A critical examination of the nature and function of modern poetic expression

Junior high aged students will argue (and sometimes quarrel), but they won't argue well without good training. Young teens are also targeted by advertisers with a vengeance. From billboards to commercials to a walk down the mall, fallacious arguments are everywhere you look. The Art of Argument was designed to teach the argumentative adolescent how to reason with clarity, relevance and purpose at a time when he has a penchant for the why and how. It is designed to equip and sharpen young minds as they live, play, and grow in this highly commercial culture. This course teaches students to recognize and identify twenty-eight informal fallacies, and the eye-catching text includes over sixty slick and clever, ?phony advertisements? for items from blue jeans to pick-up trucks, which apply the fallacies to a myriad of real life situations.

At head of title: New national edition. I. The Republic, introduction and analysis.--II. The Republic.--III. The trial and death of Socrates.--IV. Charmides and other dialogues, Selections from the Laws.

From the poems of Anne Bradstreet, Phillis Wheatley, and Emily Dickinson emerges what the author calls FemPoetiks, a discourse of female empowerment. Situating the work of these poets in their historical eras, Linda Nicole Blair considers a sampling of their poems side-by-side with a number of song lyrics by singer-songwriters Brandi Carlile, Rhiannon Giddens, and Lucinda Williams, having found commonalities of theme, motif, and language between them. Blair argues that while FemPoetiks has continued to develop in various ways in American poetry by women, the fact that this discourse finds expression in songs by Americana female artists indicates a matrilineal line of influence from the 1630s to today. In order to show the omnipresence of this powerful feminist discourse, she closes this book with eleven interviews she conducted with female singer-songwriters from around the United States. The phenomenon of FemPoetiks is not limited to the arts but extends into all areas of American life, from the domestic to the political. FemPoetiks is a woman’s truth.

This is the truth of you. Because you are all I see. Because you are all I breathe. Because when I cannot find you, I am lost. Because when I’m with you, I am found. Because you have the fire of the universe in you, and sometimes you forget. So this book is here to remind you. Dear You, I want you to know that I see you. I want you to know that even if no one else does, even if you are a ghost in this bookshop, or just the static floating across the screen of your computer, wherever you’re reading this, I see you. I see you in the dark and I see you in the grey. I see you as a story, as words I have spoken or may yet speak. Maybe only in a memory or a dream. I see your hands and your arms and your body and your legs and your face and I see what you have been and what you will be. I see you and in looking at you, I want you to know that whoever you’ve had to be to survive all this, I will not look away. I want you to know that there’s a space inside this book for you. So if you have the time and the inclination, you can sit here with me, just for a while. And perhaps between us, we can see everything that matters. -pleasefindthis

Tell Me the Truth About Life is an indispensable anthology which invites us to relish poetry's power to capture the truths that really matter.

This book explores the origins of the academic culture wars of the late 20th century and examines their lasting influence on the humanities and progressive politics. It puts us in a position to ask this question: what to make now of those furious debates over postmodernism, multiculturalism, relativism, critical theory, deconstruction, post-structuralism, and all the rest? In an effort to arrive at a fair judgment on that question, the book reaches for an understanding of postmodern theorists by way of two genres they despised and hopes, for that very reason, to do them justice. It tells a story, and in the telling, advances two basic claims: first, that the phenomenological/hermeneutical tradition is the most suitable source of theory for a humanism that aspires to be universal; and, second, that the ethical and political aspect of the human condition is authentically accessible only through narrative. In conclusion, it argues that the postmodern moment was a necessary one, or will have been if we rise to the occasion and seize the opportunity it offers: a truly universal humanism might yet be realized even in—or perhaps especially in—this atavistic hour of parochial populism.