In this study of collaborative writing in western American literature, Linda K. Karell asks broad and fruitful questions about how writing in general is produced. By examining "collaboration" both as a process and as a product, she challenges the definition of an author as an individual genius who creates original works of art in isolation. From a collaborative view, what was a fairly direct cause and effect scenario (individual author + inspiration = original literary masterpiece) becomes something much less clear. An individual is always located within a shifting context of texts from which he or she draws to produce?often with substantial and varied support from other writers, editors, spouses or partners, and institutions?a work that will be termed "original." Collaboration insists on recognizing this oft-hidden contribution of others as an important component of meaning, something our traditional understanding of the author persists in ignoring or displacing. Karell provides a close analysis of the various means by which writers work with others to produce their final literary products. Methods include traditional joint writing practices such as ghostwriting or "edited" texts, as in the case of Mourning Dove and ethnographer Lucullus McWhorter; the incorporation of existing diaries or letters from other writers, for example, Wallace Stegner's Angle of Repose with Mary Hallock Foote; and dual-authored texts such as those produced by Louise Erdrich and Michael Dorris. By challenging the seductive myth of the solitary writer within the context of the myth of the independent westerner, Karell makes the compelling argument that collaboration is an inescapable part of writing.

This book presents multiple cultural and contextual takes on working performances of academic/writer/thinker, both inside and outside the academy. With worldwide, seismic shifts taking place in both the contexts and terrains of universities, and subsequently the altering of what it means to write as an academic and work in academia, the editors and contributors use writing to position and re-position themselves as academics, thinkers and researchers. Using as a point of departure universities and academic/writing work contexts shaped by the increasing dominance of commodification, measurement and performativity, this volume explores responses to these evolving, shifting contexts. In response to the growing global interest in writing as performance, this book breaks new ground by theorizing multiple identity constructions of academic/writer/researcher; considering the possibilities and challenges of engaging in academic writing work in ways that are authentic and sustainable. This reflective and interdisciplinary volume will resonate with students and scholars of academic writing, as well as all those working to reconcile different facets of identity.

Carve out family time for this clever and humorous picture book about a skeleton who is falling to pieces that needs help pulling himself together. Bonaparte is having a tough time. It’s hard for this young skeleton to just hang loose when he can’t keep hold of himself. When he plays catch, his throwing arm literally takes a flyer. Eating lunch can be a real jaw-dropping occasion. How can he start school when he has so many screws loose? Luckily, Bonaparte hit the bone-anza when it came to his friends. Franky Stein, Blacky Widow, and Mummicula all have some bonehead ideas to help pull him together. But will it be enough to boost his confidence and get him ready for the first day of school?

Tämä on englanniksi laadittu suomen kielen rakenteen perusteellinen kuvaus. Tekijä on toteuttanut ideansa omalla narratiivisella eli kertovalla ja kielioppia popularisoivalla tavallaan. Hänet hyväksyttiin Suomen tietokirjailijat ry:n jäseneksi jo v. 2001 silloisen teoksensa perusteella. Nyt v. 2018 hän tuo kirjamarkkinoille tarjolle mielestään lopullisesti hyvän teoksen, koska hän on kaikki nämä vuodet kehitellyt esitystapaansa siinä, kun on julkaissut paranneltuja painoksia ja myös käännösversiot suomeksi ja venäjäksi.

Writing matters, and so does research into real-life writing. The shift from an industrial to an information society has increased the importance of writing and text production in education, in everyday life and in more and more professions in the fields of economics and politics, science and technology, culture and media. Through writing, we build up organizations and social networks, develop projects, inform colleagues and customers, and generate the basis for decisions. The quality of writing is decisive for social resonance and professional success. This ubiquitous real-life writing is what the present handbook is about. The de Gruyter Handbook of Writing and Text Production brings together and systematizes state-of-the-art research. The volume contains five sections, focussing on (I) the theory and methodology of writing and text production research, as well as on problem-oriented and problem-solving approaches related to (II) authors, (III) modes and media, (IV) genres, and (V) domains of writing and text production. Throughout the 21 chapters, exemplary research projects illustrate the theoretical perspectives from globally relevant research spaces and traditions. Both established and future scholars can benefit from the handbook’s fresh approach to writing in the context of multimodal, multi-semiotic text production.

Guess which couple got more of what they wanted: Charles and Charlotte, who worked out a negotiated settlement together? Or John and Joyce, who let the court settle their differences? Couples who want to negotiate their own divorce settlements now have a comprehensive self-help guide, complete with ground rules, agendas for discussion, sample forms, and options for divorce mediation without "bloodshed." Not quite a "do-it-yourself" manual - you'll still need an attorney - but packed with real-couple examples of successful agreements on Co-Parenting, Custody, Financial Support, College Planning, Property, Insurance, Taxes.... An organized, thorough guide to the important issues for every separating couple, and an effective aid for those who seek professional mediation. "Your chances of getting the outcome you want are best when you take control of the decision-making process," says Martin Kranitz, Director of the National Center for Mediation Education in Annapolis, Maryland. "Couples can work out their own decisions, if they know what to talk about."

A shadow, in its most literal sense, is the projection of a silhouette against a surface and the obstruction of direct light from hitting that surface. For writers and artists, the shadows cast by their precursors can be either a welcome influence, one consciously evoked in textual production via homage or bricolage, or can manifest as an intrusive, haunting, prohibitive presence, one which threatens to engulf the successor. Many writers and artists are affected by an anxious and ambiguous relationship with their precursors, while others are energised by this relationship. The role that intertextuality plays in creative production invites interrogation, and this publication explores a range of conscious and unconscious influences informing relations between texts and contexts, between predecessors and successors. The chapters revolve around intertextual influence, ranging from conscious imitation and intentional allusion to Julia Kristeva’s idea of intertextuality. Do all texts contain references to and even quotations from other texts? Do such references help shape how we read? This multidisciplinary work includes chapters on the long shadows cast by Shakespeare, Dante, Scott, Virgil and Ovid, the shadows of colonial precursors on postcolonial successors, the shadows cast over Kipling and Murdoch, and chapters on other writers, dramatists and filmmakers and their relationships with precursor figures. With its focus on intertextual relationships, this book contributes to the thriving fields of adaptation studies and studies of intertextuality.