Memoirs, autobiographies, and diaries represent the most personal and most intimate of genres, as well as one of the most abundant and popular. Gain new understanding and better serve your readers with this detailed genre guide to nearly 700 titles that also includes notes on more than 2,800 read-alike and other related titles. * A list of subjects and suggested "read-alikes" accompany each title * Appendixes cover awards, websites, and resources * Detailed indexes provide further points of access
life stories a guide to reading interests in memoirs autobiographies and diaries
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Contains more than seven hundred titles categorized by genre, a brief history of the evolution of African-American literature, reader's advisory guidelines, and other works which are central to the compelling African-American experience.
With the memoir boom, life storytelling has become ubiquitous and emerged as a distinct field of study. Reading Autobiography, originally published in 2001, was the first comprehensive critical introduction to life writing in all its forms. Widely adopted for undergraduate and graduate-level courses, it is an essential guide for students and scholars reading and interpreting autobiographical texts and methods across the humanities, social sciences, and visual and performing arts. Thoroughly updated, the second edition of Reading Autobiography is the most complete assessment of life narrative in its myriad forms. It lays out a sophisticated, theoretical approach to life writing and the components of autobiographical acts, including memory, experience, identity, embodiment, space, and agency. Sidonie Smith and Julia Watson explore these components, review the history of life writing and the foundations of autobiographical subjectivity, and provide a toolkit for working with twenty-three key concepts. Their survey of innovative forms of life writing, such as autographics and installation self-portraiture, charts recent shifts in autobiographical practice. Especially useful for courses are the appendices: a glossary covering dozens of distinct genres of life writing, proposals for group and classroom projects, and an extensive bibliography.
Here is a step-by-step guide to writing historical skits, plays, or monologues for all ages from true life stories, genealogy records, oral history, DNA-driven anthropology, social issues, current events, and personal history of early colonial era settlers. Put direct experience in a small package and launch it worldwide. You could emphasize the early New England 17th century settlers and their diaries of family life, food, clothing, marriage, spirituality, customs, or significant life events, migrations, work, lifestyle, or turning points. Write your life story or your ancestor's or favorite historical person in short vignettes of 1,500 to 1,800 words. Write a longer novel or a short play for school audiences. Write a children's book with illustrations. Write a skit, a monologue, or a play based on genealogy, family history, or significant events. You can focus on relations between families, or early settlers and Native American tribes or on personal family history, marriages, and inter-family issues.
Explores the genres and sub-genres of nonfiction and provides an annotated bibliography of more than five hundred popular nonfiction titles, organized according to genre with a focus on titles published in the last decade.
Responding to contemporary discussion about using personal accounts in academic writing, Personally Speaking: Experience as Evidence in Academic Discourse draws on classical and current rhetorical theory, feminist theory, and relevant examples from both published writers and first-year writing students to illustrate the advantages of blending experiential and academic perspectives. Candace Spigelman examines how merging personal and scholarly worldviews produces useful contradictions and contributes to a more a complex understanding in academic writing. This rhetorical move allows for greater insights than the reading or writing of experiential or academic modes separately does. Personally Speaking foregrounds the semi-fictitious nature of personal stories and the rhetorical possibilities of evidence as Spigelman provides strategies for writing instructors who want to teach personal academic argument while supplying practical mechanisms for evaluating experiential claims. The volume seeks to complicate and intensify disciplinary debates about how compositionists should write for publication and what kinds of writing should be taught to composition students. Spigelman not only supplies evidence as to why the personal can count as evidence but also relates how to use it effectively by including student samples that reflect particular features of personal writing. Finally, she lays the groundwork to move narrative from its current site as confessional writing to the domain of academic discourse.
The SAGE Handbook of Performance Studies brings together, in a single volume, reviews of the major research in performance studies and identifies directions for further investigation. It is the only comprehensive collection on the theories, methods, politics, and practices of performance relating to life and culture. Edited by D. Soyini Madison and Judith Hamera, this Handbook serves scholars and students across the disciplines by delineating the scope of the field, the critical and interpretive methods used, and the theoretical and ethical presumptions that guide work in this exciting and growing area.