With more than three-quarters of a million copies sold since its first publication, The Craft of Research has helped generations of researchers at every level from first-year undergraduates to advanced graduate students to research reporters in business and government learn how to conduct effective and meaningful research. Conceived by seasoned researchers and educators Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams, this fundamental work explains how to find and evaluate sources, anticipate and respond to reader reservations, and integrate these pieces into an argument that stands up to reader critique. The fourth edition has been thoroughly but respectfully revised by Joseph Bizup and William T. FitzGerald. It retains the original five-part structure, as well as the sound advice of earlier editions, but reflects the way research and writing are taught and practiced today. Its chapters on finding and engaging sources now incorporate recent developments in library and Internet research, emphasizing new techniques made possible by online databases and search engines. Bizup and FitzGerald provide fresh examples and standardized terminology to clarify concepts like argument, warrant, and problem. Following the same guiding principle as earlier editions that the skills of doing and reporting research are not just for elite students but for everyone this new edition retains the accessible voice and direct approach that have made The Craft of Reasearch a leader in the field of research reference. With updated examples and information on evaluation and using contemporary sources, this beloved classic is ready for the next generation of researchers.

When Kate L. Turabian first put her famous guidelines to paper, she could hardly have imagined the world in which today’s students would be conducting research. Yet while the ways in which we research and compose papers may have changed, the fundamentals remain the same: writers need to have a strong research question, construct an evidence-based argument, cite their sources, and structure their work in a logical way. A Manual for Writers of Research Papers, Theses, and Dissertations—also known as “Turabian�—remains one of the most popular books for writers because of its timeless focus on achieving these goals. This new edition filters decades of expertise into modern standards. While previous editions incorporated digital forms of research and writing, this edition goes even further to build information literacy, recognizing that most students will be doing their work largely or entirely online and on screens. Chapters include updated advice on finding, evaluating, and citing a wide range of digital sources and also recognize the evolving use of software for citation management, graphics, and paper format and submission. The ninth edition is fully aligned with the recently released Chicago Manual of Style, 17th edition, as well as with the latest edition of The Craft of Research. Teachers and users of the previous editions will recognize the familiar three-part structure. Part 1 covers every step of the research and writing process, including drafting and revising. Part 2 offers a comprehensive guide to Chicago’s two methods of source citation: notes-bibliography and author-date. Part 3 gets into matters of editorial style and the correct way to present quotations and visual material.  A Manual for Writers also covers an issue familiar to writers of all levels: how to conquer the fear of tackling a major writing project. Through eight decades and millions of copies, A Manual for Writers has helped generations shape their ideas into compelling research papers. This new edition will continue to be the gold standard for college and graduate students in virtually all academic disciplines.  

"The Knowledge Most Worth Having "represents the essence of education at the University of Chicago--faculty and students grappling with key intellectual questions that span the humanities, while still acknowledging the need to acquire a depth of knowledge in one's chosen field. The papers collected here were delivered during an often-heated conference at the university in 1966, and include contributions from such scholars as Northrop Frye, Richard McKeon, and, of course, the dean of the college, Wayne Booth himself. Taken as a whole, they present a passionate defense of liberal education, one that remains highly relevant today.

This critically acclaimed collection is both a passionate celebration of teaching as a vocation and an argument for rhetoric as the center of liberal education. While Booth provides an eloquent personal account of the pleasures of teaching, he also vigorously exposes the political and economic scandals that frustrate even the most dedicated educators. [Booth] is unusually adept at addressing a wide variety of audiences. From deep in the heart of this academic jungle, he shows a clear eye and a firm step.--Alison Friesinger Hill, New York Times Book Review A cause for celebration. . . . What an uncommon man is Wayne Booth. What an uncommon book he has provided for our reflection.--James Squire, Educational Leadership This book stands as a vigorous reminder of the traditional virtues of the scholar-teacher.--Brian Cox, Times Literary Supplement

Throughout the second half of the twentieth century until his death in 2005, Wayne Booth was one of the most influential literary critics in America and beyond, known worldwide for "The Rhetoric of Fiction "(1961), and hailed as a progressive advocate for rethinking the concept of liberal education in a changing world. His many books and essays remain classic reading for those who wish to understand how fiction communicates ethically, why good ethical criticism as such is a signature human activity to be cherished, and how the human desire to know helps to define who we are, collectively and individually.

In this final volume of Booth's selected essays, appropriately titled "The Knowing Most Worth Doing, " after Booth's earlier edited collection, "The Knowledge Most Worth Having" (1967), Walter Jost, in collaboration with the author, has gathered an indispensable collection of his former teacher's thinking across a wide variety of fields and disciplines, from ethics to religion and from rhetorical criticism to the philosophical plurality of possible critical modes. The selections begin with three diverse, profound discussions of the need for plural perspectives in the contemporary world, proceed to accessible yet learned readings of the ethics of literature, and end with wonderful speculations on the nature of, and human need for, religious thought. Gathered from various journals and books over several decades, these "fugitive" essays will prove their enduring value because they speak frankly and without pretensions to problems that continue to plague us, and to aspirations that continue to draw a new generation into the knowing most worth doing. In these discussions, knowledge is understood as an activity and a way of life, one that can be embraced by all people in many different ways.

Ethics, Literature, and Theory: An Introductory Reader brings together the work of contemporary scholars, teachers, and writers into lively discussion on the moral role of literature and the relationship between aesthetics, art, and ethics. Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives_from Catholic to Protestant to Mormon_contribute to literary criticism? What do we mean when we talk about ethical criticism and how does this differ from the common notion of censorship? Thirty well known contributors reflect on these questions including: literary theorists Marshall Gregory, James Phelan, and Wayne Booth; philosophers Martha Nussbaum, Richard Hart, and Nina Rosenstand; and authors John Updike, Charles Johnson, Flannery O'Connor, and Bernard Malamud. Divided into four sections, with introductory matter and questions for discussion, this accessible anthology represents the most crucial work today exploring the interdisciplinary connections among literature, religion and philosophy.

In "The Company We Keep", Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature. But the questions he asks are not confined to morality. Returning ethics to its root sense, Booth proposes that the ethical critic will be interested in any effect on the ethos, the total character or quality of tellers and listeners. Ethical criticism will risk talking about the quality of this particular encounter with this particular work. Yet it will give up the old hope for definitive judgments of 'good' work and 'bad'. Rather it will be a conversation about many kinds of personal and social goods that fictions can serve or destroy. While not ignoring the consequences for conduct of engaging with powerful stories, it will attend to that more immediate topic, What happens to us as we read? Who am I, during the hours of reading or listening? What is the quality of the life I lead in the company of these would-be friends? Through a wide variety of periods and genres and scores of particular works, Booth pursues various metaphors for such engagements: 'friendship with books', 'the exchange of gifts', 'the colonizing of worlds', 'the constitution of commonwealths'. He concludes with extended explorations of the ethical powers and potential dangers of works by Rabelais, D. H. Lawrence, Jane Austen, and Mark Twain.

The first edition of "The Rhetoric of Fiction" transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms--such as "the implied author," "the postulated reader," and "the unreliable narrator"--have become part of the standard critical lexicon.
For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years--two decades that Booth describes as "the richest in the history of the subject."

In this entertaining collection of essays, Wayne Booth looks for the much-maligned "middle ground" for reason--a rhetoric that can unite truths of the heart with truths of the head and allow us all to discover shared convictions in mutual inquiry. First delivered as lectures in the 1960s, when Booth was a professor at Earlham College and the University of Chicago, "Now Don't Try to Reason with Me "still resounds with anyone struggling for consensus in a world of us versus them.
"Professor Booth's earnestness is graced by wit, irony, and generous humor."--Louis Coxe, "New Republic
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Wayne Booth has selected, and has been inspired by, the works by some of our greatest writers on the art of growing older. In this widely praised anthology he shows that the very making of art is in itself a victory over time. Culled chiefly from great literary works, this unusual compendium of prose and poetry . . . highlights the physical and emotional aspects of aging. . . . The thoughtful commentary with which Booth connects the selections reminds readers that physical decay and fear of death are conditions common to us all. . . . Provocative.--Publishers Weekly His blending of literature, humor, and crotchetiness will capture the interest of readers of all ages.--Booklist Funny . . . profound. . . . It is hard to resist the closing chapters, which celebrate the freedom from constraint and ambition, the permission to be crotchety, the joy of memory and perspective that come with age.--William March, Tampa Tribune Booth puts a new spin on the worries many of us have about what's catching up with us. . . . Booth's book . . . [is] for both the younger readers and those of us who are nervously counting birthdays.--Sacramento Bee

"For the Love of It" is a story not only of one intimate struggle between a man and his cello, but also of the larger struggle between a society obsessed with success and individuals who choose challenging hobbies that yield no payoff except the love of it.
"If, in truth, Booth is an amateur player now in his fifth decade of amateuring, he is certainly not an amateur thinker about music and culture. . . . Would that all of us who think and teach and care about music could be so practical and profound at the same time."--Peter Kountz, "New York Times Book Review"
" T]his book serves as a running commentary on the nature and depth of this love, and all the connections it has formed in his life. . . . The music, he concludes, has become part of him, and that is worth the price."--Clea Simon, "Boston Globe"
"The book will be read with delight by every well-meaning amateur who has ever struggled. . . . Even general readers will come away with a valuable lesson for living: Never mind the outcome of a possibly vain pursuit; in the passion that is expended lies the glory."--John von Rhein, "Chicago Tribune"
"Hooray for amateurs And huzzahs to Wayne Booth for honoring them as they deserve. "For the Love of It" celebrates amateurism with genial philosophizing and pointed cultural criticism, as well as with personal reminiscences and self-effacing wit."--James Sloan Allen, "USA Today"
"Wayne Booth, the prominent American literary critic, has written the only sustained study of the interior experience of musical amateurism in recent years, "For the Love of It." It] succeeds as a meditation on the tension between the centrality of music in Booth's life, both inner and social, and its marginality. . . . It causes the reader to acknowledge the heterogeneity of the pleasures involved in making music; the satisfaction in playing well, the pride one takes in learning a difficult piece or passage or technique, the buzz in one's fingertips and the sense of completeness with the bow when the turn is done just right, the pleasure of playing with others, the comfort of a shared society, the joy of not just hearing, but making, the music, the wonder at the notes lingering in the air."--"Times Literary Supplement"

Perhaps no other critical label has been made to cover more ground than "irony," and in our time irony has come to have so many meanings that by itself it means almost nothing. In this work, Wayne C. Booth cuts through the resulting confusions by analyzing how we manage to share quite specific ironies--and why we often fail when we try to do so. How does a reader or listener recognize the kind of statement which requires him to reject its "clear" and "obvious" meaning? And how does any reader know where to stop, once he has embarked on the hazardous and exhilarating path of rejecting "what the words say" and reconstructing "what the author means"?
In the first and longer part of his work, Booth deals with the workings of what he calls "stable irony," irony with a clear rhetorical intent. He then turns to intended instabilities--ironies that resist interpretation and finally lead to the "infinite absolute negativities" that have obsessed criticism since the Romantic period.
Professor Booth is always ironically aware that no one can fathom the unfathomable. But by looking closely at unstable ironists like Samuel Becket, he shows that at least some of our commonplaces about meaninglessness require revision. Finally, he explores--with the help of Plato--the wry paradoxes that threaten any uncompromising assertion that all assertion can be undermined by the spirit of irony.

When should I change my mind? What can I believe and what must I doubt? In this new "philosophy of good reasons" Wayne C. Booth exposes five dogmas of modernism that have too often inhibited efforts to answer these questions. Modern dogmas teach that "you cannot reason about values" and that "the job of thought is to doubt whatever can be doubted," and they leave those who accept them crippled in their efforts to think and talk together about whatever concerns them most. They have willed upon us a "befouled rhetorical climate" in which people are driven to two self-destructive extremes--defenders of reason becoming confined to ever narrower notions of logical or experimental proof and defenders of "values" becoming more and more irresponsible in trying to defend the heart, the gut, or the gonads.
Booth traces the consequences of modernist assumptions through a wide range of inquiry and action: in politics, art, music, literature, and in personal efforts to find "identity" or a "self." In casting doubt on systematic doubt, the author finds that the dogmas are being questioned in almost every modern discipline. Suggesting that they be replaced with a rhetoric of "systematic assent," Booth discovers a vast, neglected reservoir of "good reasons"--many of them known to classical students of rhetoric, some still to be explored. These "good reasons" are here restored to intellectual respectability, suggesting the possibility of widespread new inquiry, in all fields, into the question, "When "should" I change my mind?"

Critics will always disagree, but, maintains Wayne Booth, their disagreement need not result in critical chaos. In Critical Understanding, Booth argues for a reasoned pluralism--a criticism more various and resourceful than can be caught in any one critic's net. He relates three noted pluralists--Ronald Crane, Kenneth Burke, and M. H. Abrams--to various currently popular critical approaches. Throughout, Booth tests the abstractions of metacriticism against particular literary works, devoting a substantial portion of his discussion to works by W. H. Auden, Henry James, Oliver Goldsmith, and Anatole France.

Ethics, Literature, and Theory: An Introductory Reader brings together the work of contemporary scholars, teachers, and writers into lively discussion on the moral role of literature and the relationship between aesthetics, art, and ethics. Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives-from Catholic to Protestant to Mormon-contribute to literary criticism? What do we mean when we talk about ethical criticism and how does this differ from the common notion of censorship? Thirty well known contributors reflect on these questions including: literary theorists Marshall Gregory, James Phelan, and Wayne Booth; philosophers Martha Nussbaum, Richard Hart, and Nina Rosenstand; and authors John Updike, Charles Johnson, Flannery O'Connor, and Bernard Malamud. Divided into four sections, with introductory matter and questions for discussion, this accessible anthology represents the most crucial work today exploring the interdisciplinary connections among literature, religion and philosophy.

"For the Love of It" is a story not only of one intimate struggle between a man and his cello, but also of the larger struggle between a society obsessed with success and individuals who choose challenging hobbies that yield no payoff except the love of it.
"If, in truth, Booth is an amateur player now in his fifth decade of amateuring, he is certainly not an amateur thinker about music and culture. . . . Would that all of us who think and teach and care about music could be so practical and profound at the same time."--Peter Kountz, "New York Times Book Review"
" T]his book serves as a running commentary on the nature and depth of this love, and all the connections it has formed in his life. . . . The music, he concludes, has become part of him, and that is worth the price."--Clea Simon, "Boston Globe"
"The book will be read with delight by every well-meaning amateur who has ever struggled. . . . Even general readers will come away with a valuable lesson for living: Never mind the outcome of a possibly vain pursuit; in the passion that is expended lies the glory."--John von Rhein, "Chicago Tribune"
"Hooray for amateurs And huzzahs to Wayne Booth for honoring them as they deserve. "For the Love of It" celebrates amateurism with genial philosophizing and pointed cultural criticism, as well as with personal reminiscences and self-effacing wit."--James Sloan Allen, "USA Today"
"Wayne Booth, the prominent American literary critic, has written the only sustained study of the interior experience of musical amateurism in recent years, "For the Love of It." It] succeeds as a meditation on the tension between the centrality of music in Booth's life, both inner and social, and its marginality. . . . It causes the reader to acknowledge the heterogeneity of the pleasures involved in making music; the satisfaction in playing well, the pride one takes in learning a difficult piece or passage or technique, the buzz in one's fingertips and the sense of completeness with the bow when the turn is done just right, the pleasure of playing with others, the comfort of a shared society, the joy of not just hearing, but making, the music, the wonder at the notes lingering in the air."--"Times Literary Supplement"