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Although Roland Barthes and Michel Foucault announced the death of the author several decades ago, critics have been slow to abandon the idea of the solitary writer. Bette London maintains that this notion has blinded us to the reality that writing is seldom an individual activity and that it has led us to overlook both the frequency with which women authors have worked together and the significance of their collaborative undertakings as a form of professional activity. In Writing Double, the first full-length treatment of women's literary partnerships, she goes to the heart of issues surrounding authorial identity. What is an author? Which forms of authorship are sanctioned and which forms marginalized? Which of these forms have particularly attracted women? Such questions are central to London's analysis of the challenge that women's literary collaboration presents to accepted notions of authorship. Focusing on British texts from the nineteenth and twentieth centuries, she considers a fascinating variety of works by largely noncanonical, and in some instances highly unconventional, authors—from the enormously popular novels composed by writing teams at the turn of the century, to the Brontë juvenilia and the occult scripts of Georgie Yeats and W. B. Yeats, to automatic writings produced by mediums purporting to be in communication with the spirit world.
Paul Auster is one of the most acclaimed figures in American literature. Known primarily as a novelist, Auster's films and various collaborations are now gaining more recognition. Evija Trofimova offers a radically different approach to the author's wider body of work, unpacking the fascinating web of relationships between his texts and presenting Auster's canon as a rhizomatic facto-fictional network produced by a set of writing tools. Exploring Auster's literal and figurative use of these tools ? the typewriter, the cigarette, the doppelg�nger figure, the city ? Evija Trofimova discovers Auster's "writing machine", a device that works both as a means to write and as a construct that manifests the emblematic writer-figure. This is a book about assembling texts and textual networks, the writing machines that produce them, and the ways such machines invest them with meaning. Embarking on a scholarly quest that takes her from between the lines of Auster's work to between the streets of his beloved New York and finally to the man himself, Paul Auster's Writing Machine becomes not just a critical investigation but a critical collaboration, raising important questions about the ultimate meaning of Auster's work, and about the relationship between texts, their authors, their readers and their critics.
Help your students develop the writing skills they need to succeed with this timely resource! This book provides teachers with standards-based strategies to help students demonstrate their learning of fiction-related concepts as they navigate the complexities of literary works. This book offers detailed strategies for using graphic organizers, developing vocabulary, journal writing, taking notes, applying knowledge, and assessing student writing. The strategies also help prepare students for success in college and careers. Classroom examples and differentiation suggestions with every strategy provide clear models for success!
Help students write about social studies content and build their historical thinking skills! This 2nd edition resource was created to support College and Career Readiness Standards, and provides an in-depth research base about content-area literacy instruction, including key strategies to help students write about and comprehend historical content. Each strategy includes classroom examples by grade ranges (1-2, 3-5, 6-8 and 9-12) and necessary support materials, such as graphic organizers, templates, or digital resources to help teachers implement quickly and easily. Specific suggestions for differentiating instruction are also provided to help English language learners, gifted students, and students reading below grade level.
Help students write about science content and build their scientific thinking skills! This 2nd edition resource was created to support College and Career Readiness Standards, and provides an in-depth research base about content-area literacy instruction, including key strategies to help students write about and comprehend scientific content. Each strategy includes classroom examples by grade ranges (1-2, 3-5, 6-8 and 9-12) and necessary support materials, such as graphic organizers, templates, or digital resources to help teachers implement quickly and easily. Specific suggestions for differentiating instruction are also provided to help English language learners, gifted students, and students reading below grade level.
As lawyers, we must not, in hot pursuit of common law, outrun common sense. The dread of that eventuality prompted this book. Learned Writing promotes common sense in legal language. Plain language, which is commonsensical, broadens access to legal documents, thus democratizing the law. If democracy is government of the people, by the people, and for the people, law is the language in which government interacts with the people—it is the language of democracy. The people whose government speaks through law must understand what is said. No democratic society should brook legalese, a dense, verbose dialect known only to lawyers. What then should society do to redress the lawyer-induced obscurity? A Shakespearean character had an alarming proposal: “The first thing we do, let’s kill all the lawyers.” Apparently, that proposal was not enthusiastically endorsed, which explains why we’re still here. A milder remedy—enrolling lawyers in language classes—has been muted, which explains why this book is in your hands. Learned Writing motivates lawyers to prefer plain language to the legalese and verbosity that have besmirched legal writing for centuries. This book is as sweeping a treatment of its subject as you can find anywhere.
The pun is as old as Babel, and inveterate punsters like Shakespeare clearly never lacked translators. This book critically examines the evergreen cliché that wordplay defies translation, replacing it by a theory and a case study that aim to come to grips with the reality of wordplay and its translation. What are the possible modes of wordplay translation? What are the various, sometimes conflicting constraints prompting translators in certain situations to go for one strategy rather than another? Ample illustration is provided from Hamlet and other Shakespearean texts and several Dutch, French, and German renderings. The study exemplifies how theory can usefully be integrated into a description-oriented approach to translation. Much of the argument also rests on the definition of wordplay as an open-ended and historically variable category. The book's concerns range from the linguistic and textual properties of Shakespeare's punning and its translation to matters of historical poetics and ideology. Its straightforward approach shows that discourse about wordplay doesn't need to rely on stylistic bravura or abstract speculation. The book is concluded by an anthology of the puns in Hamlet, including a brief semantic analysis of each and a generous selection of diverse translations.