| Preface |
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xxv | |
| Introduction: What Is Literature? |
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xxix | |
| Fiction |
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| Fiction: Reading, Responding, Writing |
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2 | (13) |
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2 | (3) |
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5 | (3) |
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8 | (7) |
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Questions/Writing Suggestions |
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14 | (1) |
| Understanding the Text |
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15 | (324) |
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15 | (51) |
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20 | (3) |
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23 | (18) |
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41 | (25) |
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Questions/Writing Suggestions |
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64 | (2) |
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Narration and Point of View |
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66 | (36) |
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70 | (5) |
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Hills Like White Elephants |
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75 | (3) |
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78 | (7) |
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85 | (17) |
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Questions/Writing Suggestions |
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100 | (2) |
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102 | (55) |
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107 | (9) |
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116 | (26) |
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142 | (15) |
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155 | (2) |
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157 | (38) |
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159 | (9) |
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168 | (14) |
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182 | (13) |
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194 | (1) |
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195 | (28) |
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198 | (9) |
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207 | (7) |
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214 | (9) |
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Questions/Writing Suggestions |
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217 | (2) |
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Student Writing: Geoffrey Clement, The Struggle to Surface in the Water of ``Sonny's Blues'' |
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219 | (4) |
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223 | (49) |
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227 | (6) |
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233 | (12) |
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Good Climate, Friendly Inhabitants |
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245 | (10) |
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255 | (17) |
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Questions/Writing Suggestions |
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270 | (2) |
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272 | (67) |
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272 | (31) |
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Questions and Writing Suggestions |
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301 | (2) |
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303 | (17) |
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Questions and Writing Suggestions |
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319 | (1) |
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320 | (19) |
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Questions and Writing Suggestions |
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337 | (2) |
| Exploring Contexts |
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339 | (238) |
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The Author's Work As Context: D. H. Lawrence and Flannery O'Connor |
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339 | (107) |
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345 | (45) |
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345 | (14) |
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359 | (14) |
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373 | (11) |
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Passages from Essays and Letters |
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384 | (6) |
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390 | (56) |
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A Good Man Is Hard to Find |
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390 | (11) |
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The Lame Shall Enter First |
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401 | (26) |
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Everything That Rises Must Converge |
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427 | (12) |
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Passages from Essays and Letters |
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439 | (5) |
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Questions/Writing Suggestions |
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444 | (2) |
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Literary Kind as Context: Initiation Stories |
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446 | (22) |
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447 | (5) |
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452 | (10) |
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462 | (6) |
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Questions/Writing Suggestions |
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466 | (2) |
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Form as Context: The Short Short Story |
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468 | (22) |
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470 | (2) |
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A Very Old Man with Enormous Wings |
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472 | (4) |
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476 | (1) |
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477 | (4) |
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The Grasshopper and the Bell Cricket |
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481 | (3) |
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484 | (2) |
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486 | (4) |
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Questions/Writing Suggestions |
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488 | (2) |
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Cultural and Historical Context |
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490 | (39) |
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498 | (31) |
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513 | (3) |
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From Exile's Return: A Literary Odyssey of the 1920s |
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516 | (6) |
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Stocks Collapse in 16,410,030-Share Day |
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522 | (1) |
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Crowd at Tickers See Fortunes Wane |
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522 | (1) |
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Women Traders Going Back to Bridge Games: Say They Are Through with Stocks Forever |
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523 | (1) |
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From Social Problems of the Family |
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524 | (2) |
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From The Bankruptcy of Marriage |
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526 | (3) |
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Critical Contexts: A Fiction Casebook |
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529 | (48) |
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531 | (46) |
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Student Writing: Daniel Bronson, ``Like the Sand of the Hourglass...'' |
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539 | (3) |
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``We all said, `she will kill herself''': The Narrator/Detective in William Faulkner's ``A Rose for Emily'' |
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542 | (8) |
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550 | (8) |
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A Rose for ``A Rose for Emily'' |
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558 | (7) |
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Of Time and Its Mathematical Progression: Problems of Chronology in Faulkner's ``A Rose for Emily'' |
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565 | (7) |
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Student Writing: Willow D. Crystal, ``One of us...'': Concepts of the Private and the Public in William Faulkner's ``A Rose for Emily'' |
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572 | (5) |
| Evaluating Fiction |
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577 | (42) |
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A Conversation with My Father |
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577 | (6) |
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583 | (18) |
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Student Writing: Thaddeus Smith, Why ``The Most Dangerous Game'' Is Good Literature |
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598 | (1) |
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Student Writing: Sara Rosen, Why ``The Most Dangerous Game'' Is Not Good Literature |
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599 | (2) |
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601 | (18) |
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| Reading More Fiction |
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619 | (191) |
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619 | (14) |
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An Occurrence at Owl Creek Bridge |
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633 | (7) |
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Without Benefit of Clergy |
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640 | (15) |
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655 | (18) |
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673 | (12) |
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685 | (20) |
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705 | (15) |
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720 | (5) |
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725 | (9) |
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The Garden of Forking Paths |
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734 | (7) |
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741 | (7) |
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The Lady with the Pet Dog |
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748 | (13) |
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761 | (10) |
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771 | (11) |
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782 | (8) |
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790 | (11) |
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801 | (9) |
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| Poetry |
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| Poetry: Reading, Responding, Writing |
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810 | (23) |
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811 | (1) |
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811 | (1) |
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Elizabeth Barrett Browning |
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812 | (1) |
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813 | (2) |
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The River-Merchant's Wife: A Letter |
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815 | (1) |
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816 | (2) |
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817 | (1) |
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818 | (1) |
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819 | (1) |
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820 | (1) |
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Fifth Grade Autobiography |
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821 | (1) |
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822 | (3) |
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824 | (1) |
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Practicing Reading: Some Poems on Love |
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825 | (1) |
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[Stop all the clocks, cut off the telephone] |
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825 | (1) |
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To My Dear and Loving Husband |
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825 | (1) |
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[Let me not to the marriage of true minds] |
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826 | (1) |
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826 | (1) |
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A Special Theory of Relativity |
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826 | (1) |
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[What lips my lips have kissed, and where, and why] |
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827 | (1) |
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On Her Loving Two Equally |
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828 | (1) |
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828 | (1) |
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829 | (1) |
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830 | (1) |
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[Shall I compare thee to a summer's day?] |
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830 | (1) |
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831 | (2) |
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Questions/Writing Suggestions |
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832 | (1) |
| Understanding the Text |
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833 | (256) |
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833 | (27) |
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833 | (1) |
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834 | (2) |
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836 | (2) |
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Hard Rock Returns to Prison from the Hospital for the Criminal Insane |
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838 | (1) |
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839 | (2) |
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841 | (1) |
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842 | (2) |
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Many Tones: Poems About Family Relationships |
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844 | (1) |
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After Making Love We Hear Footsteps |
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844 | (1) |
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844 | (1) |
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845 | (1) |
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846 | (1) |
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847 | (2) |
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849 | (1) |
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850 | (1) |
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851 | (1) |
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851 | (1) |
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852 | (1) |
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852 | (1) |
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Grandmother, a Caribbean Indian, Described by My Father |
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853 | (1) |
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854 | (1) |
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855 | (1) |
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856 | (2) |
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858 | (2) |
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Chitra Banerjee Divakaruni |
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Questions/Writing Suggestions |
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859 | (1) |
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Speaker: Whose Voice Do We Hear? |
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860 | (25) |
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860 | (2) |
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In a Prominent Bar in Secaucus One Day |
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862 | (1) |
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863 | (3) |
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Death of a Young Son by Drowning |
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866 | (1) |
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Soliloquy of the Spanish Cloister |
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867 | (3) |
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870 | (1) |
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870 | (2) |
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872 | (1) |
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She Dwelt among the Untrodden Ways |
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873 | (1) |
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874 | (2) |
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876 | (1) |
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876 | (1) |
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877 | (1) |
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878 | (1) |
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Lessons of the War: Judging Distances |
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879 | (1) |
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880 | (1) |
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881 | (1) |
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882 | (1) |
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882 | (1) |
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[I celebrate myself, and sing myself] |
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883 | (2) |
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Questions/Writing Suggestions |
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883 | (2) |
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Situation and Setting: What Happens? Where? When? |
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885 | (39) |
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886 | (3) |
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889 | (1) |
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890 | (1) |
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To a Daughter Leaving Home |
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891 | (1) |
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On the Late Massacre in Piedmont |
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892 | (2) |
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894 | (2) |
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896 | (2) |
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898 | (1) |
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898 | (1) |
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898 | (1) |
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899 | (1) |
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A Mongoloid Child Handling Shells on the Beach |
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900 | (1) |
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900 | (2) |
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902 | (1) |
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902 | (1) |
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903 | (1) |
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903 | (1) |
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904 | (1) |
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905 | (2) |
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907 | (1) |
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[Full many a glorious morning have I seen] |
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907 | (1) |
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907 | (1) |
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908 | (1) |
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909 | (1) |
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A Description of the Morning |
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909 | (1) |
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910 | (1) |
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Evening in the Sanitarium |
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911 | (1) |
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912 | (1) |
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913 | (1) |
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913 | (1) |
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914 | (1) |
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915 | (1) |
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916 | (1) |
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917 | (1) |
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917 | (1) |
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A Description of a City Shower |
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918 | (1) |
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919 | (5) |
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Questions/Writing Suggestions |
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920 | (1) |
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Student Writing: Kimberly Smith, A Letter to an Author |
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921 | (3) |
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924 | (62) |
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924 | (1) |
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[The golf links lie so near the mill] |
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924 | (1) |
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Countess of Winchelsea, There's No To-Morrow |
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925 | (1) |
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926 | (1) |
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At the San Franciso Airport |
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927 | (2) |
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929 | (1) |
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930 | (2) |
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[After great pain, a formal feeling comes---] |
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932 | (1) |
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932 | (2) |
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934 | (1) |
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935 | (1) |
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[I dwell in Possibility---] |
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935 | (1) |
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936 | (1) |
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936 | (1) |
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937 | (2) |
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939 | (1) |
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939 | (1) |
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940 | (1) |
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Reflections on Ice-Breaking |
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940 | (1) |
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Here Usually Comes the Bride |
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941 | (1) |
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941 | (1) |
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942 | (1) |
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942 | (1) |
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943 | (3) |
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946 | (2) |
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Picturing: The Languages of Description |
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947 | (1) |
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948 | (1) |
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Home Movies: A Sort of Ode |
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949 | (1) |
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950 | (1) |
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951 | (1) |
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952 | (1) |
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953 | (1) |
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954 | (3) |
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957 | (1) |
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[That time of year thou mayst in me behold] |
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957 | (2) |
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959 | (1) |
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960 | (1) |
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961 | (1) |
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962 | (1) |
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963 | (2) |
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[Sex, as they harshly call it,] |
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963 | (1) |
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964 | (1) |
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965 | (1) |
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[Batter my heart, three-personed God; for You] |
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966 | (1) |
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966 | (1) |
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966 | (1) |
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The Death of the Ball Turret Gunner |
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967 | (1) |
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A Comparison of the Life of Man |
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967 | (1) |
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967 | (1) |
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968 | (1) |
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The Night Has a Thousand Eyes |
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969 | (1) |
|
Francis William Bourdillon |
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[Wild Nights---Wild Nights!] |
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969 | (1) |
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970 | (1) |
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Leningrad Cemetery, Winter of 1941 |
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970 | (2) |
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972 | (2) |
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974 | (1) |
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975 | (1) |
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976 | (1) |
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976 | (2) |
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978 | (1) |
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978 | (1) |
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Short History of the West |
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979 | (1) |
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980 | (2) |
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982 | (1) |
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983 | (3) |
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|
Questions/Writing Suggestions |
|
|
984 | (2) |
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|
986 | (31) |
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986 | (2) |
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988 | (1) |
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989 | (2) |
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991 | (2) |
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993 | (1) |
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994 | (1) |
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[There was a young lady of Riga] |
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994 | (1) |
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994 | (1) |
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To the Memory of Mr. Oldham |
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995 | (2) |
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997 | (3) |
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[Like as the waves make towards the pebbled shore] |
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1000 | (1) |
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1000 | (1) |
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1001 | (1) |
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1001 | (1) |
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1002 | (1) |
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1002 | (1) |
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[A narrow Fellow in the Grass] |
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1003 | (1) |
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1004 | (1) |
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1004 | (1) |
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1005 | (1) |
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When to Her Lute Corinna Sings |
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1006 | (1) |
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1006 | (1) |
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Homage to the Empress of the Blues |
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1007 | (1) |
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1007 | (1) |
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1008 | (1) |
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1009 | (1) |
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1010 | (1) |
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Lucy in the Sky with Diamonds |
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1011 | (1) |
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1012 | (5) |
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|
Questions/Writing Suggestions |
|
|
1013 | (1) |
|
Student Writing: Christine Woodside Metrical Variation and Meaning in ``To the Memory of Mr. Oldham'' |
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1014 | (3) |
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1017 | (27) |
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1017 | (3) |
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1020 | (2) |
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1022 | (2) |
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1024 | (1) |
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Arrangements with Earth for Three Dead Friends |
|
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1025 | (2) |
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1027 | (2) |
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1029 | (1) |
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1030 | (1) |
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1031 | (1) |
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1032 | (1) |
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1032 | (1) |
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[The Wind begun to knead the Grass---] |
|
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1033 | (1) |
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1034 | (1) |
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1035 | (1) |
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1035 | (3) |
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1038 | (6) |
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|
Questions/Writing Suggestions |
|
|
1040 | (1) |
|
Student Writing: Carol Lin Language and Structure in Sharon Old's ``The Victims'' |
|
|
1041 | (3) |
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|
1044 | (29) |
|
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1047 | (1) |
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1047 | (1) |
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|
[My lady's presence makes the roses red] |
|
|
1048 | (1) |
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|
A Sonnet Is a Moment's Monument |
|
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1049 | (1) |
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1050 | (1) |
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1051 | (1) |
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1051 | (1) |
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|
[When I consider how my light is spent] |
|
|
1052 | |
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1052 | (1) |
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1053 | (1) |
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1053 | (1) |
|
Sir Charles G. D. Roberts |
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1054 | (1) |
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1054 | (1) |
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1055 | (1) |
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1055 | (1) |
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1056 | (1) |
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1056 | (1) |
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|
Joy Sonnet in a Random Universe |
|
|
1057 | (1) |
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|
[My mistress' eyes are nothing like the sun] |
|
|
1057 | (1) |
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|
Sweep Me through Your Many-Chambered Heart |
|
|
1058 | (2) |
|
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|
1059 | (1) |
|
Do Not Go Gentle into That Good Night |
|
|
1060 | (1) |
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1060 | (1) |
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1061 | (1) |
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|
beware: do not read this poem |
|
|
1062 | (2) |
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1064 | (1) |
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1065 | (1) |
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1065 | (1) |
|
Composed in the Composing Room |
|
|
1066 | (1) |
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1066 | (1) |
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1067 | (1) |
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1068 | (1) |
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1069 | (1) |
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1069 | (1) |
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1070 | (1) |
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|
1071 | (2) |
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|
|
Questions/Writing Suggestions |
|
|
1072 | (1) |
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|
1073 | (16) |
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1074 | (1) |
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1075 | (1) |
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1076 | (2) |
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1078 | (1) |
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1079 | (1) |
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1080 | (1) |
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1080 | (1) |
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1080 | (1) |
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|
[My Life had stood---a Loaded Gun---] |
|
|
1081 | (1) |
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1082 | (1) |
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|
Epitaph on Elizabeth, L. H. |
|
|
1082 | (7) |
|
|
|
|
|
|
Questions/Writing Suggestions |
|
|
1083 | (1) |
|
Student Writing: Meaghan E. Parker Tragedy in Five Stanzas: ``Woodchucks'' |
|
|
1084 | (5) |
| Exploring Contexts |
|
1089 | (146) |
|
The Author's Work As Context: John Keats |
|
|
1089 | (17) |
|
On First Looking into Chapman's Homer |
|
|
1091 | (1) |
|
On the Grasshopper and the Cricket |
|
|
1092 | (1) |
|
On Seeing the Elgin Marbles |
|
|
1092 | (1) |
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1093 | (1) |
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1093 | (1) |
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1094 | (2) |
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|
1096 | (2) |
|
|
|
1098 | (1) |
|
Passages from Letters and the Preface to Endymion |
|
|
1099 | (6) |
|
Questions/Writing Suggestion |
|
|
1105 | (1) |
|
The Author's Work in Context: Adrienne Rich |
|
|
1106 | (23) |
|
|
|
1107 | (1) |
|
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|
1108 | (1) |
|
|
|
1108 | (1) |
|
Snapshots of a Daughter-in-Law |
|
|
1109 | (4) |
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1113 | (1) |
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1114 | (1) |
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1115 | (1) |
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|
1115 | (1) |
|
[My mouth hovers across your breasts] |
|
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1116 | (1) |
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1116 | (1) |
|
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|
1117 | (1) |
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|
1118 | (1) |
|
|
|
1119 | (9) |
|
Question/Writing Suggestions |
|
|
1128 | (1) |
|
Literary Tradition as Context |
|
|
1129 | (36) |
|
|
|
1130 | (1) |
|
[Come, my Celia, let us prove] |
|
|
1131 | (1) |
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1132 | (1) |
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1132 | (2) |
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1134 | (1) |
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|
You Too? Me Too---Why Not? Soda Pop |
|
|
1135 | (1) |
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|
[Not marble nor the gilded monuments] |
|
|
1136 | (1) |
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|
1137 | (1) |
|
The Passionate Shepherd to His Love |
|
|
1137 | (2) |
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1139 | (1) |
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1139 | (1) |
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|
[A village without bells---] |
|
|
1140 | (1) |
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1141 | (1) |
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|
1141 | (1) |
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|
1141 | (1) |
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|
[The moon and the flowers] |
|
|
1141 | (1) |
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|
1141 | (1) |
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|
1142 | (1) |
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1142 | (1) |
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|
[Come! Come! Though I call] |
|
|
1142 | (1) |
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1142 | (1) |
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|
[An old-time pond from off whose shadowed depth] |
|
|
1143 | (1) |
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1143 | (1) |
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1143 | (1) |
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1143 | (1) |
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1144 | (1) |
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|
[Looking over my shoulder] |
|
|
1144 | (1) |
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|
1144 | (1) |
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1144 | (1) |
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|
1145 | (1) |
|
The Nymph's Reply to the Shepherd |
|
|
1145 | (1) |
|
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|
1146 | (1) |
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|
[(ponder, darling, these busted statues] |
|
|
1147 | (1) |
|
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|
|
To His Importunate Mistress |
|
|
1147 | (1) |
|
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|
1148 | (1) |
|
|
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|
|
|
Variations on a Theme by William Carlos Williams |
|
|
1149 | (1) |
|
|
|
|
|
|
Ode on a Grecian Urn Summarized |
|
|
1150 | (1) |
|
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|
1150 | (1) |
|
|
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|
|
[Not only marble, but the plastic toys] |
|
|
1151 | (2) |
|
|
|
|
|
|
Cultural Belief and Tradition |
|
|
1152 | (1) |
|
|
|
1153 | (1) |
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|
1153 | (1) |
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|
1154 | (1) |
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1155 | (1) |
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1155 | (1) |
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1156 | (1) |
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1157 | (1) |
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|
The Negro Speaks of Rivers |
|
|
1157 | (1) |
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|
|
On Being Brought from Africa to America |
|
|
1158 | (1) |
|
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|
|
|
Something Like a Sonnet for Phillis Miracle Wheatley |
|
|
1158 | (1) |
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1159 | (1) |
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|
1159 | (1) |
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|
|
I Am a Cowboy in the Boat of Ra |
|
|
1160 | (2) |
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|
1162 | (1) |
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|
1163 | (2) |
|
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|
|
|
Questions/Writing Suggestions |
|
|
1164 | (1) |
|
Cultural and Historical Context |
|
|
1165 | (38) |
|
|
|
1166 | (1) |
|
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|
1167 | (1) |
|
|
|
|
|
|
Sonnet: The Ladies' Home Journal |
|
|
1168 | (4) |
|
|
|
|
|
|
Times, Places, and Events |
|
|
1172 | (1) |
|
Thinking about Bill, Dead of AIDS |
|
|
1172 | (1) |
|
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|
1172 | (1) |
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|
1173 | (1) |
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|
1174 | (1) |
|
|
|
|
|
|
Harlem (A Dream Deferred) |
|
|
1175 | (1) |
|
|
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|
1175 | (1) |
|
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|
1176 | (1) |
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|
1176 | (1) |
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1177 | (1) |
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1178 | (1) |
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The Fury of Aerial Bombardment |
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1179 | (1) |
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1179 | (1) |
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1180 | (2) |
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Constructing Identity, Exploring Gender |
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1182 | (1) |
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1182 | (1) |
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1183 | (1) |
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Song: To Lucasta, Going to the Wars |
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1184 | (1) |
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1184 | (1) |
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1185 | (2) |
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1187 | (1) |
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Elizabeth Barrett Browning |
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To George Sand---A Desire |
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1188 | (1) |
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To George Sand---A Recognition |
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1189 | (1) |
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1189 | (1) |
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1190 | (1) |
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Written the First Year I Was Marry'd |
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1191 | (1) |
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Lady Mary Wortley Montagu |
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What's That Smell in the Kitchen? |
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1192 | (1) |
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1192 | (1) |
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When I Was Fair and Young |
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1193 | (1) |
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L'amitie: To Mrs. M. Awbrey |
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1193 | (1) |
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[Women have loved before as I love now] |
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1194 | (1) |
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[I, being born a woman and distressed] |
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1194 | (1) |
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[Who would divorce her lover...] |
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1195 | (1) |
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1195 | (1) |
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1196 | (1) |
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1197 | (1) |
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1198 | (2) |
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1200 | (1) |
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1200 | (3) |
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Questions/Writing Suggestions |
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1201 | (2) |
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Critical Contexts: A Poetry Casebook |
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1203 | (32) |
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1205 | (30) |
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1208 | (3) |
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The Plath Celebration: A Partial Dissent |
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1211 | (1) |
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1212 | (3) |
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Rituals of Exorcism: ``Daddy'' |
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1215 | (3) |
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1218 | (3) |
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From A Feminine Tradition |
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1221 | (2) |
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From A Disturbance in Mirrors |
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1223 | (3) |
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1226 | (9) |
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| Evaluating Poetry |
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1235 | (14) |
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[Th' expense of spirit in a waste of shame] |
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1238 | (1) |
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1239 | (3) |
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1242 | (1) |
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1242 | (1) |
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1243 | (1) |
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[The Brain---is wider than the Sky---] |
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1243 | (1) |
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1244 | (1) |
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1244 | (1) |
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Bells for John Whiteside's Daughter |
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1245 | (1) |
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King Kong Meets Wallace Stevens |
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1245 | (1) |
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Reading Time: 1 Minute 26 Seconds |
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1246 | (1) |
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1247 | (2) |
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Questions/Writing Suggestions |
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1248 | (1) |
| Reading More Poetry |
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1249 | (83) |
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As I Walked Out One Evening |
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1249 | (1) |
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1250 | (1) |
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1251 | (1) |
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1252 | (1) |
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1252 | (2) |
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[Because I could not stop for Death---] |
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1254 | (1) |
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[I reckon---when I count at all---] |
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1254 | (1) |
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[I stepped from Plank to Plank] |
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1255 | (1) |
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[It dropped so low---in my Regard---] |
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1255 | (1) |
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[My life closed twice before its close---] |
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1256 | (1) |
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[We do not play on Graves---] |
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1256 | (1) |
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[She dealt her pretty words like Blades---] |
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1256 | (1) |
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1257 | (1) |
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[Death, be not proud, though some have called thee] |
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1258 | (1) |
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1258 | (1) |
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A Valediction: Forbidding Mourning |
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1259 | (1) |
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1260 | (1) |
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1261 | (1) |
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1261 | (2) |
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The Love Song of J. Alfred Prufrock |
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1263 | (3) |
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1266 | (1) |
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Stopping by Woods on a Snowy Evening |
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1267 | (1) |
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A Supermarket in California |
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1267 | (1) |
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1268 | (1) |
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Elegy Written in a Country Churchyard |
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1269 | (3) |
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The Convergence of the Twain |
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1272 | (2) |
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1274 | (1) |
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1275 | (1) |
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1275 | (1) |
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1276 | (1) |
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1276 | (1) |
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1277 | (1) |
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1278 | (1) |
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1279 | (1) |
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1279 | (2) |
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1281 | (2) |
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The Mower, against Gardens |
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1283 | (1) |
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1284 | (5) |
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1289 | (1) |
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1290 | (1) |
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1290 | (1) |
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1291 | (1) |
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Black Rook in Rainy Weather |
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1292 | (1) |
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1293 | (2) |
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1295 | (1) |
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In a Station of the Metro |
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1295 | (1) |
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1295 | (1) |
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1296 | (1) |
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The Idea of Order at Key West |
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1297 | (1) |
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1298 | (1) |
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1299 | (3) |
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Now Sleeps the Crimson Petal |
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1302 | (1) |
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1302 | (1) |
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1303 | (1) |
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1304 | (2) |
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1306 | (1) |
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In My Craft or Sullen Art |
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1307 | (1) |
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1308 | (1) |
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Facing West from California's Shores |
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1309 | (1) |
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1309 | (1) |
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A Noiseless Patient Spider |
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1310 | (1) |
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When Lilacs Last in the Dooryard Bloomed |
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1310 | (6) |
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1316 | (1) |
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Love Calls Us to the Things of This World |
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1317 | (1) |
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1318 | (1) |
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Lines Written a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour, July 13, 1798 |
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1318 | (4) |
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The Lake Isle of Innisfree |
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1322 | (1) |
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1322 | (1) |
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1323 | (2) |
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1325 | (1) |
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1326 | (1) |
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1326 | (1) |
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1327 | (3) |
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|
1330 | (2) |
| Drama |
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| Drama: Reading, Responding, Writing |
|
1332 | (27) |
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1335 | (11) |
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1346 | (13) |
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Questions/Writing Suggestions |
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1355 | (1) |
|
Student Writing: Caryl Zook, Trifles |
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|
1356 | (3) |
| Understanding the Text |
|
1359 | (249) |
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1359 | (3) |
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1362 | (1) |
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Stages, Sets, and Setting |
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1363 | (2) |
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1365 | (1) |
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1366 | (1) |
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1367 | (51) |
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Questions/Writing Suggestions |
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1416 | (2) |
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1418 | (75) |
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Questions/Writing Suggestions |
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1491 | (2) |
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1493 | (53) |
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Questions/Writing Suggestions |
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1544 | (2) |
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1546 | (62) |
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|
Questions/Writing Suggestions |
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|
1607 | (1) |
| Exploring Contexts |
|
1608 | (454) |
|
The Author's Work as Context: William Shakespeare |
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|
1608 | (167) |
|
A Midsummer Night's Dream |
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|
1614 | (56) |
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1670 | (105) |
|
Questions/Writing Suggestions |
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|
1770 | (2) |
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Student Writing: Jeanette Sperhac, The Play's the Thing: Deception in Hamlet |
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1772 | (3) |
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Literary Context: Tragedy and Comedy |
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1775 | (90) |
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1778 | (41) |
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Questions/Writing Suggestions |
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|
1818 | (1) |
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The Importance of Being Earnest |
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1819 | (46) |
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Questions/Writing Suggestions |
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1864 | (1) |
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Culture as Context: Social and Historical Setting |
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|
1865 | (144) |
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1869 | (66) |
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Questions/Writing Suggestions |
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1934 | (1) |
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1935 | (74) |
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|
Questions/Writing Suggestions |
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|
2004 | (2) |
|
Student Writing: Sherry Schnake Dream of a Salesman |
|
|
2006 | (3) |
|
Critical Contexts: A Drama Casebook |
|
|
2009 | (53) |
|
|
|
2012 | (50) |
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|
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|
From The Antigone of Sophocles |
|
|
2045 | (1) |
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2046 | (2) |
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Introduction to Sophocles: The Three Theban Plays |
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2048 | (5) |
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From The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy |
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2053 | (4) |
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From Prophesying Tragedy: Sign and Voice in Sophocles' Theban Plays |
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2057 | (2) |
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From Helping Friends and Harming Enemies: A Study in Sophocles and Greek Ethics |
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|
2059 | (3) |
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|
| Evaluating Drama |
|
2062 | (9) |
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2071 | (68) |
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2139 | (38) |
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|
2177 | |
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| Appendices Writing about Literature |
|
A3 | |
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|
A3 | |
|
Representing the Literary Text |
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|
A4 | |
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|
A7 | |
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A10 | |
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A18 | |
|
Writing About Fiction, Poetry, Drama |
|
|
A28 | |
|
Deciding What to Write About |
|
|
A33 | |
|
From Topic to Rough Draft |
|
|
A37 | |
|
From Rough Draft to Completed Paper |
|
|
A42 | |
|
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|
A51 | |
| Glossary |
|
A53 | |
| Biographical Sketches |
|
A64 | |
| Permissions Acknowledgments |
|
A103 | |
| Index of Authors |
|
A119 | |
| Index of Titles and First Lines |
|
A129 | |
Other versions by this Author
