Textual Studies and the Common Reader collects eleven original essays by editors of literary texts and theorists concerned about the implications of what such editors do. The volume's organizing theme is textual studies, the domain of which, in one contributor’s words, is the "genesis, transmission, and editing of texts." The contributors seek to extend the discussion about textual studies beyond any narrow professional scope; thus, none of the essays assumes any training in textual studies. Also, the focus of the book is on the literary genre most familiar to most readers: the novel. Authors discussed include Willa Cather, Joseph Conrad, Theodore Dreiser, William Faulkner, D. H. Lawrence, William Makepeace Thackeray, and Mary Wollstonecraft Shelley. Many people read literary works, but few do so with a steady sense of their constructedness as texts--of the ways in which "genesis, transmission, and editing" have shaped them as conveyors of meaning. This book shows that the experience of reading is more rewarding for such awareness.

Textual Studies and the Common Reader collects eleven original essays by editors of literary texts and theorists concerned about the implications of what such editors do. The volume's organizing theme is textual studies, the domain of which, in one contributor’s words, is the "genesis, transmission, and editing of texts." The contributors seek to extend the discussion about textual studies beyond any narrow professional scope; thus, none of the essays assumes any training in textual studies. Also, the focus of the book is on the literary genre most familiar to most readers: the novel. Authors discussed include Willa Cather, Joseph Conrad, Theodore Dreiser, William Faulkner, D. H. Lawrence, William Makepeace Thackeray, and Mary Wollstonecraft Shelley. Many people read literary works, but few do so with a steady sense of their constructedness as texts--of the ways in which "genesis, transmission, and editing" have shaped them as conveyors of meaning. This book shows that the experience of reading is more rewarding for such awareness.

This volume is the first comprehensive survey of iconic books and texts. It traces their development and influence from ancient to modern times and compares their roles in multiple cultures and religious traditions.

The newest volume in the distinguished annual

Why do we read, and have we always read in the same way? Reading: A cultural practice uses a rich variety of literary and visual sources to explore how reading has changed, and continues to change, in response to new technologies and shifting social pressures. Drawing on medieval illustrations, classic fiction, the art and literature of the Bloomsbury Group, and contemporary e-culture, the book shows that there is no single, unchanging thing called ‘reading’—instead, it is something that mutates over time. Throughout history, ways of reading, and theories of reading, have been shaped by religious and educational institutions. This continues to be true, but current approaches to reading are also conditioned by debates over digital culture and social media use. Reading: A cultural practice re-frames these contemporary preoccupations by offering a long view on how our notions of books and reading alter according to social and historical context.

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

"Working effectively with the standards requires the critical understanding that the teacher-not the standard or the program-is the most important variable affecting adolescents' achievement." -Gretchen Owocki The Common Core Reading Book, 6-8 makes the reading goals of the standards doable for teachers in every content area. It also keeps the focus on instruction that's meaningful to adolescents and that supports deep engagement with literacy and your subject-area content. "I wanted to honor the intent of the standards," writes author Gretchen Owocki, "and at the same time respect the fact that students are eleven, twelve, and thirteen years old only once in their lives." Gretchen has matched sensible, step-by-step teaching strategies to the 10 reading anchor standards, giving you instructional choices that you can match to your students' needs, your goals for their development as readers, and your content-area's key texts. Whether you are a skilled teacher of reading or new to it, Gretchen pays special attention to the needs of literacy teachers and subject-area teachers alike with tools you'll use every day: a precise description of what each standard asks from adolescents instructional decision trees that simplify lesson planning clearly presented instructional strategies that release responsibility to students "students who..."suggestions for tailoring support to meet kids' individual needs. For close reading, citing textual evidence, evaluating arguments, analyzing visual media, or anything the Common Core reading standards ask for, rely on The Common Core Reading Book, 6-8. You'll find a framework sturdy enough to teach with, flexible enough to plan from, and so respectful of you and your students that it will soon become core to your teaching. Begin reading now with our sample chapter.