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Mastering Positional Chess is a serious, but entertaining chess instruction book. Daniel started writing it when he realized that his lack of positional understanding was causing him to lose many games.
Provides guidance necessary to understand and master the skills of critical appreciation. Addresses each skill and takes reader through each stage of the literary critical process. Also includes sample questions and worked examples.
Linguist, critic, poet, psychologist, I. A. Richards (1893-1979) was one of the great polymaths of the twentieth century. He is best known, however, as one of the founders of modern literary critical theory. Richards revolutionized criticism by turning away from biographical and historical readings as well as from the aesthetic impressionism. Seeking a more exacting approach, he analyzed literary texts as syntactical structures that could be broken down into smaller interacting verbal units of meaning. Practical Criticism, fi rst published in 1929, is a landmark volume in demonstrating this method.
Mastering Poetry is a practical book with wide-ranging examples, detailed commentaries and frameworks for analysis. Whether you are studying or reading poetry for pleasure, it will help you to move beyond your first response to an analytical understanding of the relationship between content, language, structure and style.
Mastering Discourse gathers and elaborates more than a decade of thought on the problems of the intellectual in contemporary society, by one of the most distinguished critics writing on these issues today. From Derrida and Foucault to Kristeva and Irigaray, Paul A. Bové looks at the practices of literary and cultural theory, and discusses the way theorists have produced their institutional positions and politics. Examining some of the major theories developed out of and in relation to the problems of discourse, Bové analyzes the limited successes and failures of these efforts. Mastering Discourses offers an account of why "theory" fails to deal adequately with the politics of discursive cultures and warns that unless critics take much more seriously their own disciplinary inscriptions they will always reproduce structures of power and knowledge that they claim to oppose. Moreover, Bové argues, they will not fulfill the main role of the post-enlightenment intellectual, namely: to respond effectively to the present, through new theoretical and historical formulations that address the changing world of transnational capitalism and its neoliberal ideologies.
This is Volume four of ten of the selected works of I.A. Richards from 1919 to 1938. Originally published in 1929, this study looks at literary judgement. The ‘Practical Criticism’ experiment began to take shape in late 1923. A. C. Benson, then Master of Magdalene College, records in his diary for the 13th of October ‘that at dinner Richards had suggested as a good examination for English students to print five extracts of poetry and prose, with no clue as to author and date, and containing one really worthless piece – and ask for comments and opinion’. This volume is the evidence of that experiment.
This new volume looks at Fantastic Currencies: money, modes, media.
This volume assembles Pulitzer Prize-decorated critical reviews from 22 journalists in various fields of the performing arts, containing, among others, the names of these artists: Opera Singers Luciano Pavarotti, Grace Bumbry, Leontyne Price and Placido Domingo; Film Actors Barbara Stanwyck, Jessica Lange, Katharina Hepburn and Tom Cruise; TV Hosts Dean Martin, Matt Lauer, Howard Cosell and David Letterman; Orchestra Conductors George Szell, John Barbirolli, Leonard Slatkin and Seiji Ozawa; Movie Directors Roman Polanski, Federico Fellini, Billy Wilder and Steven Spielberg.
The very idea that the teachings can be mastered will arouse controversy within Buddhist circles. Even so, Ingram insists that enlightenment is an attainable goal, once our fanciful notions of it are stripped away, and we have learned to use meditation as a method for examining reality rather than an opportunity to wallow in self-absorbed mind-noise. Ingram sets out concisely the difference between concentration-based and insight (vipassana) meditation; he provides example practices; and most importantly he presents detailed maps of the states of mind we are likely to encounter, and the stages we must negotiate as we move through clearly-defined cycles of insight. Its easy to feel overawed, at first, by Ingram's assurance and ease in the higher levels of consciousness, but consistently he writes as a down-to-earth and compassionate guide, and to the practitioner willing to commit themselves this is a glittering gift of a book.In this new edition of the bestselling book, the author rearranges, revises and expands upon the original material, as well as adding new sections that bring further clarity to his ideas.