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How did banking, borrowing, investing, and even losing money—in other words, participating in the modern financial system—come to seem likeroutine activities of everydaylife? Genres of the Credit Economy addressesthis question by examining the history of financial instruments and representations of finance in eighteenth- and nineteenth-century Britain. Chronicling the process by which some of our most important conceptual categories were naturalized, Mary Poovey explores complex relationships among forms of writing that are not usually viewed together, from bills of exchange and bank checks, to realist novels and Romantic poems, to economic theory and financial journalism. Taking up all early forms of financial and monetarywriting, Poovey argues that these genres mediated for early modern Britons the operations of a market system organized around credit and debt. By arguing that genre is a critical tool for historical and theoretical analysis and an agent in the events that formed the modern world, Poovey offers a new way to appreciate the character of the credit economy and demonstrates the contribution historians and literary scholars can make to understanding its operations. Much more than an exploration of writing on and around money, Genres of the Credit Economy offers startling insights about the evolution of disciplines and the separation of factual and fictional genres.

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Build Knowledge of Genres This Standards-based content Grades 4-5, ready-made center challenges students to read a text passage and determine its genre(s). They can flip over the genre cards for guidance matching each genre to a piece of text. The student lays the genre cards by the text cards they best describe and then records the titles, genres, and reasons on the worksheets. Students practice assigning meaning to genre terminology and discover that some of the reading passages fit more than one genre. All material including task/instruction card is in Spanish. The guide is in English. REINFORCE SKILLS: Practice fun activities while learning necessary skills; INDEPENDENT PRACTICE: Children can easily complete and interact with these materials independently; TEACHING GUIDE INCLUDED: a Really Good Instructional Guide is included to cover activities and supporting reproducibles in English; TARGETED SKILLS: Boost the same key skills children are learning in the classroom; GRAB AND GO contents neatly packaged in this convenient snap closured bag to learn anywhere or on the go; 10 double-sided genre cards * Size: 5" by 4" each * 8 text cards * Size: 8" by 5" each * 1 pad of 30 worksheets * Size: 8" by 11" each * 1 laminated task card * Size: 9" by 6" * Really Good Instructional Guide * 1 hanging plastic bag * Size: 11" by 13" 166981 Centro de Aprendizaje: Gneros y Razones ( Literacy Center: Genres and Reasons) 166981 Centro de Aprendizaje: Gneros y Razones ( Literacy Center: Genres and Reasons)

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This second edition of John Frow’s Genre offers a comprehensive and accessible introduction to the area. Genre is a key means by which we categorize the many forms of literature and culture, but it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores: the relation of simple to complex genres the history of literary genre in theory the generic organisation of implied meanings the structuring of interpretation by genre the uses of genre in teaching. John Frow’s lucid exploration of this fascinating concept has become essential reading for students of literary and cultural studies, and the second edition expands on the original to take account of recent debates in genre theory and the emergence of digital genres.

A comprehensive reference text that examines how the three aspects of language (genre, text and grammar) can be used as resources in teaching and assessing writing. It provides an accessible account of current theories of language and language learning, together with practical ideas for teaching and assessing the genres and grammar of writing across the curriculum.

The popularity of the motion picture soundtrack O Brother, Where Art Thou? brought an extraordinary amount of attention to bluegrass, but it also drew its share of criticism from some aficionados who felt the album’s inclusion of more modern tracks misrepresented the genre. This soundtrack, these purists argued, wasn’t bluegrass, but “roots music,” a new and, indeed, more overarching category concocted by journalists and marketers. Why is it that popular music genres like these and others are so passionately contested? And how is it that these genres emerge, coalesce, change, and die out? In Genre in Popular Music, Fabian Holt provides new understanding as to why we debate music categories, and why those terms are unstable and always shifting. To tackle the full complexity of genres in popular music, Holt embarks on a wide-ranging and ambitious collection of case studies. Here he examines not only the different reactions to O Brother, but also the impact of rock and roll’s explosion in the 1950s and 1960s on country music and jazz, and how the jazz and indie music scenes in Chicago have intermingled to expand the borders of their respective genres. Throughout, Holt finds that genres are an integral part of musical culture—fundamental both to musical practice and experience and to the social organization of musical life.

The series Beihefte zur Zeitschrift für die neutestamentliche Wissenschaft (BZNW) is one of the oldest and most highly regarded international scholarly book series in the field of New Testament studies. Since 1923 it has been a forum for seminal works focusing on Early Christianity and related fields. The series is grounded in a historical-critical approach and also explores new methodological approaches that advance our understanding of the New Testament and its world.

Unread book in perfect condition.

It's simple: films need to have commercial value for the studios to produce them, distributors to sell them, and theater chains to screen them. While talent definitely plays a part in the writing process, it can be the well-executed formulaic approaches to the popular genres that will first get you noticed in the industry. Genre Screenwriting: How to Write Popular Screenplays That Sell does not attempt to probe in the deepest psyche of screenwriters and directors of famous or seminal films, nor does it attempt to analyze the deep theoretic machinations of films. Duncan's simple goal is to give the reader, the screenwriter, a practical guide to writing each popular film genre. Employing methods as diverse as using fairy tales to illustrate the 'how to' process for each popular genre, and discussing these popular genres in modern television and its relation to its big screen counterpart, Duncan provides a one-stop shop for novices and professionals alike.

In recent years the concept of 'register' has been increasingly replaced by emphasis on the analysis of genre, which relates work in sociolinguistics, text linguistics and discourse analysis to the study of specialist areas of language. This book is a clear, authoritative guide to this complex area. He provides a survey of approaches to varieties of language, and considers these in relation to communication and task-based language learning. Swales outlines an approach to the analysis of genre, and then proceeds to consider examples of different genres and how they can be made accessible through genre analysis. This is important reading for all those working in teaching English for academic purposes and also of interest to those working in post-secondary writing and composition due to relevant issues in writing across the curriculum.

Genre and Hollywood provides a comprehensive introduction to the study of genre. In this important new book, Steve Neale discusses all the major concepts, theories and accounts of Hollywood and genre, as well as the key genres which theorists have written about, from horror to the Western. He also puts forward new arguments about the importance of genre in understanding Hollywood cinema.Neale takes issue with much genre criticism and genre theory, which has provided only a partial and misleading account of Hollywood's output. He calls for broader and more flexible conceptions of genre and genres, for more attention to be paid to the discourses and practices of Hollywood itself, for the nature and range of Hollywood's films to be looked at in more detail, and for any assessment of the social and cultural significance of Hollywood's genres to take account of industrial factors.In detailed, revisionist accounts of two major genres - film noir and melodrama - Neale argues that genre remains an important and productive means of thinking about both New and old Hollywood, its history, its audiences and its films.

For the first time, the major theoretical and pedagogical approaches to genre and related issues of social construction are presented in a single volume, providing an overview of the state of the art for practitioners in applied linguistics, ESL/EFL pedagogies, rhetoric, and composition studies around the world. Unlike volumes that present one theoretical stance, this book attempts to give equal time to all theoretical and pedagogical camps. Included are chapters by authors from the Sydney School, the New Rhetoric, and English for Specific Purposes, as well as contributions from other practitioners who pose questions that cross theoretical lines. Genre in the Classroom: *includes all of the major theoretical views of genre that influence pedagogical practice; *takes an international approach, drawing from all parts of the world in which genre theory has been applied in the classroom--Australia, Canada, Hong Kong, the Middle East, the United States; *features contributors who are all both theorists and classroom practitioners, lending credibility and authenticity to the arguments; *combines theory and practice in every chapter, showing how particular theoretical views influence classroom practice; *grounds pedagogical practices in their own regional and theoretical histories; *openly discusses problems and questions that genre theory raises and presents some of the solutions suggested; and *offers a concluding chapter that argues for two macro-genres, and with responses to this argument by noted genre theorists from three theoretical camps.

Acceptable/Fair condition. Book is worn, but the pages are complete, and the text is legible. Has wear to binding and pages, may be ex-library. 0.95

For the first time, the major theoretical and pedagogical approaches to genre and related issues of social construction are presented in a single volume, providing an overview of the state of the art for practitioners in applied linguistics, ESL/EFL pedagogies, rhetoric, and composition studies around the world. Unlike volumes that present one theoretical stance, this book attempts to give equal time to all theoretical and pedagogical camps. Included are chapters by authors from the Sydney School, the New Rhetoric, and English for Specific Purposes, as well as contributions from other practitioners who pose questions that cross theoretical lines. Genre in the Classroom: *includes all of the major theoretical views of genre that influence pedagogical practice; *takes an international approach, drawing from all parts of the world in which genre theory has been applied in the classroom--Australia, Canada, Hong Kong, the Middle East, the United States; *features contributors who are all both theorists and classroom practitioners, lending credibility and authenticity to the arguments; *combines theory and practice in every chapter, showing how particular theoretical views influence classroom practice; *grounds pedagogical practices in their own regional and theoretical histories; *openly discusses problems and questions that genre theory raises and presents some of the solutions suggested; and *offers a concluding chapter that argues for two macro-genres, and with responses to this argument by noted genre theorists from three theoretical camps.

The series Beihefte zur Zeitschrift für die neutestamentliche Wissenschaft (BZNW) is one of the oldest and most highly regarded international scholarly book series in the field of New Testament studies. Since 1923 it has been a forum for seminal works focusing on Early Christianity and related fields. The series is grounded in a historical-critical approach and also explores new methodological approaches that advance our understanding of the New Testament and its world.

James reflects both features of Hellenistic paraenesis and wisdom instruction, but its contents owe more to the latter. The work can be seen as a "countercultural" wisdom instruction containing various aphorisms, aiming to challenge the hearers' worldview and to reorient them to the values acceptable to God. The concern of perfection comes at the prologue and the epilogue, which forms the framework from which James is to be understood. The units 2:8-13, 3:13-18, and 4:11-12, which link the seemingly unrelated adjacent sections together, reflect similar arguments. The perfect law of liberty and the wisdom from above, and ultimately God the Lawgiver and the Judge, are the yardsticks by which one's speech and actions have to be measured and judged (1:19-25). The preeminent concern of our author is the importance of the perfect law with its fulfillment bringing about perfection, freeing one from the power of evil desire.