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Ralph W. Rader, along with Sheldon Sacks and Wayne Booth, was one of the three leading figures of the second generation of neo-Aristotelian critics. During his long career in the English Department at the University of California, Berkeley, Rader published scores of essays. Fact, Fiction, and Form: Selected Essays, edited by James Phelan and David H. Richter, collects the most important of these essays, all of them written between the late 1960s and the late 1990s. These critical inquiries, which engage with a remarkable range of literary texts--Moll Flanders, Pamela, Tristram Shandy, "Tintern Abbey," "My Last Duchess," Barchester Towers, Lord Jim, Ulysses, and more--are a rich resource for anyone interested in criticism's ongoing conversations about the following major issues: the concept of form, the genres of the lyric and the novel, the literary dimensions of literary history, the distinction between fiction and nonfiction, the evaluation of literary quality, and the testing of theories and of interpretations. Moreover, the essays collectively develop a distinctive, coherent, and compelling vision of literary form, purpose, and value. Rader's vision is distinctive and coherent because it is based not on an underlying theory of language, power, history, or culture but rather on the idea that form is the means by which humans respond to fundamental aspects and conditions of their existence in the world. His vision is compelling because it includes a rigorous set of standards for adequate interpretation against which he invites his audience to measure his own readings.
This collection of Bertrand Russell's essays is available in paperback for the first time since its publication in 1961. Its first section deals with the books which influenced Russell in his youth. The works of Shelley, Turgenev, Ibsen and Gibbon are among those selected for discussion. The second part is devoted to essays on politics and education. The third section is one of divertissements and parables, which also includes some rare descriptions of Russell's dreams. Finally there are 11 essays and speeches concerned with peace and war, which include some of Russell's most famous pronouncements on nuclear warfare and international tension. Fact and Fiction provides an insight into one of this century's greatest philosophers' range of interests and depth of convictions.
Shortlisted, 2021 Memory Studies Association First Book Award The Fact of Resonance returns to the colonial and technological contexts in which theories of the novel developed, seeking in sound an alternative premise for theorizing modernist narrative form. Arguing that narrative theory has been founded on an exclusion of sound, the book poses a missing counterpart to modernism’s question “who speaks?” in the hidden acoustical questions “who hears?” and “who listens?” For Napolin, the experience of reading is undergirded by the sonic. The book captures and enhances literature’s ambient sounds, sounds that are clues to heterogeneous experiences secreted within the acoustical unconscious of texts. The book invents an oblique ear, a subtle and lyrical prose style attuned to picking up sounds no longer hearable. “Resonance” opens upon a new genealogy of modernism, tracking from Joseph Conrad to his interlocutors—Sigmund Freud, Frantz Fanon, W. E. B. Du Bois, William Faulkner, and Chantal Akerman—the racialized, gendered, and colonial implications of acoustical figures that “drift” through and are transformed by narrative worlds in writing, film, and music. A major synthesis of resources gleaned from across the theoretical humanities, the book argues for “resonance” as the traversal of acoustical figures across the spaces of colonial and technological modernity, figures registering and transmitting transformations of “voice” and “sound” across languages, culture, and modalities of hearing. We have not yet sufficiently attended to relays between sound, narrative, and the unconscious that are crucial to the ideological entailments and figural strategies of transnational, transatlantic, and transpacific modernism. The breadth of the book’s engagements will make it of interest not only to students and scholars of modernist fiction and sound studies, but to anyone interested in contemporary critical theory.
Cullrothes, in the Scottish Highlands, where Innes hides a terrible secret from his girlfriend Alice, a gorgeous, cheating, lying schoolteacher. In the same village, Donald is the aggressive distillery owner, who floods the country with narcotics alongside his single malt; when his son goes missing, he becomes haunted by an anonymous American investor intent on purchasing the Cullrothes Distillery by any means necessary. Schoolgirl Jessie is trying to get the grades to escape to the mainland, while Grandpa counts the days left in his life. This is a place where mountains are immense and the loch freezes in winter. A place with only one road in and out. With long storms and furious midges and a terrible phone signal. The police are compromised the journalists are scum, and the innocent folk of Cullrothes tangle themselves in a fermenting barrel of suspicion, malice and lies...
Politics and media are constantly dealing with the shifting definitions of facts, truth, reality, and fiction. Yet this is something the field of documentary art has been addressing for much longer. The contributions in this volume are from and about artists who explore the boundaries between fact and fiction by playing with the notion of the ?documentary?. The book draws from a wide range of documentary art practices, such as working with archival materials or scrutinising one?s own subjective stance as an artist. It observes how artists deploy the fine line between fact and fiction as a means to imagine versions of the future, and how it can still have an impact in the world of today.
The focus of Canine Form Follows Function: Separating Fact From Fiction is on functional anatomy for working and performance dogs. The type of physiology that enables difficult turns with sudden stops and starts for dogs at work and play. Canine Form Follows Function will allow the reader to see their dog or dogs in a slightly different light. The book dispels some long held beliefs about canine form and function.
A classic work of American literature that has not stopped changing minds and lives since it burst onto the literary scene, The Things They Carried is a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The Things They Carried depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of forty-three. Taught everywhere—from high school classrooms to graduate seminars in creative writing—it has become required reading for any American and continues to challenge readers in their perceptions of fact and fiction, war and peace, courage and fear and longing. The Things They Carried won France's prestigious Prix du Meilleur Livre Etranger and the Chicago Tribune Heartland Prize; it was also a finalist for the Pulitzer Prize and the National Book Critics Circle Award.
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The thought-provoking and timely new novel from Melissa de la Cruz, the #1 New York Times bestselling author of Alex & Eliza: A Love Story, will have you crying with Jasmine as she finds out she’s undocumented – then cheering her on as she fights to stay in the country she loves. She had her whole life planned. She knew who she was and where she was going. Until the truth changed everything. Jasmine de los Santos has always done what’s expected of her. She’s studied hard, made her Filipino immigrant parents proud and is ready to reap the rewards in the form of a full college scholarship to the school of her dreams. And then everything shatters. Her parents are forced to reveal the truth: their visas expired years ago. Her entire family is illegal. That means no scholarships, maybe no college at all and the very real threat of deportation. As she’s trying to make sense of this new reality, her world is turned upside down again by Royce Blakely. He’s funny, caring and spontaneous—basically everything she’s been looking for at the worst possible time—and now he’s something else she may lose. Jasmine will stop at nothing to protect her relationships, family and future, all while fighting the hard truths of being undocumented. ***** “A great read!” —Rachel Cohn, New York Times bestselling coauthor of Nick & Norah’s Infinite Playlist “We’re obsessed—and you will be too.” —The Editors of Seventeen magazine “Heartbreaking and bursting with hope, this is the book we all need.” —Marie Lu, #1 New York Times bestselling author of the Young Elites and Legend series “This book will change you. A must-read.” —Dhonielle Clayton, coauthor of Tiny Pretty Things and Shiny Broken Pieces, and the forthcoming The Belles “A must-read!” —Ally Condie, author of the #1 New York Times bestselling Matched trilogy “An immigrant herself, de la Cruz succeeds in presenting a complicated and multifaceted topic in a manner that is light enough to keep readers engaged.” —Kirkus Reviews “De la Cruz presents a timely and thought-provoking look at the complex reality of being young and undocumented in the United States…Readers will root for Jasmine as she fights for her future and finds the power of her own voice.” —Publishers Weekly
Nora M. Alter reveals the essay film to be a hybrid genre that fuses the categories of feature, art, and documentary film. Like its literary predecessor, the essay film draws on a variety of forms and approaches; in the process, it fundamentally alters the shape of cinema. The Essay Film After Fact and Fiction locates the genre’s origins in early silent cinema and follows its transformation with the advent of sound, its legitimation in the postwar period, and its multifaceted development at the turn of the millennium. In addition to exploring the broader history of the essay film, Alter addresses the innovative ways contemporary artists such as Martha Rosler, Isaac Julien, Harun Farocki, John Akomfrah, and Hito Steyerl have taken up the essay film in their work.