Combo Split editions include half of the Student's Book content and corresponding sections of the Workbook, with online access to student resources.

Transmedia Character Studies provides a range of methodological tools and foundational vocabulary for the analysis of characters across and between various forms of multimodal, interactive, and even non-narrative or non-fictional media. This highly innovative work offers new perspectives on how to interrelate production discourses, media texts, and reception discourses, and how to select a suitable research corpus for the discussion of characters whose serial appearances stretch across years, decades, or even centuries. Each chapter starts from a different notion of how fictional characters can be considered, tracing character theories and models to approach character representations from perspectives developed in various disciplines and fields. This book will enable graduate students and scholars of transmedia studies, film, television, comics studies, video game studies, popular culture studies, fandom studies, narratology, and creative industries to conduct comprehensive, media-conscious analyses of characters across a variety of media.

Many writers dream of having their work published by a respected publishing house, but don't always understand publishing contract terms - what they mean for the contracting parties and how they inform book-publishing practice. In turn, publishers struggle to satisfy authors' creative expectations against the industry's commercial demands. This book challenges our perceptions of these author-publisher power imbalances by recasting the publishing contract as a cultural artefact capable of adapting to the industry's changing landscape. Based on a three-year study of publishing negotiations, Katherine Day reveals how relational contract theory provides possibilities for future negotiations in what she describes as a 'post negotiation space'. Drawing on the disciplines of cultural studies, law, publishing studies and cultural sociology, this book reveals a unique perspective from publishing professionals and authors within the post negotiation space, presenting the editor as a fundamental agent in the formation and application of publishing's contractual terms.

The Religion Student Writer's Manual and Reader's Guide, is a set of instructions and exercises that sequentially develop citizenship, academic, and professional skills while providing students with knowledge about a wide range of religious concepts, phenomena, and information sources. Part 1 begins by teaching students about reading and writing in introductory religion. It focuses on the crafts of writing and scholarship by providing the basics of grammar, style, formats and source citation, and then introduces students to a variety of rich information resources including the religious journals and the Library of Congress. Part 2 prepares students to research, read, write, review, and critique religious scholarship. Finally, Part 3 provides for the practice of religious scholarship in advanced courses such as the history of religion and contemporary approaches to the study of religion.

This book uses an interdisciplinary inter-mediational approach to reflect on the relational complexity of unsettlement as a predominant sensibility of the present epoque. The book tackles interrelated aspects of unsettlement including temporality, the disconcerting effects of the Anthropocene, the biomedical facets of unsettlement and the post-pandemic futures. It uses a chimeric approach combining essayistic and speculative fiction writing methods, negotiating rational, affective and imaginative ways of inquiry, and showing rather than merely explaining. The book poses questions, but gives no ready-made answers, and invites to think together on the unsettlement as a negatively global human condition that can be collectively made into a generative move of resurgence and refuturing. Contributing to critical reflections on the main features and sensibilities of the current epoque, the book will be of interest to scholars and undergraduate and graduate students, as well as the general public, interested in critical global and future perspectives, in decolonial research, gender studies and posthumanities.

The chapters in this collection explore the constellation of points where stories of individual experience and experiences are in dialogue with political, cultural and social narratives. Encompassing themes of individual and social identities and relationships, (un)belonging, motherhood, academic lives and what it means to be an arts practitioner, these stories and accounts continue and expand the ongoing conversations of how practitioners and academics do their work. They show the ongoing need to rethink and re-examine how to do critical and engaging scholarly work. Life stories are necessarily, messy, complex, personal and often deal with experiences that have been challenging for the author in some way. Contributions from Ross Adamson, Suzy Bamblett, Emily Bell, Jenni Cresswell, Hannah Davita Ludikhuijze, Sandra Lyndon, Vanessa Marr, Jess Moriarty, Eva Mikuska, Holly Stewart, Deirdre Russell, Louise Spiers, Lucianna Whittle. This is the first book in a new series. The Performance and Communities Book Series celebrates, challenges and researches performance in the real world. The series will consider how contemporary performance can engage, build and learn from previous, existing, evolving and new communities of people - practitioners, academics, students, audiences.

Many writers dream of having their work published by a respected publishing house, but don't always understand publishing contract terms - what they mean for the contracting parties and how they inform book-publishing practice. In turn, publishers struggle to satisfy authors' creative expectations against the industry's commercial demands. This book challenges our perceptions of these author-publisher power imbalances by recasting the publishing contract as a cultural artefact capable of adapting to the industry's changing landscape. Based on a three-year study of publishing negotiations, Katherine Day reveals how relational contract theory provides possibilities for future negotiations in what she describes as a 'post negotiation space'. Drawing on the disciplines of cultural studies, law, publishing studies and cultural sociology, this book reveals a unique perspective from publishing professionals and authors within the post negotiation space, presenting the editor as a fundamental agent in the formation and application of publishing's contractual terms.

While scholars have been studying the short story cycle for some time now, this book discusses a form that has never before been identified and named, let alone analyzed: the mini-cycle. A mini-cycle is a short story cycle made up, in most cases, of only two or three stories. This study looks at mini-cycles spanning the period from Anton Chekhov's "little trilogy" (1898) to the "Alphinland" stories in Margaret Atwood's Stone Mattress (2014), including texts by such authors as Stephen Leacock, Alice Munro, Robert Olen Butler, and Clark Blaise. Consideration is also given to marginal examples, like Sherwood Anderson's "Godliness-A Tale in Four Parts" (1919), which can be seen as one story or four distinct texts unified under one title, and to what is called the "exploded" mini-cycle: one whose component stories are published with intervening stories between them rather than consecutively. For each mini-cycle, the analysis is based on close reading of both the linking elements-character, imagery, symbolism, and so forth-and the rhetorical and aesthetic effects of the mini-cycle's being made up of distinct stories rather than constructed as one long narrative.

This book shapes a situated body politics to re-think, re-write, and de-colonise social work as a post-anthropocentric discipline headed towards glocalisation, where human and non-human embodiments and agencies are entangled in glocal environmental worlds. It critically and creatively examines how social work can be theorised, practised, and written in renewed ways through dialogical and transdisciplinary practices. This book is composed of eight essayistic spaces, envisioning social work through embodied, glocal, and earthly entanglements. By drawing on research-based knowledge, autobiographical notes, stories, poetry, photographs, and an art exhibition in social work education, these essays provide readers with analysis and strategies that are useful for research, education, and practice as well as life-long learning. The book constitutes key literature for researchers, educators, practitioners, and activists in social work, sociology, architecture, art and creative writing, feminist and postcolonial studies, human geography, and post-anthropocentric philosophy. It offers the readers sustainable ways to re-think and re-write social work towards a glocal- and post-anthropocentric more-than-human worldview.

Combo Split editions include half of the Student's Book content and corresponding sections of the Workbook, with online access to student resources.

This book equips pre-service teachers, research postgraduate students, teacher educators, and language specialists with specific knowledge and skills about the principles, research, and applications of digital portfolios within the EFL writing contexts. While most digital portfolio scholarship focuses on higher education, this book targets primary-level and secondary-level school audiences, namely pre-service teachers, teacher educators, and Ministry of Education staff members with a focus on EFL writing. The rationale behind this design is that the published literature on digital portfolios tends to be generic and one-size-fits-all; there has been scant published scholarship about the development of digital portfolio literacy among teachers and pupils, which could enable them to upgrade the teaching and learning of writing in a larger EFL environment. This volume fills this gap by illustrating the why, what, and how aspects of digital portfolios in ten reader-friendly chapters. Guiding educators to enrich their pedagogical repertoire via the portfolio approach, this book emphasises a healthy balance between principles, research, and practice. It is an easy-to-follow guide to setting up digital portfolio systems and coaching pupils to improve writing, ensuring the dissemination of digital portfolios with high fidelity.

The only creative writing book to use NLP techniques In "NLP for Writers," writer Bekki Hill helps you improve your narratives through the power of NLP. The focused, goal-orientated learning in this unique guide outlines step by step the different ways in which NLP can be used to develop a better mastery of character, plot and story by connecting emotionally with your reader.

Today's first year composition classrooms are largely reflective of the writing pedagogy that has been used for the last 200 years. Unfortunately, this methodology does not meet the research or writing needs of today's college and university students. Burns and MacBride were determined to make their first year composition courses more relevant to their students and sought a way to revolutionize their syllabus to do so. Building on the work of Tom Romono, Nancy Mack, Camille Allen, Sirpa Grierson, Melinda Putz (and others), Burns and MacBride set out to determine if a multigenre research project could better teach their students research, writing, and critical thinking skills than a traditional research-based essay. The findings of their semester-long study indicated that not only does a MGRP teach these skills, but it far surpasses a traditional essay in teaching engagement, intellectual creativity, and transferable writing skills. Burns and MacBride demonstrate two different ways to integrate a multigenre research project into the college composition classroom.

Gender and Prestige in Literature: Contemporary Australian Book Culture explores the relationship between gender, power, reputation and book publishing's consecratory institutions in the Australian literary field from 1965-2015. Focusing on book reviews, literary festivals and literary prizes, this work analyses the ways in which these institutions exist in an increasingly cooperative and generative relationship in the contemporary publishing industry, a system designed to limit field transformation. Taking an intersectional approach, this research acknowledges that a number of factors in addition to gender may influence the reception of an author or a title in the literary field and finds that progress towards equality is unstable and non-linear. By combining quantitative data analysis with interviews from authors, editors, critics, publishers and prize judges Alexandra Dane maps the circulation of prestige in Australian publishing, addressing questions around gender, identity, literary reputation, literary worth and the resilience of the status quo that have long plagued the field.

A college student writes: "These words I write/ open their mouths wide/ screaming the most intimate secrets." An inmate in a maximum-security men's prison writes: "Within my writing, I am able to break down my prison walls and escape, leave the gangster facade behind." The Forms of Things Unknown: Teaching Poetry Writing to Teens and Adults draws from Shelley Savren's forty years of teaching poetry writing to a diverse array of students, from teens with mental health issues to seniors to adults with developmental disabilities, and in a wide variety of settings, which include middle schools, high schools, colleges, juvenile halls, women's centers, and a men's prison. Each chapter includes an original poem from Savren, heartfelt stories, and lesson plans that introduce poetic concepts through model poems by professionals, open-ended writing assignments, methods for sharing and critiquing, and student poems. Designed for use in a classroom or community setting, this book features forty-one lesson plans and nineteen more poetry-writing workshop ideas and provides guidance and inspiration for teaching poetry writing to teens and adults.

The essays compiled in Poetry in Pedagogy: Intersections Across and Between the Disciplines offer praxes of poetry that cultivate a community around students, language, and writing, while presenting opportunities to engage with new texts, new textual forms, and new forms of text-mediated learning. The volume considers, combines, and complements multiform poetry within and beyond existing Teaching & Learning paradigms as it traverses Asia, The Atlantic, and Virtual Space. By virtue of its melange of intersecting trajectories, across and between oceans, genres, disciplines, and sympathies, Poetry in Pedagogy informs interdisciplinary educators and practitioners of creative writing & poetry involved in examining the multiform through international, cross-disciplinary contexts.