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Navigating the world of academic writing and publishing can be overwhelming. This book provides the antidote. Written by a team of authors who are at different stages of their careers, this book provides hands-on advice and strategies to turn academic writing from a daunting experience to a joyful journey. It gives a complete overview of the publishing process, from how to write an academic paper, chapter or book, to areas that are often overlooked, such as indexing a book, working with images and copyright, dealing with advertising and disseminating the book, ethical issues, open access, predatory publishing, and much more. The chapters are short and clearly labelled, with questions for reflection and discussion at the end of chapters, making them a handy reference for readers to dip in and out of. Demystifying aspects of academic writing, academic writers will come away with the confidence and knowledge to 'publish and thrive.'
Women poets of the late Victorian period created much fascinating verse from the standpoint of the independent and advanced New Woman, a profoundly important figure with her iconoclastic perceptions of public and private matters. The New Woman sought to improve women’s lives on a variety of fronts, bringing this individual both approbation and disdain. This anthology features a broad range of crucial subjects addressed by these poets, including marriage, motherhood, female desire, and social problems. Although the iconoclastic New Women have garnered much interest in recent decades, relatively little attention has been devoted to the valuable poetry these authors produced. Many of the New Woman poets are barely known today, if at all, but their writings offer an exceptional lens onto contemporary conditions that provide inestimable value for Victorian studies. Although much of the work has languished in obscurity, this expansive anthology brings the fascinating poetry to the fore. This volume provides an invaluable aid by uncovering poetry that has been long neglected or infrequently explored. Several of the poets developed extensive oeuvres investigating matters of special interest at the fin de siècle. It is not an easy task in the twenty-first century to identify, obtain, and review the nineteenth-century books containing these poems. This anthology provides a ready resource to access the poetry, which has had limited exposure in other modern collections.
This is a book about David Bowie as a songwriter, singer and thinker. It is also a study of Enid Blyton and her enduring power as a storyteller. Through the incongruous pairing of Bowie and Blyton, Royle confronts a series of critical questions: What is the point of universities? Why do music, art and literature matter? Where does listening (to stories or to music) get us? How are we to negotiate the ongoing effects of the COVID-19 pandemic, climate crisis and the ‘end times’? This is a sombre and reflective book based on the author’s forty-plus years of university teaching and research, but it also contains a good deal of comedy and laughter. As the critic Peter Boxall explains in the Afterword, Royle’s book ‘does not sit comfortably in any existing genre or form’. It combines passages about everyday life during the COVID-19 pandemic with a series of lectures that include hearing and discussing Bowie songs, exploring the appeal of Blyton’s storytelling (especially the Famous Five books), talking about dreams and second-hand bookshops, revealing Blyton’s previously unrecorded love affair with the author’s grandmother, and reflecting on some previously unpublished photos of Bowie (also reproduced in the book). Alongside Blyton, there’s talk of other writers – from Aristophanes, Shakespeare and Keats to Spike Milligan, Ray Bradbury and Claire-Louise Bennett. Alongside Bowie, there’s discussion of a range of music – from Bach, Beethoven and Chopin to Pink Floyd, the Beatles and Charles Mingus.
In this bold and exhilarating mix of memoir and writing guide, Melissa Febos tackles the emotional, psychological, and physical work of writing intimately while offering an utterly fresh examination of the storyteller’s life and the challenges it presents. How do we write about the relationships that have formed us? How do we describe our bodies, their desires and traumas? What does it mean to have your writing, or living, dismissed as “navel-gazing”—or else hailed as “so brave, so raw”? And to whom, in the end, do our most intimate stories belong? Drawing on her journey from aspiring writer to acclaimed author and writing professor—via addiction and recovery, sex work and academia—Melissa Febos has created a captivating guide to the writing life, and a brilliantly unusual exploration of subjectivity, privacy, and the power of divulgence. Candid and inspiring, Body Work will empower readers and writers alike, offering ideas—and occasional notes of caution—to anyone who has ever hoped to see their true self reflecting back from the open page.
How do you create a fictional story out of an historical period? What do you need to know about the people, the places, the events? What’s the better inspiration: historical scholarship or popular knowledge? A writer’s guide to Ancient Rome serves as inspiration and a guide to the Roman population, economy, laws, leisure, and religion for the author, student, general reader seeking an introduction to what made the Romans tick. The Guide considers trends and themes from roughly 200 BCE to 200 CE with the occasional foray into the antecedents and legacy on either side of the period. Each chapter explicates its main themes with examples from the original sources. Throughout are suggestions for resources to mine for the subject at hand and particular bits affected by scholarly debate and changing interpretation based on new discoveries or reinterpretation of written and material remains. It’s up to you whether or not you will produce a work of careful verisimilitude or anachronistic silliness (or one of the flavours in between). That’s your call as creator. This little guide is but a brief survey of a vast quantity of resources, sources, and scholarship on the Classical world that is available for reflection, evaluation, interpretation, and creativity. It is intended to open doors for further reading and consideration as you construct your own Roman world – it’s a welcome mat inviting you in to listen to the stories of the Romans and to contribute tales of your own.
A practical, critical and personal guide to the craft of crime writing by novelist and professor of creative writing, Henry Sutton. Drawing on exceptional experience and resource, the mystery of creating crime fiction which moves with pace and purpose, menace and motivation, is forensically and engagingly uncovered. The work of the genre’s greatest contributors, and that from many lesser known names from around the world, past and present, is explored with both practical acumen. Sutton also mines his own fiction for lessons learnt, and rules broken. Personal creative successes, struggles and surprises are candidly addressed. In nine entertaining chapters the key building blocks for crafting pertinent and characterful crime fiction, are illustrated and explained. The genre’s extraordinary dynamism, with its myriad and ever-evolving sub-genres, from the cosy to the most chilling noir, the police procedural to the geopolitical thriller, is knowingly captured. However, the individual and originality are given centre stage, while audience and inclusivity continually considered and championed. This is an essential guide for those interested in writing crime fiction that gets noticed and moves with the times, if not ahead of the times.
How can you take your writing to the next level? In this follow-up to their acclaimed handbook The Book You Need to Read to Write the Book You Want to Write, Sarah Burton and Jem Poster offer exercises and practical advice designed to set aspiring authors of fiction on their way to creating compelling short stories and novels. Carefully explaining the purpose and value of each exercise and encouraging writers to reflect on what they have learned in tackling each task, this themed collection of writing prompts provides both encouragement and inspiration. There are many books of prompts already available, but this one is different. Its structured, in-depth approach significantly increases the impact of the exercises, ensuring that storytellers use their time and talent to best effect – not only exploring their own creativity but also developing a wider and clearer understanding of the writer's craft.
Lebanon and Tunisia are two of the freest countries in the Middle East and North Africa, but elites in both countries seek to manipulate media organisations and individual journalists to shore up support for themselves and attack opponents. This book explores the political role of journalism in these hybrid settings where democratic and authoritarian practices co-exist - a growing trend all over the world. Through interviews with journalists in different positions and analyses of key events in recent years, Journalism in the Grey Zone explains the tensions that media instrumentalisation creates in the news media and how journalists navigate conflicting pressures from powerholders and a marginalised populace. Despite 'capture' of the media by political and economic actors, journalism remains a powerful and occasionally disruptive force.
Remaps the state of Scottish writing in the contemporary moment, embracing its uncertainty and the need to reconsider the field's founding assumptions and exclusions.
The Cædmon Manuscript is one of three extant anthologies of English Christian poetry produced in England before 1000 CE. It is a collection of four religious poems in Old English based on Biblical materials. They have the editorial names Genesis, Exodus, Daniel and Christ and Satan. This edition consists of an Introduction, Bibliography, Codicological and Paleographical Analysis, an Art-Historical Commentary and an edition of the four poems.
The book demonstrates the experiences of Alice Childress, Lorraine Hansberry, and Suzan-Lori Parks in comparison with the dramas of each other and those of other African American women. These women playwrights created a militant theatre and a theatre of experience that applied to both the African American community in general and African and African American women in particular. They have been encompassed within African American woman's aesthetics that shares the militancy and experience characterized by a triple factor: race, gender, and class.
Inkondlo kaZulu (Zulu Poems), the first volume of poetry by B. W. Vilakazi, was first published in 1935. This was the first book of poems ever published in isiZulu; it also marked the launch of the newly established Bantu (later, African) Treasury Series, a collection of twenty classic works written between 1935 and 1987 in African indigenous languages. It contains superb nature poems and also reflects Vilakazi’s contact with Western modernity. As both a traditional imbongi (bard) and a forward-looking poet who could fuse Western poetic forms with Zulu izibongo (praise poetry), he used his writings to express his resistance to the realities of capitalist exploitation of African labour and the appalling injustices of the migrant labour system. By committing to writing in poetic form what had traditionally been conveyed orally from one generation to the next, he preserves for future generations deep philosophical and emotional experiences of Zulu society.
The republication of Inkondlo kaZulu affords the reader the opportunity to reappraise Vilakazi’s intellectual significance and his renown as the ‘father of Nguni literature’ at a time when the need is acutely felt to unshackle ourselves from ethnic boundaries and break the invisible chains of inherited prejudice.
Amal’ezulu (Zulu Horizons), first published in 1945, was the second volume of poetry produced by the renowned Zulu author B. W. Vilakazi. It was written during the ten years he spent living in Johannesburg, in 'exile' from his birthplace, KwaZulu-Natal. The poems in this collection represent a turning point in Vilakazi's life; they express yearnings for the beloved land, animals and ancestral spirits of his rural home, as well as expressions of deep disillusionment with the urban life he encountered in the 'City of Gold', and in particular the suffering of the black miners who brought this gold to the surface but never experienced the benefits of the wealth it produced for the mine owners.
Renowned as the father of Nguni literature, Vilakazi was both a traditional imbongi (bard) and a forward-looking poet who could fuse Western poetic forms with Zulu izibongo (praise poetry). In these poems he assumes the role of the voice of the voiceless, and gives poignant expression to the stoic endurance of those caught up in the brutalities of capitalist exploitation of African labour, and the appalling injustices of the migrant labour system.
This is a translation of the only known detailed account of the building of the notorious 262-mile-long Thai-Burma Railway by one of the Japanese professional engineers who was involved in its construction. The author, Yoshihiko Futamatsu, provides an invaluable new source of historical and technical reference that complements the existing large body of literature in English on this subject. Futamatsu''s memoir also includes wide-ranging reflections on the course and conduct of ''his'' war as well as his engineering and army experiences. The Thai-Burma Railway took eighteen months to build and cost the lives of some 90,000 people (mostly British, Australian, Dutch and American POWs, as well as great numbers of local labourers) out of a total of over 200,000, including some 12-15,000 Japanese who were engaged in the enterprise. The 'Three Pagodas Pass' was located at the Thai-Burma frontier.
Across the Three Pagodas Pass is edited and introduced by Peter N. Davies who provides the back story to the publication of this book and the key people involved. This is followed by translator Ewart Escritt's original introduction to his translation of Futamatsu''s memoir which also includes a detailed account of his own POW experiences as well as his reflections on the war and its outcomes. Many contemporary original drawings, maps and photographs appear in the plate section.
This tenth volume in the series, comprising some fifty essays, offers a further wide-ranging selection of essays on different themes and personalities, grouped thematically, from portraits of key figures such as Stamford Raffles and Lord Lytton to the history of Japanese trade and investment in the UK, such as NSK at Peterlee and Mitsubishi Electric in Scotland, and from scholars such as Basil Hall Chamberlain, to international Japanese banker Ogata Shijuro.
Published in association with the Japan Society and containing fifty-seven essays, this ninth volume in the series continues to celebrate the life and work of the men and women, both British and Japanese, who over time played an interesting and significant role in a wide variety of different spheres relating to the history of Anglo-Japanese relations and deserve to be recorded and remembered. Read together they give a picture, even if inevitably a partial one, of important facets of modern history and Anglo-Japanese institutions. They shed light on a number of controversial issues as well as illuminate past successes and failures. Structured thematically in four parts - Japan in Britain, Britain in Japan, Scholars and Writers, Politicians and Officials - the highlights in this volume include: The Great Japan Exhibition, 1981-82; Japanese Gardens and the Japanese Garden Society in the UK; Cricket in Late Edo and Meiji Japan; Norman Macrae, pioneering journalist of The Economist; Arthur Balfour - managing the emergence of Japan as a Great Power; Michio Morishima, an economist 'made in Japan'; and Margaret Thatcher - a pragmatist who radically improved Britain's image in Japan.
Have you ever wanted to write a novel or short story but didn't know where to start? If so, this is the book for you. It's the book for anyone, in fact, who wants to write to their full potential. Practical and jargon-free, rejecting prescriptive templates and formulae, it's a storehouse of ideas and advice on a range of relevant subjects, from boosting self-motivation and confidence to approaching agents and publishers. Drawing on the authors' extensive experience as successful writers and inspiring teachers, it will guide you through such essentials as the interplay of memory and imagination; plotting your story; the creation of convincing characters; the uses of description; the pleasures and pitfalls of research; and the editing process. The book's primary aim is simple: to help its readers to become better writers.
This is the true story of Adolphine, a refugee from the Democratic Republic of the Congo (DRC) who was twenty-two when she had to flee her home in the war-ravaged DRC in 1996. She walked thousands of kilometres across Southern Africa to be reunited with her husband Sepano in Cape Town after two years of a desperate search. Her incredible journey to escape the ruinous rule of Mobutu Sese Seko was filled with many moments of terror and despair, every country having its own share of xenophobia. She told the writer - the retired national tracing coordinator of the International Red Cross's Restoring of Family Links programme in South Africa - "I felt as if the earth had teeth, I felt its bite when I was fleeing through Africa...". Her story is a powerful intimate account of belonging and the anguish of displacement, of settling and being uprooted and how a deeply troubled household navigates this across time and space. Her story strongly highlights the vulnerability of women and children in times of war and unrest.
A brand new Afrikaans translation of Thomas Mofolo's iconic novel Chaka has recently appeared at Unisa Press academic scholars of Unisa - The University of South Africa. It was first published in Sesotho in 1925. It relates the life and in particular the leadership style of the mighty Zulu king Shaka, although in imaginative fictionalised format. It took the Paris Evangelical Mission Society fifteen years to decide to publish the book, yet it has been translated into five languages and is regarded as one of the best works in African literature from the previous century. Chris Swanepoel translated the work into Afrikaans in 1974 and has now done so again.
This book studies design in airline travel posters of the 1920–1970: period. It is both a semiology and a sociocultural cultural history that explores the way advertising posters combine information and fantasy to create seductive images/texts. The book is lavishly illustrated in colour, the images constituting part of the overall argument. The field of poster studies is vast, but it is surprising how little work has been done till date on the fundamental structures - semiotic and semantic - that underpin the visual messages posters produce. Most studies of posters focus either on their history; on specific themes - politics, travel, sport, cinema; or on their status as collectable items. Though such approaches are valid, they hardly account for the specificity of the poster's appeal or for the complex semiotic and cultural issues poster art raises. This book sets out to tackle these latter issues since they are fundamental both to the deeper significance and to the wider appeal of the poster as a cultural form. In doing so it focuses on the field of airline travel posters which developed precisely in the period of the twentieth century (1920–1970) that coincided with the onset of mass travel.