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The third Canadian edition of this anthology has been substantially revised and updated for a contemporary audience; a selection of classic essays from earlier eras has been retained, but the emphasis is very much on twenty-first-century expository writing. There is also a focus on issues of great importance in twenty-first-century Canada, such as climate change, the Truth and Reconciliation Commission, the Jian Ghomeshi trial, Facebook, police discrimination, trans rights, and postsecondary education in the humanities. Works of different lengths and levels of difficulty are represented, as are narrative, descriptive and persuasive essays—and, new to this edition, lyric essays. For the new edition there are also considerably more short pieces than ever before; a number of op-ed pieces are included, as are pieces from blogs and from online news sources. The representation of academic writing from several disciplines has been increased—and in some cases the anthology also includes news reports presenting the results of academic research to a general audience. Also new to this edition are essays from a wide range of the most celebrated prose writers of the modern era—from Susan Sontag, Eula Biss, and Michel Foucault to Anne Carson and Ta-Nehisi Coates. The anthology also offers increased diversity of representation—including, for example, a larger proportion of First Nations writers and women writers than previous Canadian editions. Unobtrusive explanatory notes appear at the bottom of the page, and each selection is preceded by a headnote that provides students with information regarding the context in which the piece was written. Each reading is also followed by questions for discussion. A unique feature is the inclusion of a set of additional notes on the anthology’s companion website—notes designed to be of particular help to EAL students and/or students who have little familiarity with Canadian culture. The anthology is accompanied by two companion websites. The student website features additional readings and interactive writing exercises (as well as the additional notes). The instructor website provides additional discussion questions and, for a number of the anthology selections, background information that may be of interest.
The third edition of this anthology has been substantially revised and updated for a contemporary American audience; a selection of classic essays from earlier eras has been retained, but the emphasis is very much on twenty-first-century expository writing. Works of different lengths and levels of difficulty are represented, as are narrative, descriptive and persuasive essays—and, new to this edition, lyric essays. For the new edition there are also considerably more short pieces than ever before; a number of op-ed pieces are included, as are pieces from blogs and from online news sources. The representation of academic writing from several disciplines has been increased—and in some cases the anthology also includes news reports presenting the results of academic research to a general audience. Also new to this edition are essays from a wide range of the most celebrated essayists of the modern era—from James Baldwin, Susan Sontag, Joan Didion, and Annie Dillard to Eula Biss and Ta-Nehisi Coates. The anthology remains broad in its thematic coverage, but certain themes receive special emphasis—notably, issues of race, class, and culture in twenty-first century America. For the new edition the headnotes have been expanded, providing students with more information as to the context in which each piece was written. Questions and suggestions for discussion have been moved online to the instructor website.
This new edition includes most of the essays that have made The Broadview Reader one of the most popular first-year textbooks in Canada, and adds 18 fresh selections. As before, essays are gathered into groups by topic, but the editors also provide alternative tables of contents by rhetorical patterns and devices, and by chronology. Each selection is followed by a wide range of questions and suggestions for discussions, and the reader also includes a glossary and biographical notes. Most of the new selections are of recent vintage, but in recognition of the degree to which “modern” issues often have a long and honourable history, the editors have also added several selections by nineteenth-century writers. Also, the reader now includes a full section on “Women in Society.” The book’s balance of Canadian and non-Canadian writers has been maintained, as has the range of different styles and different essay lengths that are included. In all, the new edition includes 80 selections.
A Strategic Guide to Technical Communication incorporates useful and specific strategies for writers, to enable them to create aesthetically appealing and usable technical documentation. These strategies have been developed and tested on a thousand students from a number of different disciplines over twelve years and three institutions. The second edition adds a chapter on business communication, reworks the discussion on technical style, and expands the information on visual communication and ethics into free-standing chapters. The text is accompanied by a passcode-protected website containing materials for instructors (PowerPoint lectures, lesson plans, sample student work, and helpful links).
Clear Writing is a compact, varied, and very readable collection of prose, designed to provide models of excellent and engaging writing for courses in rhetoric, composition, writing, university writing, expository prose, non-fiction writing, and the essay.
Developed for use in college and university courses, Science and Society provides a broad selection of science writing intended to help students think critically about science and related ethical issues, and to write effectively about science in a variety of styles. The anthology combines pieces aimed at a general audience—including essays by Stephen Jay Gould, Elizabeth Kolbert, and Malcolm Gladwell—with a substantial selection of academic writing, including research articles from journals such as The Lancet, Science, and PLOS ONE. The volume is arranged thematically according to discussion topics ranging from climate change and factory farming to gender discrimination in the sciences and corporate involvement in medical research. Special attention is given to controversial works, including Stanley Milgram’s “Behavioral Study of Obedience,” and to examples of science gone wrong, such as Andrew Wakefield’s infamous paper falsely linking the MMR vaccine to autism. The volume’s introduction outlines major issues in contemporary science, such as publication bias and the commercialization of research, as well as introducing writing concepts such as objectivity of tone and active/passive voice. Each article is accompanied by discussion questions and by helpful explanatory footnotes for non-specialist readers.
This is a book on how to read the essay, one that demonstrates how reading is inextricably tied to the art of writing. It aims to treat the essay with the close attention that has been given to other literary genres, and in doing so it suggests the beauty and depth of the form as a whole. At once personal appreciations and acute critical assessments, the pieces collected here broaden our perspective on the essay as a major literary art, tracing its history from William Hazlitt to Joan Didion.
The history of eastern European is dominated by the story of the rise of the Russian empire, yet Russia only emerged as a major power after 1700. For 300 years the greatest power in Eastern Europe was the union between the kingdom of Poland and the grand duchy of Lithuania, one of the longest-lasting political unions in European history. Yet because it ended in the late-eighteenth century in what are misleadingly termed the Partitions of Poland, it barely features in standard accounts of European history. The Making of the Polish-Lithuanian Union 1385-1569 tells the story of the formation of a consensual, decentralised, multinational, and religiously plural state built from below as much as above, that was founded by peaceful negotiation, not war and conquest. From its inception in 1385-6, a vision of political union was developed that proved attractive to Poles, Lithuanians, Ruthenians, and Germans, a union which was extended to include Prussia in the 1450s and Livonia in the 1560s. Despite the often bitter disagreements over the nature of the union, these were nevertheless overcome by a republican vision of a union of peoples in one political community of citizens under an elected monarch. Robert Frost challenges interpretations of the union informed by the idea that the emergence of the sovereign nation state represents the essence of political modernity, and presents the Polish-Lithuanian union as a case study of a composite state. The modern history of Poland, Lithuania, Ukraine, and Belarus cannot be understood without an understanding of the legacy of the Polish-Lithuanian union. This volume is the first detailed study of the making of that union ever published in English.
Like other composition readers, Counterbalance has as its primary purpose to improve thinking, reading and writing skills, recognizing throughout the degree to which these are inextricably interlinked. Where Counterbalance differs from almost all other composition readers is in the prominence it gives to writing by women. More and more of the writers in modern Western society are women and women now comprise a substantial majority of the students in many undergraduate courses. Yet most texts are eighty per cent or more comprised of writing by men. As its title suggests, this book acts as a counterbalance; over three-quarters of the essays are by women. The feminist stance of Counterbalance is unequivocal; an important aim of this text is to encourage students to question assumptions about gender. But for those to whom the word ‘feminist’ engenders immediate unease, it should be emphasised that the stance of the text is provocative and open-minded rather than strident or exclusionary; Audre Lorde and bell hooks are here, but so is George Orwell. The text is also designed as a counterbalance in other respects; many of the essays here explore issues of race, culture and class. Notions of correctness and issues of free speech and responsibility are also treated. As a whole the book is thus an invigorating and enormously wide-ranging spur to thought and discussion. Yet it avoids the scatter-gun approach so common to first-year collections; Counterbalance retains throughout a focus on language—perhaps the one area that all students, no matter what their backgrounds and interests, can connect to out of their everyday experience. The book’s thesis is that we can all think more clearly and use language more effectively if we know not only something about the traditional areas of composition and grammar but also something about how language influences us. The essays selected demonstrate a variety of expository styles, organizations and methods of development. They are organized into seven chapters so as to present a coherent progression, moving from simpler essays on more familiar topics to more difficult concepts and writing assignments.
The Victorian era witnessed dramatic transformations in print culture, and this new anthology covers the exciting intellectual and social debates of the period. From first-person accounts of the lives of factory workers to Oscar Wilde’s aesthetic theory, and from narratives of British travelers in Africa and Asia to Havelock Ellis’s theories of “sexual inversion,” the surprising diversity of nineteenth-century nonfiction writing is represented. Illustrations from Victorian periodicals provide a vivid sense of the original reading experience. The book’s thematic organization emphasizes the social and historical contexts of prose writings, as well as the way in which these writings address each other. In addition to a general critical introduction, the anthology features new thematic introductions by experts in the field.