which Victorians "read" skin to the way in which Victorian readers (and subsequent literary critics) read works of literature and historical events (especially the French Revolution.) From blushing and flaying to scarring and tattooing, Victorian Skin tracks the fraught relationship between ourselves and our skin.