In this comic, wildly energetic first novel, Clive Beresford is a failed music fanzine writer in his early thirties who fears that his best days are behind him. The turning point came when Lance Webster, the lead singer of Thieving Magpies, the band that Clive is obsessed with, self-destructed on stage right before his eyes. Years later, Clive has discovered that Lance has moved in down the block. Desperate to meet him, but more desperately nervous, Clive concocts an ill-advised, alcohol-fueled scheme to befriend Lance and land an “earth-shattering exclusive” interview that will revive both their careers. With the story shifting between Clive’s life-changing Magpies past and his frantic present, Tim Thornton has written a warmhearted, uproarious view of friendship, hero worship, and the full-blast power of music.

Clive Beresford, a failed music journalist, realizes that his former music idol, Lance Webster, has moved in next door, prompting Clive to write a drunken note that convinces Lance that he is being stalked and pushes Clive to hide his identity when he meets Lance in person, still continuing to plot to get that "earth-shattering exclusive" interview.

A little creative ingenuity and willingness to experiment are all it takes to break out of the confines of routine and inject a little variety into your classroom. The games in this book are designed to be adaptable to different levels of study of English Literature. Some are more likely to appeal more to ‘A’ level students than to undergraduates, and vice versa. They draw on a common stock of materials that can be bought and adapted at little cost, and in some cases they map directly onto the kind of questions that typically get asked when students face assessment. Many of the games can be played without a teacher being present, although many also assume that someone will be there to draw together threads of discussion. If nothing else, these games are a great way of overcoming that horrible problem, the wall of silence that confronts every teacher of literature at some stage in his or her career. The games are divided into different categories, reflecting the way literature students have to move between detailed analysis and general evaluation. They start small, with games about words and images, and build towards the more challenging theoretical topics students might encounter in the study of literary theory. Overall, this book is conceived as a provocation, not an encyclopaedia. If the result is that readers go away and dream up more and better games to play with students of literature, history, sociology, law, or any other discipline involving the close study and theorization of texts, it will have served its purpose.

This book offers an examination of the hero figure in the work of G. A. Henty (1832-1902) and George MacDonald (1824-1905) and a reassessment of oppositional critiques of their writing. It demonstrates the complementary characteristics of the hero figure which construct a complete identity commensurate with the Victorian ideal hero. The relationship between the expansion of the British Empire and youthful heroism is established through investigation of the Victorian political, social, and religious milieu, the construct of the child, and the construct of the hero. A connection between the exotic geographical space of empire and the unknown psychological space is drawn through examination of representation of the "other" in the work of Henty and MacDonald. This book demonstrates that Henty's work is more complex than the stereotypically linear, masculine, imperialistic critique of his stories as historical realism allows, and that MacDonald's work displays more evidence of historical embedding and ideological interpellation than the critical focus on his work as fantasy and fairy tale considers. Greater understanding of the effect of this heroic ideal on nineteenth-century society leads to a greater understanding of the implications for subsequent children's literature and Western cultures, including that of the twenty-first century.

This work provides insight into the unconscious psyche of the Jewish nation at the time in which the book of Judith was written by analyzing the book according to Jung's categories of subjective dream analysis and Dawson’s literary theory.

This third edition of Vinaver's superbly annotated text of the Works provides a factually corrected version of the second edition, including reverified text and apparatus consisting of some 2,850 changes, and a completely revised index and glossary. In addition to the new changes, the volume offers the standard format of the previous two editions, including a definitive biography and literary interpretation of Malory, an essay describing the texts on which the edition was established, the Caxton printing, a lucid and highly readable introduction, full critical apparatus, and numerous relevant quotes from unpublished sources.

In a boundary-crossing and globalizing world, the personal and social positions in self and identity become increasingly dense, heterogeneous and even conflicting. In this handbook scholars of different disciplines, nations and cultures (East and West) bring together their views and applications of dialogical self theory in such a way that deeper commonalities are brought to the surface. As a 'bridging theory', dialogical self theory reveals unexpected links between a broad variety of phenomena, such as self and identity problems in education and psychotherapy, multicultural identities, child-rearing practices, adult development, consumer behaviour, the use of the internet and the value of silence. Researchers and practitioners present different methods of investigation, both qualitative and quantitative, and also highlight applications of dialogical self theory.