By John Flower, Michael Berman, Mark Powell
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R. Leavis, Raymond Williams and Edward Said as an extended series of responses, Shapiro sketches a new way of teaching the debates regarding the relation of language, landscape, and literature and raises several questions. Is there an imperial national writing? Can debates about the national imaginary be conveyed to students in ways that do not either depend on identitarian responses or result in an intellectual stalemate? Andrew Hadfield, who has built a considerable reputation as a literary historian, particularly of the Renaissance, offers an intriguing perspective upon the use of literary history alongside Theory.
Ch. 11. ———, ed. et al. Norton Anthology of Theory and Criticism. New York: W. W. Norton, 2001. ] ———. 2 (Winter 2005): 286–301. ———, and Mitchell R. S. Cultural Studies,” Johns Hopkins Guide to Literary Theory and Criticism, 2nd edn. Eds Michael Groden, Martin Kreiswirth, and Imre Szeman. Baltimore: Johns Hopkins University Press, 2005. ———, American Literary Criticism Since the 1930s, 2nd edn. New York: Routledge, 2010. Ohmann, Richard. English in America: A Radical View of the Profession. New York: Oxford University Press, 1976.
I pass comfortably. Fashion speaks. My public voice, exercised daily in order to be deep, clear, loud, and free of my “wretched” New York dialect, exudes white male authority but is softened for other effects. The message is: here stands professorial authority, confident, self-assured, yet enthusiastically, sometimes corrosively, open-minded. The doctored voice is a main instrument of teaching. For teachers there is always the background of syllabi, mandatory course plans, sequenced modules, coverage of material, legal requirements, calls to duty as well as regimented seats, class times, expected attendance, grades, docile bodies, official records, very bright lights.
Build Your Vocabulary 1-Lower Intermediate by John Flower, Michael Berman, Mark Powell