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What is it that we do when we enjoy a text? What is the pleasure of reading? The French critic and theorist Roland Barthes's answers to these questions constitute "perhaps for the first time in the history of criticism . . . not only a poetics of reading . . . but a much more difficult achievement, an erotics of reading . . . . Like filings which gather to form a figure in a magnetic field, the parts and pieces here do come together, determined to affirm the pleasure we must take in our reading as against the indifference of (mere) knowledge." --Richard Howard
In The Pleasure of the Text, Sami Alwani weaves together themes of art induced dissociation, queer intergenerational polyamory, racial capitalism and esoteric mystical experiences into twenty slice-of-life comic stories that are equal parts comedy and tragedy. These stories question society and individual identity. A talking baby philosophizes away his own emotions. A half-man, half-dog cartoonist's spirit burns too bright when he alienates the entire alternative comics industry, drunk on his own power. A friendly ghost survives COVID quarantine with the help of CBD pot cookies and essential oil diffusers. There's something for everyone in this cheerful volume collecting all of award-winning Alwani's work-to-date with plenty of never-before-seen material.
In this delightful collection, forty acclaimed writers explain what first made them interested in literature, what inspired them to read, and what makes them continue to do so. First published in 1992 in hardback only, original contributors include Margaret Atwood, J. G. Ballard, Melvyn Bragg, A. S. Byatt, Catherine Cookson, Carol Ann Duffy, Germaine Greer, Alan Hollinghurst, Doris Lessing, Candia McWilliam, Edna O'Brien, Ruth Rendell, Tom Stoppard, Sue Townsend, and Jeanette Winterson. The new edition will include essays from ten new writers.
This book explores what writing for pleasure means, and how it can be realised as a much-needed pedagogy whose aim is to develop children, young people, and their teachers as extraordinary and life-long writers. The approach described is grounded in what global research has long been telling us are the most effective ways of teaching writing and contains a description of the authors’ own research project into what exceptional teachers of writing do that makes the difference. The authors describe ways of building communities of committed and successful writers who write with purpose, power, and pleasure, and they underline the importance of the affective aspects of writing teaching, including promoting in apprentice writers a sense of self-efficacy, agency, self-regulation, volition, motivation, and writer-identity. They define and discuss 14 research-informed principles which constitute a Writing for Pleasure pedagogy and show how they are applied by teachers in classroom practice. Case studies of outstanding teachers across the globe further illustrate what world-class writing teaching is. This ground-breaking text is essential reading for anyone who is concerned about the current status and nature of writing teaching in schools. The rich Writing for Pleasure pedagogy presented here is a radical new conception of what it means to teach young writers effectively today.
Examines the social forces that have shaped reading, discusses the nature of reading skills, and suggests connections between reading and dreaming and hypnotic trance
Reading for pleasure urgently requires a higher profile to raise attainment and increase children’s engagement as self-motivated and socially interactive readers. Building Communities of Engaged Readers highlights the concept of ‘Reading Teachers’ who are not only knowledgeable about texts for children, but are aware of their own reading identities and prepared to share their enthusiasm and understanding of what being a reader means. Sharing the processes of reading with young readers is an innovative approach to developing new generations of readers. Examining the interplay between the ‘will and the skill’ to read, the book distinctively details a reading for pleasure pedagogy and demonstrates that reader engagement is strongly influenced by relationships between children, teachers, families and communities. Importantly it provides compelling evidence that reciprocal reading communities in school encompass: a shared concept of what it means to be a reader in the 21st century; considerable teacher and child knowledge of children’s literature and other texts; pedagogic practices which acknowledge and develop diverse reader identities; spontaneous ‘inside-text talk’ on the part of all members; a shift in the focus of control and new social spaces that encourage choice and children’s rights as readers. Written by experts in the literacy field and illustrated throughout with examples from the project schools, it is essential reading for all those concerned with improving young people’s enjoyment of and attainment in reading.
Now in paperback, a romantic love story by the great Brazilian writer Lóri, a primary school teacher, is isolated and nervous, comfortable with children but unable to connect to adults. When she meets Ulisses, a professor of philosophy, an opportunity opens: a chance to escape the shipwreck of introspection and embrace the love, including the sexual love, of a man. Her attempt, as Sheila Heti writes in her afterword, is not only “to love and to be loved,” but also “to be worthy of life itself.” Published in 1968, An Apprenticeship is Clarice Lispector’s attempt to reinvent herself following the exhausting effort of her metaphysical masterpiece The Passion According to G. H. Here, in this unconventional love story, she explores the ways in which people try to bridge the gaps between them, and the result, unusual in her work, surprised many readers and became a bestseller. Some appreciated its accessibility; others denounced it as sexist or superficial. To both admirers and critics, the olympian Clarice gave a typically elliptical answer: “I humanized myself,” she said. “The book reflects that.”
"Wendy Lesser's extraordinary alertness, intelligence, and curiosity have made her one of America's most significant cultural critics," writes Stephen Greenblatt. In Why I Read, Lesser draws on a lifetime of pleasure reading and decades of editing one of the most distinguished literary magazines in the country, The Threepenny Review, to describe her love of literature. As Lesser writes in her prologue, "Reading can result in boredom or transcendence, rage or enthusiasm, depression or hilarity, empathy or contempt, depending on who you are and what the book is and how your life is shaping up at the moment you encounter it." Here the reader will discover a definition of literature that is as broad as it is broad-minded. In addition to novels and stories, Lesser explores plays, poems, and essays along with mysteries, science fiction, and memoirs. As she examines these works from such perspectives as "Character and Plot," "Novelty," "Grandeur and Intimacy," and "Authority," Why I Read sparks an overwhelming desire to put aside quotidian tasks in favor of reading. Lesser's passion for this pursuit resonates on every page, whether she is discussing the book as a physical object or a particular work's influence. "Reading literature is a way of reaching back to something bigger and older and different," she writes. "It can give you the feeling that you belong to the past as well as the present, and it can help you realize that your present will someday be someone else's past. This may be disheartening, but it can also be strangely consoling at times." A book in the spirit of E. M. Forster's Aspects of the Novel and Elizabeth Hardwick's A View of My Own, Why I Read is iconoclastic, conversational, and full of insight. It will delight those who are already avid readers as well as neophytes in search of sheer literary fun.
In recent years, cultural commentators have sounded the alarm about the dire state of reading in America. Americans are not reading enough, they say, or reading the right books, in the right way. In this book, Alan Jacobs argues that, contrary to the doomsayers, reading is alive and well in America. There are millions of devoted readers supporting hundreds of enormous bookstores and online booksellers. Oprah's Book Club is hugely influential, and a recent NEA survey reveals an actual uptick in the reading of literary fiction. Jacobs's interactions with his students and the readers of his own books, however, suggest that many readers lack confidence; they wonder whether they are reading well, with proper focus and attentiveness, with due discretion and discernment. Many have absorbed the puritanical message that reading is, first and foremost, good for you--the intellectual equivalent of eating your Brussels sprouts. For such people, indeed for all readers, Jacobs offers some simple, powerful, and much needed advice: read at whim, read what gives you delight, and do so without shame, whether it be Stephen King or the King James Version of the Bible. In contrast to the more methodical approach of Mortimer Adler's classic How to Read a Book (1940), Jacobs offers an insightful, accessible, and playfully irreverent guide for aspiring readers. Each chapter focuses on one aspect of approaching literary fiction, poetry, or nonfiction, and the book explores everything from the invention of silent reading, reading responsively, rereading, and reading on electronic devices. Invitingly written, with equal measures of wit and erudition, The Pleasures of Reading in an Age of Distraction will appeal to all readers, whether they be novices looking for direction or old hands seeking to recapture the pleasures of reading they first experienced as children.
This is a short guide for teachers on how to help a school put in place a reading for pleasure policy. To support this policy the guide also takes a close look at how children read - what do they think as they read? I've also included some plans from teachers putting reading for pleasure policies in place. It's for you to use, adapt and change as you think best for the school and students you have in front of you.