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Although Renée Vivien led a life of wealth and privilege in belle epoque Paris, she often felt like an outsider because she was attracted to other women. Financially secure, she wrote books to suit her own taste rather than that of the literary market. The Woman with the Wolf (La dame à la louve), from 1904, shows her at the height of her powers.
These fierce, surprising stories challenge moral hypocrisy and normative views about gender, beginning with the title work, which offers a coded representation of same-sex love in the seemingly inexplicable commitment between a woman and her canine companion. The following stories feature a reimagined fairy tale in which Prince Charming turns out to be a young woman, a western adventure whose narrator goes mad with thirst, and other unconventional narratives that range across time and space.
Although Renée Vivien led a life of wealth and privilege in belle epoque Paris, she often felt like an outsider because she was attracted to other women. Financially secure, she wrote books to suit her own taste rather than that of the literary market. La dame à la louve, from 1904, shows her at the height of her powers.
Writing Changes moves beyond restrictive thinking about composition to examine writing as a material and social practice rich with contradictions. It analyzes the assumed dichotomy between writing and multimodal composition (which incorporates sounds, images, and gestures) as well as the truism that all texts are multimodal. Organized in four sections, the essays explore
Bookending the essays are an introduction that frames the collection and establishes key terms and concepts and an epilogue that both sums up and complicates the ideas in the essays.
The twenty essays and four responses (“cross-talks”) in this volume, the fifth in the Research and Scholarship in Composition series, confront the challenges presented by the racial, ethnic, class, gender, religious, age, and physical-ability differences among today’s writing students. The contributors, who teach in classrooms and writing centers at a variety of private and public institutions, discuss their immersion in students’ discourses and cultures and balance descriptions of their teaching experiences with careful and critical reflection.
The volume begins and ends with sections examining the tensions and conflicts in the classroom; the two sections in between focus more specifically on texts and curricula and on teaching English as a second language. The cross-talk that concludes each section synthesizes and critiques the essays.
Writing in Multicultural Settings is essential, thought-provoking reading for college administrators, writing teachers, and scholars and students in composition studies.
Writing Theory and Critical Theory discusses the growing body of work linking composition studies and literary studies. Enlisting the strategies of deconstruction, hermeneutics, postmodernism, feminism, neo-Marxism, neopragmatism, psychoanalysis, reader-response criticism, and cultural studies, the twenty-seven contributors investigate the resources that critical theory can bring to an examination of discourse. Composition teachers, critical theorists, and writing program administrators will find this collection a provocative and insightful overview of the field of composition studies.
Recent surveys indicate that writing-in-the-disciplines programs have been established or projected by more than one-third of the colleges and universities in the United States. The fourteen essays in this volume chart the history of this interdisciplinary development in both the United States and Great Britain and examine the wide range of forms that writing-in-the-disciplines programs have taken in American higher education. The collection outlines the social, intellectual, and political forces that have shaped the movement; presents perspectives on the programs from disciplines outside English studies; describes the relations among writing, teaching, and learning; and considers the future of the movement.
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