It may be drama features that win the most awards and kudos from critics, but in the current marketplace you're unlikely to sell a drama screenplay in the way you would a genre script. Breaking down the nuts and bolts of what differentiates drama from genre, Writing and Selling Drama Screenplays will consider questions such as: What is 'emotional truth'? What separates stereotypical and authentic characters? What are the different types of drama feature screenplay? How do we make these films, when there's 'no money'? What are the distribution opportunities for dramas? Exploring the ways in which drama and authenticity work, it will empower screenwriters to make their own story and character choices, so they can write and also help to package, finance and even make their own drama features. Writing and Selling Drama Screenplays includes detailed case studies of produced dramas made on both shoestring and bigger budgets, and industry insights from their writers, directors and producers. It looks in-depth at Scottish BAFTA-winning Night People, the iconic coming out movie Beautiful Thing, the touching New Orleans drama Hours, starring the late Paul Walker, and the ambitious true story of Saving Mr Banks, based on the battle of wills between Mary Poppins author PL Travers and Walt Disney himself. It will also discuss films such as Brokeback Mountain, American Beauty, The King's Speech, Juno, Erin Brockovich, Changeling and Girl, Interrupted.

Calling on the image of the Midwest s vanished inland sea, Susan Neville has written a compelling collection of essays that ponder writing and the "landlocked imagination." The essays range from interviews with Indiana writers Kurt Vonnegut, Scott Sanders, Marguerite Young, and others, to discussions on techniques grounded in a Midwestern sensibility. As director of Butler University s Visiting Writers Series, Neville has had the rare opportunity to converse with such literary giants as Salman Rushdie, Ray Bradbury, and Toni Morrison, and some of those exchanges have been incorporated into this exciting new collection."

Linking the study of business and politics, Christine Haynes reconstructs the passionate and protracted debate over the development of the book trade in nineteenth-century France. While traditionalists claimed that the business of literature required tight state regulation, an increasingly influential group of reformers argued that books were ordinary commodities whose production and distribution were best left to the free market.

The French Revolution overthrew the system of guilds and privileges that had governed the trade under the Old Regime. In the struggle that followed, the new men known as "editeurs" (publishers) pushed for increased liberalization of the market. They relied on collective organization, especially a professional association known as the Cercle de la Librairie, to advocate for abolition of licensing requirements and extension of literary rights. Haynes shows how publishers succeeded in transforming the industry from a tightly controlled trade into a free enterprise, with dramatic but paradoxical consequences for literature in France.

The modern literary marketplace was the outcome of a political struggle both within the publishing world and between the book trade and the state. In tracing the contest over literary production in France, Haynes emphasizes the role of the Second Empire in enacting but also in limiting press freedom and literary property.

This standard lexicon of Syriac has long been the choice of students of Syriac, both for its comprehensiveness and also because of its handy size. It originated as an abridgement of Payne Smith’s Thesaurus Syriacus, a substantically larger work that also tends to be less accessible for the student. Here the meanings of the Syriac words are given in English, and the order of the Syriac is alphabetical, to avoid requiring the student to know the root of the word being looked up. An essential tool for anyone studying or researching Syriac texts or literature and for students of the Semitic languages. The Compendious Syriac Dictionary was first published by Oxford University Press in 1903 and has been out of print for a number of years. A quality Eisenbrauns reprint based on the 1976 printing.

There are more outlets than ever for writers to spread their messages and share their work, more opportunities to speak out and be seen. Writers expose themselves freely and willingly in a way that would have been unfathomable fifty years ago, and more people than ever are writing and publishing. Men and women are writing with equal fervor and commitment to their message and craft. As a result, it’s easy to assume, or hope, that the gendered playing field is a thing of the past, too. Unfortunately for women writers, it’s not. Knowing what we’re up against and how to fight back is the heart and soul of Write On, Sisters! Inside these pages, Brooke Warner draws upon research, anecdotes, and her personal experiences from twenty years in the book publishing industry to show how women’s writing is discounted or less valued than men’s writing, then provides support to overcome these challenges. This book also shines light on how women writers face not only ever-present historical and social challenges but also their own self-limiting beliefs. Write On, Sisters! is for every woman writer ready to be done with all that, and who’s ready for the next revolution.

"Verbal Art, Verbal Sign, Verbal Time " was first published in 1985. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Roman Jakobson, one of the most important thinkers of our century, was bet known for his role in the rise and spread of the structural approach to linguistics and literature. His formative structuralism approach to linguistics and literature. His formative years with the Russian Futurists and subsequent involvement in the Moscow and Prague Linguistic Circles (which he co-founded) resulted in a lifelong devotion to fundamental change in both literary theory and linguistics. In bringing each to bear upon the other, he enlivened both disciplines; if a literary work was to a him a linguistic fact, it was also a semiotic phenomenon - part of the entire universe of signs; and above all, for both language and literature, time was an integral factor, one that produced momentum and change. Jakobson's books and articles, written in many languages and published around the world, were collected in a monumental seven-volume work, "Selected Writings "(1962 -1984), which has been available only to a limited readership. Not long before his death in 1982, Jakobson brought together this group of eleven essays--"Verbal Art, Verbal Sign, Verbal Time " -- to serve as an introduction to some of his linguistic theories and especially, to his work in poetics.

Jakobson's introductory article and the editor's preface together suggest the range of his work and provide a context for the essays in this book, which fall into three groups. Those in the first section reflect his preoccupation with the dynamic role of time in language and society. Jakobson challenges Saussure's rigid distinction between language as a static (synchronic) system and its historical (diachronic) development - a false opposition, in his view, since it ignores the role of time in the present moment of language. The essays on time counter the notion that structuralism itself, as heir to Saussure's work, has discarded history; in Jakabson's hands, we see a struggle to integrate the two modes. In central group essays, on poetic theory, he shows how the grammatical categories of everyday speech become the expressive, highly charged language of poetry. These essays also deal with the related issues of subliminal and intentional linguistic patterns of poetry. These essays also deal with the related issues of subliminal and intentional linguistic patterns in poetry--areas that are problematic in structural analysis--and provide exemplary readings of Pushkin and Yeats. The last essays, on Mayakovsky and Holderlin, make clear that Jakobson was aware of the essential (and in these instances, tragic) bond between a poet's life and art. The book closes with essays by Linda Waugh, Krystyna Pomorska, and Igor Melchuk that provide a thoughtful perspective on Jakobson's work as a whole.

Authorship’s Wake examines the aftermath of the 1960s critique of the author, epitomized by Roland Barthes’s essay, “The Death of the Author.� This critique has given rise to a body of writing that confounds generic distinctions separating the literary and the theoretical. Its archive consists of texts by writers who either directly participated in this critique, as Barthes did, or whose intellectual formation took place in its immediate aftermath. These writers include some who are known primarily as theorists (Judith Butler), others known primarily as novelists (Zadie Smith, David Foster Wallace), and yet others whose texts are difficult to categorize (the autofiction of Chris Kraus, Sheila Heti, and Ben Lerner; the autotheory of Maggie Nelson). These writers share not only a central motivating question – how to move beyond the critique of the author-subject – but also a way of answering it: by writing texts that merge theoretical concerns with literary discourse. Authorship’s Wake traces the responses their work offers in relation to four themes: communication, intention, agency, and labor.

Inside Academic Writing is designed to prepare students in any academic discipline for graduate-level writing. The text situates students within their writing communities by prioritising the steps of learning; students are directed to use common threads of academic writing across disciplines. The goal of Inside Academic Writing is to give students the opportunity to write for a variety of audiences and to develop the knowledge necessary to recognise how to write for different audiences and purposes. Inside Academic Writing allows students to examine basic assumptions about writing before they learn specific strategies for targeting the audience or mapping the flow of information. Through the material in this textbook, students will create a portfolio of writings that includes a biographical statement and a research interest essay - important pieces of writing that are rarely taught in courses. Other types of writing featured are a summary, a problem-solution text, a comparative structure paper, and a commentary. Other textbooks prepare students for graduate writing, but Inside Academic Writing was designed to bridge the gap between non-academic writing and the writing required within an academic community, with one's peers, colleagues, and field experts. In addition, Inside Academic Writing offers guidance on writing materials for grants, fellowships, conferences, and publication.

Growing out of recent pedagogical developments in creative writing studies and perceived barriers to teaching the subject in secondary education schools, this book creates conversations between secondary and post-secondary teachers aimed at introducing and improving creative writing instruction in teaching curricula for young people. Challenging assumptions and lore regarding the teaching of creative writing, this book examines new and engaging techniques for infusing creative writing into all types of language arts instruction, offering inclusive and pedagogically sound alternatives that consider the needs of a diverse range of students. With careful attention given to creative writing within current standards-based educational systems, Imaginative Teaching Through Creative Writing confronts and offers solutions to the perceived difficulty of teaching the subject in such environments. Divided into two sections, section one sees post-secondary instructors address pedagogical techniques and concerns such as workshop, revision, and assessment before section two explores hands-on activities and practical approaches to instruction. Focusing on an invaluable and underrepresented area of creative writing studies, this book begins a much-needed conversation about the future of creative writing instruction at all levels and the benefits of collaboration across the secondary/post-secondary divide.

Storying Relationships explores the sexual lives of young British Muslims in their own words and through their own stories. It finds engaging and surprising stories in a variety of settings: when young people are chatting with their friends; conversing more formally within families and communities; scribbling in their diaries; and writing blogs, poems and books to share or publish. These stories challenge stereotypes about Muslims, who are frequently portrayed as unhappy in love and sexually different. The young people who emerge in this book, contradicting racist and Islamophobic stereotypes, are assertive and creative, finding and making their own ways in matters of the body and the heart. Their stories – about single life, meeting and dating, pressure and expectations, sex, love, marriage and dreams – are at once specific to the young British Muslims who tell them, and resonant reflections of human experience.

Being There and the Evolution of a Screenplay provides an insightful look at the drafting of one of Hollywood history’s greatest scripts. Being There (1979) is generally considered the final film in Hal Ashby’s triumphant 1970s career, which included the likes of Harold and Maude (1971) and Shampoo (1975). The film also showcases Peter Sellers’s last great performance. In 2005, the Writers Guild of America included Being There on its list of 101 Best Scripts. Being There and the Evolution of a Screenplay features three versions of the script: an early draft by Jerzy Kosinski, based on his 1970 novel; a second by long-time Ashby collaborator and Oscar-winner Robert C. Jones, which makes substantial changes to Kosinki’s; and a final draft written by Jones with Ashby’s assistance, which makes further structural and narrative changes. Additionally, the book features facsimile pages from one of Kosinski's copy of the scripts that include handwritten notes, providing readers with valuable insight into the redrafting process. For each version, Ashby scholar Aaron Hunter adds perceptive analysis of the script’s development, the relationships of the writers who worked on it, and key studio and production details. This is both a presentation of the script of Being There, and a record of the process of crafting that script – a text that will be of interest to film fans and scholars as well as writers and teachers of screenwriting. Evolution of a Screenplay is the first book of its kind to so amply demonstrate the creative development of a Hollywood script.

This second edition of A Corpus of Ammonite Inscriptions presents all of the published inscriptions that have been identified as Ammonite in one volume. Each entry is accompanied by a complete bibliography, a physical description and details about its location, a photograph and/or drawing, relevant linguistic information, and a history of the inscription’s interpretation. The discovery of the Amman Theater Inscription, Amman Citadel Inscription, Tall Sīr�n Bottle, Ḥisb�n Ostraca, and Tall al-Mazar Ostraca opened a new chapter in the study of ancient Northwest Semitic inscriptions with the recognition and analysis of the language and script of ancient Ammon. These new discoveries prompted a reclassification of a number of epigraphs previously identified as Hebrew, Phoenician, or Aramaic. Since the first edition of this corpus, the discussion of the criteria used to classify inscriptions as Ammonite, including provenance, language, onomastics, paleography, and iconography, has advanced considerably. In addition, the number of known inscriptions has increased. This updated edition includes 254 additional inscriptions, four new appendixes, and in many cases, new and improved images.

Die Theologie religiöser Rede führt den Umformungsprozess der modernen Theologie weiter. Folkart Wittekind zeigt, dass ihr Gegenstand nicht der Glaube des einzelnen Menschen, sondern das religiöse Kommunikationsgeschehen ist, in welchem religiöser Sinn erst hergestellt und entschlüsselt wird. Religion bildet sich hermeneutisch durch Ausdifferenzierung und Unterscheidung von anderen Sprachen der Kultur, die ihre je eigene Wirklichkeit mit sich führen. Religiöse Rede macht bestimmte Sprache zum Träger religiösen Sinns. Durch die personale Anrede mit religiöser Rede entsteht zugleich der Glaube als Subjekt des hermeneutischen Prozesses. Darin wird religiöse Rede lebendig, indem sie die Möglichkeit schafft, neue Symbole für religiöse Sprache zu verwenden. Der Autor erläutert, dass der christliche Glaube an den dreieinigen Gott theologisch so gedeutet werden kann, dass er zum Verstehen bringt, wie religiöse Rede funktioniert.