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Gives three priorities: More about verbs, essentials about sentence structure, punctuation, pronouns, the parts of speech, the consistencies, spelling helps.

• Premises and Foundations
• Illiteracy at Oxford and Harvard: Reflections on the Inability to Write
• A Map of Writing in Terms of Audience and Response
• The Uses of Binary Thinking
• Fragments
• The Believing Game--A Challenge after Twenty-Five Years
• The Generative Dimension
• Freewriting and the Problem of Wheat and Tares
• Closing My Eyes as I Speak: An Argument for Ignoring Audience
• Toward a Phenomenology of Freewriting
• Wrongness and Felt Sense
• The Neglect and Rediscovery of Invention
• Form and Content as Sources of Creation
• Speech, Writing, and Voice
• The Shifting Relationships Between Speech and Writing
• Voice in Literature
• Silence: A Collage
• What Is Voice in Writing?
• On the Concept of Voice
• Audible Voice: How Much Do We Hear the Text?
• Voice in Texts as It Relates to Teaching
• Discourses
• Reflections on Academic Discourse: How It Relates to Freshmen and Colleagues
• In Defense of Private Writing: Consequences for Theory and Research
• The War Between Reading and Writing--and How to End It
• Your Cheatin' Art: A Collage
• Can Personal Expressive Writing Do the Work of Academic Writing?
• Teaching
• Inviting the Mother Tongue: Beyond "Mistakes, " "Bad English, " and "Wrong Language"
• High Stakes and Low Stakes in Assigning and Responding to Writing
• Breathing Life into the Text
• Using the Collage for Collaborative Writing
• Being a Writer vs. Being an Academic: A Conflict in Goals
• Separating Teaching from Certifying.

With Writing without Teachers (OUP 1975) and Writing with Power (OUP 1995) Peter Elbow revolutionized the teaching of writing. His process method-and its now commonplace "free writing" techniques-liberated generations of students and teachers from the emphasis on formal principles of grammar that had dominated composition pedagogy. This new collection of essays brings together the best of Elbow's writing since the publication of Embracing Contraries in 1987. The volume includes sections on voice, the experience of writing, teaching, and evaluation. Implicit throughout is Elbow's commitment to humanizing the profession, and his continued emphasis on the importance of binary thinking and nonadversarial argument. The result is a compendium of a master teacher's thought on the relation between good pedagogy and good writing; it is sure to be of interest to all professional teachers of writing, and will be a valuable book for use in composition courses at all levels.
(source: Nielsen Book Data)

• Some essentials. An approach to writing
• Freewriting
• Sharing
• The direct writing process for getting words on paper
• Quick revising
• The dangerous method: trying to write it right the first time
• More ways of getting words on paper. The open-ended writing process
• The loop writing process
• Metaphors for priming the pump
• Working on writing while not thinking about writing
• Poetry as no big deal
• More ways to revise. Thorough revising
• Revising with feedback
• Cut-and-paste revising and the collage
• The last step: getting rid of mistakes in grammar
• Nausea
• Audience. Other people
• Audience as focusing force
• Three tricky relationships to an audience
• Writing for teachers
• Feedback. Criterion-based feedback and reader-based feedback
• A catalogue of criterion-based questions
• A catalogue of reader-based questions
• Options for getting feedback
• Power in writing. Writing and voice
• How to get power through voice
• Breathing experience into words
• Breathing experience into expository writing
• Writing and magic.

A classic handbook for anyone who needs to write, Writing With Power speaks to everyone who has wrestled with words while seeking to gain power with them. Here, Peter Elbow emphasizes that the essential activities underlying good writing and the essential exercises promoting it are really not difficult at all. Employing a cookbook approach, Elbow provides the reader (and writer) with various recipes: for getting words down on paper, for revising, for dealing with an audience, for getting feedback on a piece of writing, and still other recipes for approaching the mystery of power in writing. In a new introduction, he offers his reflections on the original edition, discusses the responses from people who have followed his techniques, how his methods may differ from other processes, and how his original topics are still pertinent to todays writer. By taking risks and embracing mistakes, Elbow hopes the writer may somehow find a hold on the creative process and be able to heighten two mentalities--the production of writing and the revision of it.a".
(source: Nielsen Book Data)

• 1. Introduction: the organization as a corporate actor
• 2. Styling: from persons to organizations
• 3. Enterprise culture as a master ethical regime
• 4. Size matters: the semiotics of big versus small businesses
• 5. When Peter meets Harry: the emotional labor of organizations
• 6. Organizational restyling
• 7. Styling the organizational other
• 8. Organizations and speakers: structure and agency in language.
• (source: Nielsen Book Data)

The ways in which commercial organizations and service providers 'style' themselves - creating the image they wish to portray to their potential consumers - is a long-established area of research in the fields of sociology and business studies. However, language also plays an important role in organizational styling, something which until now has been largely overlooked in the literature. This is the first book-length study of the linguistics of organizational styling, looking at the language and semiotic resources used by holiday resorts, pharmaceutical companies, restaurants and insurance companies in order to project their identities, and style themselves. It discusses in detail a number of case studies and presents an innovative take on the notion of style, as well as bringing together work from linguistics, business studies and sociology. This interdisciplinary book will be of interest to scholars and advanced students in sociolinguistics, and scholars of sociology and business studies.
(source: Nielsen Book Data)

This text aims to explain prose style, and in doing so, provokes the reader to consider style, not as an elegant accessory of effective prose, but as its very heart. At a time when writing skills have virtually disappeared, wh at can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? This book says no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as this work points out, that there are many styles with different standards. In the first half of the book the authors introduce a range of styles - reflexive, practical, plain, contemplative, romantic, prophetic, and others - contrasting them to classic style. Its principles are simple: the writer adopts the pose that the motive is truth, the purpose is presentation, the reader is an intellectual equal, and the occasion is informal. Classic style is at home in everything from business memos to personal letters, from magazine articles to university writing. The second half of the book is a tour of examples - the exquisite and the execrable - showing what has worked and what hasn't. Classic prose is found everywhere: from Thomas Jefferson to Junichiro Tanizaki, from Mark Twain to the observations of an undergraduate. Here are many fine performances in classic style, each clear and simple as the truth.
(source: Nielsen Book Data)

• Cover; Title; Copyright; Contents; Introduction; 1. The Necessity of Language; Words Like Wooden Horses William Bradford and Thomas Morton; Double-Talk Renaissance and Reformed Traditions; Concealed Verbal Artistry Richard Mather and Edward Taylor; 2. The Winding Sheet of Meditative Verse; The Wrack of Mortal Poets Anne Bradstreet's Contemplations
• Unfolding the Twisting Serpent Edward Taylor's Meditation 1.19
• 3. Laughter and Death; All in Jest Nathaniel Ward's The Simple Cobler; Dissolving Stones Urian Oakes's Elegy on Thomas Shepard; 4. Breaking Verbal Icons.

• Nature, Reason, and Language Jonathan Edwards in ReactionFrom Something to Nothing to Everything Edwards's Early Sermons; 5. Islands of Meaning; Eighteenth-Century Allegory or Satire? Nathan Fiske's An Allegorical Description
• The Letter Killeth Edward Bellamy's To Whom This May Come
• Notes; Index; A; B; C; D; E; F; G; H; I; J; L; M; N; O; P; Q; R; S; T; W; Y; Z.

Puritan American writers faced a dilemma: they had an obligation to use language as a celebration of divine artistry, but they could not allow their writing to become an iconic graven image of authorial self-idolatry. In this study William Scheick explores one way in which William Bradford, Nathaniel Ward, Anne Bradstreet, Urian Oakes, Edward Taylor, and Jonathan Edwards mediated these conflicting imperatives. They did so, he argues, by creating moments in their works when they and their audience could hesitate and contemplate the central paradox of language: its capacity to intimate both concealed authorial pride and latent deific design. These ambiguous occasions served Puritan writers as places where the threat of divine wrath and the promise of divine mercy intersected in unresolved tension. By the nineteenth century the heritage of this Christlike mingling of temporal connotation and eternal denotation had mutated. A peculiar late eighteenth-century narrative by Nathan Fiske and a short story by Edward Bellamy both suggest that the binary nature of language exploited by their Puritan ancestors was still a vital authorial concern; but neither of these writers affirms the presence of an eternal denotative signification hidden within the conflicting historical contexts of their apparently allegorical language. For them, appreciation of the mystery of a divine revelation possibly concealed in words yielded to puzzlement over language itself, specifically over the inadequacy of language to signify more than its own instability of design. This book is a tightly focused study of an important aspect of Puritan American writers' use of language by one of the leading scholars in the field of early American literature.
(source: Nielsen Book Data)

Resounding the Rhetorical offers an original critical and theoretical examination of composition as a quasi-object. As composition flourishes in multiple media (digital, sonic, visual, etc.), Byron Hawk seeks to connect new materialism with current composition scholarship and critical theory. Using sound and music as his examples, he demonstrates how a quasi-object can and does materialize for communicative and affective expression, and becomes a useful mechanism for the study and execution of composition as a discipline. Through careful readings of Serres, Latour, Deleuze, Heidegger, and others, Hawk reconstructs key concepts in the field including composition, process, research, collaboration, publics, and rhetoric. His work delivers a cutting-edge response to the state of the field, where it is headed, and the possibilities for postprocess and postwriting composition and rhetoric.
(source: Nielsen Book Data)

• Repetition of words and phrases. Simple repetition of words and phrases: epizeuxis, epimone, etc.
• Repetition at the start: anaphora
• Repetition at the end: epistrophe
• Repetition at the start and end: symploce
• Repeating the ending at the beginning: anadiplosis
• Repeating the root: polyptoton
• Structural matters. Parallel structure: isocolon
• Reversal of structure: chiasmus
• Inversion of words: anastrophe
• Using extra conjunctions: polysyndeton
• Leaving out conjunctions: asyndeton
• Leaving out words: ellipsis
• Dramatic devices. Saying things by not saying them: praeteritio
• Breaking off in midstream: aposiopesis
• Correcting oneself: metanoia
• Rhetorical uses of the negative: litotes
• Rhetorical questions: erotema
• Asking questions and answering them: hypophora
• Anticipating objections and meeting them: prolepsis.

This title presents an enlightening overview and analysis of the uses of rhetoric in the English language. The way we use our language to convince and cajole is based on timeless principles - on repetition and variety, suspense and relief, expectation and satisfaction - that have been employed by writers and speakers since the Golden Age of Greece. They can be applied with effect to the construction of simple sentences and paragraphs, or entire compositions. Farnsworth's "Classical English Rhetoric" draws on examples from some of the great masters of English prose - Lincoln and Churchill, Dickens and Melville, Burke and Pain - to illustrate and analyse the most frequently used rhetorical devices with unrivalled clarity and detail. For anyone with an interest in the true potential of language, this is an indispensable guide, a highly useful reference, and a rewarding (and even entertaining) source of instruction.
(source: Nielsen Book Data)

• Simple repetition of words and phrases : epizeuxis, epimone, etc.
• Repetition at the start : anaphora
• Repetition at the end : epistrophe
• Repetition at the start and end : symploce
• Repeating the ending at the beginning : anadiplosis
• Repeating the root : polyptoton
• Parallel structure : isocolon
• Reversal of structure : chiasmus
• Inversion of words : anastrophe
• Using extra conjunctions : polysyndeton
• Leaving out conjunctions : asyndeton
• Leaving out words : ellipsis
• Saying things by not saying them : præteritio
• Breaking off in midstream : aposiopesis
• Correcting oneself : metanoia
• Rhetorical uses of the negative : litotes
• Rhetorical questions : erotema
• Asking questions and answering them : hypophora
• Anticipating objections and meeting them : prolepsis.

This title presents an enlightening overview and analysis of the uses of rhetoric in the English language. The way we use our language to convince and cajole is based on timeless principles - on repetition and variety, suspense and relief, expectation and satisfaction - that have been employed by writers and speakers since the Golden Age of Greece. They can be applied with effect to the construction of simple sentences and paragraphs, or entire compositions. Farnsworth's "Classical English Rhetoric" draws on examples from some of the great masters of English prose - Lincoln and Churchill, Dickens and Melville, Burke and Pain - to illustrate and analyse the most frequently used rhetorical devices with unrivalled clarity and detail. For anyone with an interest in the true potential of language, this is an indispensable guide, a highly useful reference, and a rewarding (and even entertaining) source of instruction.
(source: Nielsen Book Data)

Neman's extensive revision of the first edition, (published by Merrill in 1980) takes into account the recent explosion of scholarly inquiry and research composition while remaining focused on the basic substance of pedagogy -- the nurturing of the student mind. Her approach is student- centred , based on twenty-five years of classroom experience, and will both train its readers to teach writing and tactfully provide an opportunity for them to master writing skills themselves, Covers process, structure, grammar, documentation, narrative, poetry, and stylistic problems from nonstandard dialects.
(source: Nielsen Book Data)