Writing At The Margin

One of the most influential and creative scholars in medical anthropology takes stock of his recent intellectual odysseys in this collection of essays. Arthur Kleinman, an anthropologist and psychiatrist who has studied in Taiwan, China, and North America since 1968, draws upon his bicultural, multidisciplinary background to propose alternative strategies for thinking about how, in the postmodern world, the social and medical relate. Writing at the Margin explores the border between medical and social problems, the boundary between health and social change. Kleinman studies the body as the mediator between individual and collective experience, finding that many health problems—for example the trauma of violence or depression in the course of chronic pain—are less individual medical problems than interpersonal experiences of social suffering. He argues for an ethnographic approach to moral practice in medicine, one that embraces the infrapolitical context of illness, the responses to it, the social institutions relating to it, and the way it is configured in medical ethics. Previously published in various journals, these essays have been revised, updated, and brought together with an introduction, an essay on violence and the politics of post-traumatic stress disorder, and a new chapter that examines the contemporary ethnographic literature of medical anthropology.

Philosophy and Theory in Educational Research: Writing in the margin explores the practices of reading and writing in educational philosophy and theory. Showing that there is no ‘right way’ to approach research in educational philosophy, but illustrating its possibilities, this text invites an engagement with philosophy as a possibility – and opening possibilities – for educational research. Drawing on their own research and theoretical and philosophical sources, the authors investigate the important issue of what it means to read and write when there is no prescribed structure. Innovative in its contribution to the literature, this edited volume enlightens readers in three ways. The volume focuses on the practices of reading and writing that are central to research in educational philosophy, suggesting that these practices constitute the research, rather than simply reporting it. It is not a prescriptive guide and should not be read procedurally. Rather, it is intended to illustrate the possibilities for this kind of research, and to suggest starting points for those pursuing research projects. Finally, attention is given to the ways in which conducting educational philosophy can be educative in itself, both to the researcher in writing it, and to its audience in reading it. With contributions from international scholars in the field of educational philosophy, this book is a valuable guide for practitioner-researchers, taught postgraduate and doctoral students, and early career researchers in university education departments. Academic staff teaching research methods and seeking to introduce their students to philosophy-as-research without wishing to offer a prescriptive ‘how to’ guide will also find this book of particular interest.

Investigates the art of reading by examining each aspect of reading, problems encountered, and tells how to combat them.

Like Her Fiction, Shashi Deshpande S Essays Hold A Universal Appeal, Even When Firmly Entrenched In The Social Realities Of Our Everyday Life And Grappling With Issues That Are Particularly Indian. Some Of The Finest Pieces In This Collection Deal With Language And Writing: The Prickly And Often Acrimonious Issue Of English, The Deep And Unfortunate Divide Between English And The Regional Languages, The Importance And Necessity Of Translations, The Compulsions Of The Global Market On Literature, A Writer S Obligation To Self-Censorship, The Moral Vision That Underscores All Good Writing, The Unshakable Worth Of Readers And Much More. There Are Also Essays In Which Shashi Deshpande Talks About Her Own Craft, How Each One Of Her Novels Took Shape, Going Into Particulars And Readily Sharing Confidentialities So That Readers Will Experience The Same Intimacy They Encounter In Her Novels. Much Of Her Writing Is Shaped By The Fact That She Is A Woman. With Unflinching Honesty She Clearly Articulates The Difficulties Of Writing As A Politically Aware Woman, Touching Upon Matters Of Contention Such As Gender, Feminism, Marginalization And The Relevance Of Reworking Myths. Thought-Provoking And Engaging, This Collection Showcases, For The First Time, The Broad Sweep Of Deshpande S Non-Fiction Writing.

Collecting three decades of Morrison's writings about her work, life, literature, and American society, this collection provides a unique glimpse into her viewpoint as an observer of the world, the arts, and the changing landscape of American culture.

Maybelle Lane is looking for her father, but on the road to Nashville she finds so much more: courage, brains, heart--and true friends. Eleven-year-old Maybelle Lane collects sounds. She records the Louisiana crickets chirping, Momma strumming her guitar, their broken trailer door squeaking. But the crown jewel of her collection is a sound she didn't collect herself: an old recording of her daddy's warm-sunshine laugh, saved on an old phone's voicemail. It's the only thing she has of his, and the only thing she knows about him. Until the day she hears that laugh--his laugh--pouring out of the car radio. Going against Momma's wishes, Maybelle starts listening to her radio DJ daddy's new show, drinking in every word like a plant leaning toward the sun. When he announces he'll be the judge of a singing contest in Nashville, she signs up. What better way to meet than to stand before him and sing with all her heart? But the road to Nashville is bumpy. Her starch-stiff neighbor Mrs. Boggs offers to drive her in her RV. And a bully of a boy from the trailer park hitches a ride, too. These are not the people May would have chosen to help her, but it turns out they're searching for things as well. And the journey will mold them into the best kind of family--the kind you choose for yourself.

Four "pitch-perfect" (Oprah Daily) essays by the author of My Brilliant Friend and The Lost Daughter. In these four crisp essays, Ferrante offers a rare look into the origins of her literary prowess. She describes her influences, her struggles, and her formation as both a reader and a writer; she warns against the perils of "bad language" and the ways in which it has long excluded women's truth; she proposes a choral fusion of feminine talent as she brilliantly discourses on the work of Emily Dickinson, Gertrude Stein, Ingeborg Bachmann, and many others. An "incandescent...philosophical monograph on the nature of writing," (Molly Young, New York Times) this candid collection by one of the great novelists of our time is destined to delight general readers, writers, and Ferrante fans in equal measure. "Everyone should read everything with Elena Ferrante's name on it."--The Boston Globe

You’ve Got Mail meets The Proposal—this romance is one for the books. Savannah Cade’s dreams are coming true. The Claire Donovan, editor-in-chief of the most successful romance publishing company in the country, has requested to see the manuscript Savannah’s been secretly writing. The only problem: she’s an editor for a different company, and their philosophy is only highbrow works are worth printing and romance should be reserved for the lowest level of Dante’s inferno. But when Savannah drops her manuscript during a staff meeting and nearly exposes herself to the whole company—including William Pennington, the new boss and son of the romance-despising CEO herself—she has no choice but to hide the manuscript in a hidden room. When she returns, she’s dismayed to discover that someone has not only been in her hidden nook but has written notes in the margins—quite critical ones. But when Claire’s own reaction turns out to be nearly identical to the scribbled remarks, and worse, Claire announces that Savannah has six weeks to resubmit before she retires, Savannah finds herself forced to seek the help of the shadowy editor after all. As their notes back and forth start to fill up the pages, however, Savannah finds him not just becoming pivotal to her work but her life. There’s no doubt about it: she’s falling for her mystery editor. If she only knew who he was. “Meet Me in the Margins is a delightfully charming jewel of a book that fans of romantic comedy won’t be able to put down!” — Kristy Woodson Harvey, New York Times bestselling author of Under the Southern Sky