The most up-to-date two-way Icelandic dictionary available, from the author of popular textbook Beginner’s Icelandic! Icelandic is a North-Germanic language related to Norwegian, Danish and Swedish. The language can be traced back to Old Norse brought by settlers from Norway in the 9th and 10th centuries. Old Norse is the language of the Icelandic Sagas and these works from the Middle ages can be read by Icelandic speakers today with little difficulty as the written language has not changed drastically over the centuries. Ideal for businesspeople, travelers, and students, this dictionary features: Over 18,000 word-to-word entries, including common words as well as technical, legal, business and locally-specific terms (such as cities, foods, and cultural terms) Guides to the Icelandic alphabet and pronunciation Practical usage guide which outlines the parts of speech Due in large part to Iceland’s isolation and remote location, the linguistic changes that occurred in other Scandinavian languages are not seen in Icelandic, which still has complicated grammar systems such as four cases for nouns and three genders (male, female, and neuter). The Icelandic literary tradition is a large part of the nation’s culture and understanding the language is a necessity to learning more about Iceland.  

In Pliable Pupils and Sufficient Self-Directors, Barnita Bagchi examines writings that focus on female education and development by five representative British women writers who flourished between 1778 and 1814 - Lady Mary Hamilton, Clara Reeve, Elizabeth Hamilton, Mary Brunton, and the early Jane Austen. In a climate in which female education was a subject of anxiety in print culture and fiction a site of contestation, and in which women were emerging as major producers both of educational writing and heroine-centered, ostensibly didactic fiction, these writers produced fictions of female education that were pioneering Bildungsromans. Highly gendered, these fictions explore key tensions generated by the theme of education, including the dialectics between formal and experiential education, between the pliable pupil obedient to pedagogical authority-figures and the more self-sufficient autodidact, and between a desire for greater institutionalization of education and a recognition of the flexibility given by distancing from established structures. There is a congruence between the ambulatory, tension-ridden patterns of female education found in these fictions and the distinctive, miscellaneous fictional knowledge they represent - their creators grappled with the epistemological and ethical status of fiction which they connected with female experience. The writers of these fictions held conservative views on national politics, and categories such as gender, race and class are disturbingly aligned in many of their works. However, Bagchi argues, these women writers should not be straitjacketed as subjects of an emergent hegemonic bourgeois order. Also, the journeys towards emancipation as well as the starkly disturbing closing off of many such possibilities in the writings analyzed here remain reflected in the lives of many women today.

The Book of Dialogue is an invaluable resource for writers and students of narrative seeking to master the art of effective dialogue. The book will teach you how to use dialogue to lay the groundwork for events in a story, to balance dialogue with other story elements, to dramatize events through dialogue, and to strategically break up dialogue with other vital elements of your story in order to capture and hold a reader's or viewer's interest in the overall arc of the narrative. Writers will find Turco's classic an essential reference for crafting dialogue. Using dialogue to teach dialogue, Turco's chapters focus on narration, diction, speech, and genre dialogue. Through the Socratic dialogue method - invented by Plato in his dialogues outlining the teachings of Socrates - Turco provides an effective tool to teach effective discourse. He notes, "Plato wrote lies in order to tell the truth. That's what a fiction writer does and has always done". Now it's your turn.

This second volume of From the Vault continues where its best-selling original left off, in 1950. Spanning thirty years, From the Vault, Vol. 2 is chock full of photographs from The Windsor Star archives, with fascinating and fun chapter introductions by local reporter and award-winning historian Craig Pearson.

This unique, comprehensive introduction to screenwriting offers practical advice for the beginning writer, whether college student or freelancer. Based on their experience as professional writers and as teachers in a large, successful screenwriting program at California State University, Northridge, the authors provide a progression of assignments at manageable screenwriting lengths for beginners. They lead students through development of a premise, treatment, stepsheet, and, finally, miniscreenplay--essential elements in writing a longer script.

A major feature of the text is the use of many example scenes from contemporary and classic American films, such as On the Waterfront, Kramer vs. Kramer, The Godfather, The Graduate, Tootsie, and more. Other scenes are drawn from international films and dramatic literature. The criticism of these scenes invites students to develop their own comparative models, while simultaneously providing exposure to the central analytical terms of good dramatic writing.

The authors also place screenwriting within the larger tradition of dramatic writing in order to put the beginning writer in touch with the wealth of art, experience, and practical ideas the drama contains. They provide an up-to-date, practical discussion of marketing and copywriting a screenplay, with addresses of relevant professional societies. Most importantly, they never offer an ill-advised shortcut or restrict students to only one way of thinking about a character, situation, or scene. In The Understructure of Writing for Film & Television, the student's thought and creativity are central.

Women’s Minyan is Naomi Ragen’s first play, which premiered in July 2002 at Habima National Theater in Tel Aviv. It is based on a true story: a Haredi (ultra-Orthodox) woman, wife of a rabbi and mother of twelve, leaves her home and stays with a friend. The community’s “modesty squad� tries in vain to force her to go back. Her friend is physically attacked, her arm and leg broken. The rabbi’s wife is punished: she is cut off from her children, against her will.

From Memories to Manuscript provides easy and enjoyable steps to create your autobiography and teaches you the full process of publication. Put your stories in print and amaze you loved ones with your very own stunning autobiography. This easy-to-follow five-step handbook will give you the know-how and confidence you will need to write and share your life stories and create a gift with passing down from one generation to another!