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Books > Language & Literature > Literary & linguistic reference works > Writing & editing guides > General
No two writing situations are exactly the same and skilled writers,
like skilled painters, must develop the know-how to represent the
objects of their writing as part of a flexible art. This special
art of writing lies hidden between grammar--the well-formedness of
sentences--and genre--the capacity of texts to perform culturally
holistic communicative functions (e.g., the memo, the strategic
report, the letter to the editor). Concealed between grammar and
genre, this less visible art of writing is what Kaufer and Butler
call "representational composition." Texts within this hidden art
are best viewed not primarily as grammatical units or as genre
functions, but as bearers of design elements stimulating imagistic,
narrative, and information-rich worlds, and as an invitation to
readers to explore and interact with them.
Cutting Plays for Performance offers a practical guide for cutting a wide variety of classical and modern plays. This essential text offers insight into the various reasons for cutting, methods to serve different purposes (time, audience, story), and suggests ways of communicating cuts to a production team. Dealing with every aspect of the editing process, it covers structural issues, such as plot beats, rhetorical concepts, and legal considerations, why and when to cut, how to cut with a particular goal in mind such as time constraints, audience and storytelling, and ways of communicating cuts to a production team. A set of practical worksheets to assist with the planning and execution of cuts, as well as step-by-step examples of the process from beginning to end in particular plays help to round out the full range of skills and techniques that are required when approaching this key theatre-making task. This is the first systematic guide for those who need to cut play texts. Directors, dramaturgs, and teachers at every level from students to seasoned professionals will find this an indispensable tool throughout their careers.
This book by one of Latin America's leading cultural theorists examines the place of the subject and the role of biographical and autobiographical genres in contemporary culture. Arfuch argues that the on-going proliferation of private and intimate stories - what she calls the 'biographical space' - can be seen as symptomatic of the impersonalizing dynamics of contemporary times. Autobiographical genres, however, harbour an intersubjective dimension. The 'I' who speaks wants to be heard by another, and the other who listens discovers in autobiography possible points of identification. Autobiographical genres, including those that border on fiction, therefore become spaces in which the singularity of experience opens onto the collective and its historicity in ways that allow us to reflect on the ethical, political, and aesthetic dimensions not only of self-representation but also of life itself. Opening up debate through juxtaposition and dialogue, Arfuch's own poetic writing moves freely from the Holocaust to Argentina's last dictatorship and its traumatic memories, and then to the troubled borderlands between Mexico and the United States to show how artists rescue shards of memory that would otherwise be relegated to the dustbin of history. In so doing, she makes us see not only how challenging it is to represent past traumas and violence but also how vitally necessary it is to do so as a political strategy for combating the tides of forgetting and for finding ways of being in common.
Section 1 of this volume describes three major debates about voice.
They include:
Memory has long been ignored by rhetoricians because the written
word has made memorization virtually obsolete. Recently however, as
part of a revival of interest in classical rhetoric, scholars have
begun to realize that memory offers vast possibilities for today's
writers. Synthesizing research from rhetoric, psychology,
philosophy, and literary and composition studies, this volume
brings together many historical and contemporary theories of
memory. Yet its focus is clear: memory is a generator of knowledge
and a creative force which deserves attention at the beginning of
and throughout the writing process.
As the field of composition studies became more sophisticated in
its understanding of research, the designs and assumptions
underlying the early work were called into question. Researchers
were challenged to design studies that were sensitive to the
varying contexts in which writers write and to the ways their own
roles shaped their investigations. The more comprehensive studies
called for by these critiques are only now beginning to
appear.
College Writing Skills with Readings, 11th edition, emphasizes writing skills as well as process. By identifying a set of 4 fundamental skills critical to effective writing, College Writing Skills with Readings encourages students to see writing as a skill that can be learned and a process that must be explored. These 4 skills, or bases, for effective writing are as follows: Unity: Discover a clearly stated point, or topic sentence, and make sure that all other information in the paragraph or essay supports that point. Support: Support the points with specific evidence, and plenty of it. Coherence: Organize and connect supporting evidence so that paragraphs and essays transition smoothly from one bit of supporting information to the next. Sentence skills: Revise and edit so that sentences are error-free for clearer and more effective communication. These four bases are essential to all effective writing, whether it be a narrative paragraph for a personal journal, a cover letter for a job application, or an essay for an academic assignment.
Students today are writing more than ever. Everyone's an Author bridges the gap between the writing students already do-online, at home, in their communities-and the writing they'll do in college and beyond. It builds student confidence by showing that they already know how to think rhetorically and offers advice for applying those skills as students, professionals, and citizens. Because students are also reading more than ever, the third edition includes new advice for reading critically, engaging respectfully with others, and distinguishing facts from misinformation. Everyone's an Author, MLA Update Edition features the latest documentation guidelines from the ninth edition of the MLA Handbook (2021). Also available in a version with readings.
This collection introduces the reader to the ideas that have shaped writing center theory and practice. The essays have been selected not only for the insight they offer into issues but also for their contributions to writing center scholarship. These papers help to chart the legitimation of writing centers by providing both a history and an examination of the philosophies, praxis, and politics that have defined this emerging field. They demonstrate the ways a clearer profile of the discipline has emerged from the research and reflection of writers, like those represented here. This volume charts the emergence of writing centers and the growing recognition of their contributions, roles, and importance. As a nascent discipline, writing centers reflect the concerns with marginality and with finding a respected place in the academy that characterize any new field of academic inquiry, practice, and research. Concomitantly, professionals in these fields seek standing within the academy and a way of defining and validating their contributions to the educational process. Contemporary writing center theorists look to interdisciplinary and multidisciplinary investigations to interpret the work they do and to clarify their aims to the academy at large. Their work employs a variety of philosophical perspectives -- ranging from sociolinguistics to psychoanalytic theory -- to show the complex nature and potential of writing center interactions. The idea has now become the multidimensional realities of the writing center within the academy and within society as a whole. What its role will be in future redefinitions of the educational process, how that role will be negotiated and evaluated, and how professionals will shape educational values will constitute the future landmark directions and essays on writing center theory and practice.
This helpful guidebook makes it easy for librarians to select the most appropriate periodical or serial for their proposed articles. A subject index with cross references ensures quick access to the alphabetically listed titles. The Guide to Publishing Opportunities for Librarians provides the following comprehensive information for each publication listed: bibliographic entry name and address of editor to whom manuscripts should besubmitted names of indexing and abstracting services which include the publication editorial aim/policy scope and content intended audience manuscript style requirements acceptance rate review procedures for submitted articles Both novice and experienced authors will be able to quickly select the most appropriate periodical or serial for proposed articles from a wide variety of publications. In addition to the more familiar organs of national library associations, societies, and library schools, the guide also includes regional publications, newsletters, bulletins, scholarly journals, interdisciplinary and general periodicals, subject-specific publications, and electronic journals. Public, academic, special, and school librarians, as well as other information specialists seeking to publish in the library science field, will find the Guide to Publishing Opportunities for Librarians a valuable tool for promoting professional development.
Anna: Sexually abused by her father beginning at age one. Tanya: Raped by her father at age five. Lisa: Neglected by her mother and put into a foster home, she suffered severe and prolonged Satanic ritual abuse at her mother's hand. And Amy...Krista...Shawna...Linda...Virginia... All victims of severe emotional, physical, and sexual abuse as children. These eight women together made a treacherous journey up through the depths of pain, despair, anger, and fear toward newfound self-awareness and inner strength. This poignant odyssey is depicted in Ending the Cycle of Abuse, a volume about a highly promising method of group treatment for adults who have been severely abused as children. Accessible to both therapist and patient, this book is extraordinary because it offers the dual perspectives of both therapist and abuse victims in the group endeavor. This extremely compelling book is composed of the measured words of therapist Dr. Ney and the lucid prose of Anna Petersone of his patients in the group. It is enhanced by moving contributions from other group members as well. The volume traces a carefully evolved process of therapy developed by Dr. Ney over a lifetime of clinical practice and research into child abuse and neglect. Dr. Ney bases his therapeutic technique on the theory of the triangle of abuse involving perpetrator, victim, and observer: transgenerational in nature and changeable under varied circumstances. Realistic and pragmatic, Ending the Cycle of Abuse describes a process that requires abuse victims to accept that they have been forever changed as a result of the abuse they endured. Group members are taught to constructively deal with the guilt, the anger, the rage, thefear, and the despair stemming from their early experiences, and the majority make remarkably good progress. This exceptional volume will give its readers a deeper understanding of child abuse and its effects on the developing child. For therapists who work with abuse victims, it sets forth a time-tested technique for providing significant help to a severely disturbed and growing population. For victims of abuse, it offers the immense relief of self-recognition and the gift of hope.
This volume explores adult work-world writing issues from the
perspectives of five seasoned professionals who have logged
hundreds of hours working with adults on complicated written
communication problems. It examines the gap between school-world
instructional practices and real-world problems and situations.
After describing the five major economic sectors which are writing
intensive, the text suggests curricular reforms which might better
prepare college-educated writers for these worlds. Because the
volume is based on the extensive work-world experiences of the
authors, it offers numerous examples of real-world writing problems
and strategies which illustrate concretely what goes wrong and what
needs to be done about it.
Someday computers will be artists. They'll be able to write amusing
and original stories, invent and play games of unsurpassed
complexity and inventiveness, tell jokes and suffer writer's block.
But these things will require computers that can both achieve
artistic goals and be creative. Both capabilities are far from
accomplished.
Exploring the relationship between the writer and what he/she
happens to be writing, this text by one of the foremost scholars in
the field of literacy and cognition is a unique and original
examination of writing--as a craft and as a cognitive activity. The
book is concerned with the physical activity of writing, the way
the nervous system recruits the muscles to move the pen or
manipulate the typewriter. It considers the necessary disciplines
of writing, such as knowledge of the conventions of grammar,
spelling, and punctuation. In particular, there is a concern with
how the skills underlying all these aspects of writing are learned
and orchestrated.
This brief spiral-bound booklet provides a portable, scannable, and simple guide to the basics of argumentative essay writing. Designed to complement in-depth classroom instruction, it serves as a portable resource that students can use on their own or in class for quick, step-by-step guidance on how to plan, research, write, and edit argumentative essays. Advice on avoiding plagiarism and documenting sources is included, along with up-to-date MLA and APA citation guidelines and a sample essay. Laminated for convenience and durability, the booklet is intended as a lasting reference tool that students can use throughout their academic studies. Additional resources, including an essay outline tool and grammar exercises, are provided on a free companion website.
Because reporting is changing, this volume offers readers a thorough introduction to the rapidly evolving world of gathering information for local news organizations. This easy-to-read text is filled with contemporary examples and solid advice for the beginning reporting student. Designed for students with a foundation in news writing, it provides chapters on such basics as news research, interviewing, and observation skills. It further offers a chapter on the use of personal computers as research and reporting tools. Readers will find useful tips and examples written by award-winning professional journalists that reflect the numerous changes in the art and science of information gathering in the past decade.
This innovative book is the first to identify and describe the
systematic process that drives the day-to-day work of writers in
the real world of print and broadcast journalism, public relations,
and advertising. The key to creative problem solution for both
simple and complex assignments in media work is engagingly detailed
in this thought-provoking guide. Users of this book will learn how
to fulfill assignments and write copy that meets an editor's or
client's expectations, speaks to the intended audience, stands up
to question, and remains in memory.
Deborah Pearlman and Abby Finer of the Warner Bros. Television Writers Workshop reveal in this essential guide insider tips and tricks aimed at paving the way to better scripts by new writers. The book focuses on all aspects of writing for television, from the definition and importance of sample material to what it takes to be a successful TV writer. The authors offer invaluable insider information on the keys to writing a good script and how to choose the right show for sample material. In particular, they provide instruction on troubleshooting scripts - with a do and don't list. For the novice scriptwriter, they include advice on how to research, brainstorm ideas, and write a beat sheet and outline through to a polished draft. Filled with practical advice and up-to-date industry information, each chapter provides strategies and insights that will jumpstart a fledgling writing career toward success.
In Staging and Re- cycling , John Keefe and Knut Ove Arntzen re-visit and reappraise a selection of their work to explore how the retrieval, re-approaching and re-framing of material can offer pathways for new work and new thinking. The book includes a collection of reprinted and first-published (although previously presented) textual material interspersed with editorial material - reflective essays from John and Knut on these pieces from the archives and original essays from invited scholars that explore the theme of repetition and re-cycling. The project has a number of aims: to suggest how the status of 'new' with regard to academic and staged dramaturgical materials may be reframed; to re-examine these through certain lenses and concepts (re-cycling; re-working; the spectator; landscape, post- and other dramaturgies); to explore the possibilities of critique offered by particular modes of juxtaposition, dialogue and dialectic; to offer further provocations to received ideas; and to retrieve and re-approach material, once published or presented, that becomes 'lost' in archives or on library shelves. As shown here, the role of the hyphen acts as an indicator to the status of 're-' in relation to the 'new'. Written for scholars and academics, researchers, undergraduate and postgraduate students, and practitioners working in all forms for theatre and performance, Staging and Re-cycling suggests a new form of dialogue between work, authors and readers, and draws out threads that extend back into the past and potentially forward into the future.
Dramaturgy of Form examines verse in twenty-first-century theatre practice across different languages, cultures, and media. Through interdisciplinary engagement, Kasia Lech offers a new method for verse analysis in the performance context. The book traces the dramaturgical operation of verse in new writings, musicals, devised performances, multilingual dramas, Hip Hop theatre, films, digital projects, and gig theatre, as well as translations and adaptations of classics and new theatre forms created by Irish, Spanish, Nigerian, Polish, American, Canadian, Australian, British, Russian, and multinational artists. Their verse dramaturgies explore timely issues such as global identities, agency and precarity, global and local politics, and generational and class stories. The development of dramaturgy is discussed with the focus turning to the new stylized approach to theatre, whose arrival Hans-Thies Lehmann foretold in his Postdramatic Theatre, documenting a turning point for contemporary Western theatre. Serving theatre-makers, scholars, and students working with classical and contemporary verse and poetry in performance contexts; practitioners and academics of aural and oral dramaturgies; voice and verse-speaking coaches; and actors seeking the creative opportunities that verse offers, Dramaturgy of Form reveals verse as a tool for innovation and transformation that is at the forefront of contemporary practices and experiences.
A fresh approach to the theatre text for the Twenty First Century, including recent developments in the fields of technology, publishing and theatre-making. Intended for scholars and upper-level students of theatre studies and performance studies. Gives a much fresher and more comprehensive perspective than previous work in this area, particularly in regard to topics like technology and digital performance.
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