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This book offers education practitioners insights that will enable them to improve their professional practices in relation to the conceptualisation, design, implementation, assessment and evaluation of approaches to e-learning. The authors pay attention to the perspectives of both teachers and learners when exploring key questions including: How do online technologies affect pedagogy? How can online technologies best support learning? Key Issues in e-Learning avoids simplistic conceptualisations of online teaching and learning. Instead, this text draws on a wide range empirical, conceptual and theoretical evidence and outlines practical approaches to improving practice and research.

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Don DeLillo, author of twelve novels and winner of the National Book Award, the PEN/Faulkner Award, the William Dean Howells Medal, and the Jerusalem Prize, has begun to rival Thomas Pynchon as the definitive postmodern novelist. Always thought-provoking and occasionally controversial, DeLillo has become the voice of the bimillennial moment.Charting DeLillo's emergence as a contemporary novelist of major stature, David Cowart discusses each of DeLillo's twelve novels, including his most recent work, The Body Artist (2001). Rejecting the idea that DeLillo lacks affinities across the cultural spectrum, Cowart argues that DeLillo's work invites comparison with that of wide range of antecedents, including Dunbar, Whitman, Wittgenstein, Heidegger, Freud, Lacan, Derrida, Hemingway, Joyce, Rilke, and Eliot. At the same time, Cowart explores the ways in which DeLillo's art anticipates, parallels, and contests ideas that have become the common currency of poststructuralist theory. The major site of DeLillo's engagement with postmodernism, Cowart argues, is language, which DeLillo represents as more mysterious--numinous even--than current theory allows. For DeLillo, language remains what Cowart calls "the ground of all making."Don DeLillo: The Physics of Language is a provocative investigation of the most compelling issues of contemporary fiction.

Don DeLillo, author of twelve novels and winner of the National Book Award, the PEN/Faulkner Award, the William Dean Howells Medal, and the Jerusalem Prize, has begun to rival Thomas Pynchon as the definitive postmodern novelist. Always thought-provoking and occasionally controversial, DeLillo has become the voice of the bimillennial moment.Charting DeLillo's emergence as a contemporary novelist of major stature, David Cowart discusses each of DeLillo's twelve novels, including his most recent work, The Body Artist (2001). Rejecting the idea that DeLillo lacks affinities across the cultural spectrum, Cowart argues that DeLillo's work invites comparison with that of wide range of antecedents, including Dunbar, Whitman, Wittgenstein, Heidegger, Freud, Lacan, Derrida, Hemingway, Joyce, Rilke, and Eliot. At the same time, Cowart explores the ways in which DeLillo's art anticipates, parallels, and contests ideas that have become the common currency of poststructuralist theory. The major site of DeLillo's engagement with postmodernism, Cowart argues, is language, which DeLillo represents as more mysterious―numinous even―than current theory allows. For DeLillo, language remains what Cowart calls "the ground of all making."Don DeLillo: The Physics of Language is a provocative investigation of the most compelling issues of contemporary fiction.

A critical overview of the work features the writings of Tom LeClair, Paul A. Cantor, Leonard Wilcox, Mark Conroy, and other scholars.

A critical examination of "White Noise" by Don Delillo, this title forms part of a series that aims to provide accessible and informative introductions to some of the most popular, most acclaimed and most influential novels of recent years. A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to give a thorough and readable analysis of each of the novels in question.The books in the series all follow the same five-part structure: a short biography of the novelist; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received when it was first published; a summary of the novel's standing today, including any film or television adaptations; and a helpful list of discussion questions, suggestions for further reading, and useful websites.

Don DeLillo, author of twelve novels and winner of the National Book Award, the PEN/Faulkner Award, the William Dean Howells Medal, and the Jerusalem Prize, has begun to rival Thomas Pynchon as the definitive postmodern novelist. Always thought-provoking and occasionally controversial, DeLillo has become the voice of the bimillennial moment.Charting DeLillo's emergence as a contemporary novelist of major stature, David Cowart discusses each of DeLillo's twelve novels, including his most recent work, The Body Artist (2001). Rejecting the idea that DeLillo lacks affinities across the cultural spectrum, Cowart argues that DeLillo's work invites comparison with that of wide range of antecedents, including Dunbar, Whitman, Wittgenstein, Heidegger, Freud, Lacan, Derrida, Hemingway, Joyce, Rilke, and Eliot. At the same time, Cowart explores the ways in which DeLillo's art anticipates, parallels, and contests ideas that have become the common currency of poststructuralist theory. The major site of DeLillo's engagement with postmodernism, Cowart argues, is language, which DeLillo represents as more mysterious―numinous even―than current theory allows. For DeLillo, language remains what Cowart calls "the ground of all making."Don DeLillo: The Physics of Language is a provocative investigation of the most compelling issues of contemporary fiction.

Don DeLillo, author of twelve novels and winner of the National Book Award, the PEN/Faulkner Award, the William Dean Howells Medal, and the Jerusalem Prize, has begun to rival Thomas Pynchon as the definitive postmodern novelist. Always thought-provoking and occasionally controversial, DeLillo has become the voice of the bimillennial moment.Charting DeLillo's emergence as a contemporary novelist of major stature, David Cowart discusses each of DeLillo's twelve novels, including his most recent work, The Body Artist (2001). Rejecting the idea that DeLillo lacks affinities across the cultural spectrum, Cowart argues that DeLillo's work invites comparison with that of wide range of antecedents, including Dunbar, Whitman, Wittgenstein, Heidegger, Freud, Lacan, Derrida, Hemingway, Joyce, Rilke, and Eliot. At the same time, Cowart explores the ways in which DeLillo's art anticipates, parallels, and contests ideas that have become the common currency of poststructuralist theory. The major site of DeLillo's engagement with postmodernism, Cowart argues, is language, which DeLillo represents as more mysterious--numinous even--than current theory allows. For DeLillo, language remains what Cowart calls "the ground of all making."Don DeLillo: The Physics of Language is a provocative investigation of the most compelling issues of contemporary fiction.

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"In The Loop" is the first study of Don DeLillo, one of America's most importatnt novelists. While providing an overview of DeLillo's career and a book-by-book analysis of his eight novels, Tom LeClair constructs (and placess DeLillo's fiction within) a new critical category - the systems novel. Like other "systems novelists" - William Gaddis, Thomas Pynchon, and Robert Coover - DeLillo employs the new scientific paradigm of "systems theory" as a basis for his novelistic analyses of human survival in various spheres, from the nuclear family to that encompassing reciprocal loop, the ecosystem, that is DeLillo's fundamental model of value.

In novel after award-winning novel, Don DeLillo (b. 1936) exhibits his deep distrust of language and the way it can conceal as much as it reveals. Not surprisingly, DeLillo treats interviews with the same care and caution. For years, he shunned them altogether. As his fiction grew in popularity, especially with White Noise, and he began to confront the historical record of our times in books such as Libra, DeLillo felt compelled to make himself available to his readers. Despite claims by interviewers about his elusiveness, he now hides in plain sight. In Conversations with Don DeLillo, the renowned author makes clear his distinctions between historical fact and his own creative leaps, especially in his masterwork, Underworld. There it seems the true events are unbelievable and imaginary ones not. Throughout long profiles and conversations-ranging from 1982 to 2001 and published in the New Yorker, the Paris Review, and Rolling Stone-DeLillo parries personal inquiries. He counters with the details of his work habits, his understanding of the novelist's role in the world, and his sense of our media-saturated culture. A number of interviews detail DeLillo's less-heralded work in the theater, from The Day Room to a recent production of Valparaiso, itself a stinging satire on the interviewing process. DeLillo also finds time to comment on his nonliterary passions, primarily the movies and baseball. Lee Harvey Oswald also inspires much extra-literary discussion, not just as the subject of Libra, but as a figure who, like the terrorists always lurking in DeLillo's fictions, captures our attention in ways novelists cannot. For DeLillo, a writer who eschews celebrity, the ultimate response might be the one he offered in his very first interview, paraphrasing Joyce: "Silence, exile, cunning, and so on. It's my nature to keep quiet about most things." Fortunately for his many readers and fans, he proves himself here to be a talker.

In novel after award-winning novel, Don DeLillo (b. 1936) exhibits his deep distrust of language and the way it can conceal as much as it reveals. Not surprisingly, DeLillo treats interviews with the same care and caution. For years, he shunned them altogether. As his fiction grew in popularity, especially with White Noise, and he began to confront the historical record of our times in books such as Libra, DeLillo felt compelled to make himself available to his readers. Despite claims by interviewers about his elusiveness, he now hides in plain sight. In Conversations with Don DeLillo, the renowned author makes clear his distinctions between historical fact and his own creative leaps, especially in his masterwork, Underworld. There it seems the true events are unbelievable and imaginary ones not. Throughout long profiles and conversations-ranging from 1982 to 2001 and published in the New Yorker, the Paris Review, and Rolling Stone-DeLillo parries personal inquiries. He counters with the details of his work habits, his understanding of the novelist's role in the world, and his sense of our media-saturated culture. A number of interviews detail DeLillo's less-heralded work in the theater, from The Day Room to a recent production of Valparaiso, itself a stinging satire on the interviewing process. DeLillo also finds time to comment on his nonliterary passions, primarily the movies and baseball. Lee Harvey Oswald also inspires much extra-literary discussion, not just as the subject of Libra, but as a figure who, like the terrorists always lurking in DeLillo's fictions, captures our attention in ways novelists cannot. For DeLillo, a writer who eschews celebrity, the ultimate response might be the one he offered in his very first interview, paraphrasing Joyce: "Silence, exile, cunning, and so on. It's my nature to keep quiet about most things." Fortunately for his many readers and fans, he proves himself here to be a talker.

With the publication of his seminal novel White Noise, Don DeLillo was elevated into the pantheon of great American writers. His novels are admired and studied for their narrative technique, political themes, and their prophetic commentary on the cultural crises affecting contemporary America. In an age dominated by the image, DeLillo's fiction encourages the reader to think historically about such matters as the Cold War, the assassination of President Kennedy, threats to the environment, and terrorism. This Companion charts the shape of DeLillo's career, his relation to twentieth-century aesthetics, and his major themes. It also provides in-depth assessments of his best-known novels, White Noise, Libra, and Underworld, which have become required reading not only for students of American literature, but for all interested in the history and the future of American culture.

The late Tony Tanner was one of the most distinctive and distinguished critical voices on American literature. With a foreword by Edward Said and an introduction by Ian Bell, which place Tanner's work in the larger context of critical approaches to American literature and culture, this book brings together Tanner's essays on a wide range of key American authors. Exploring writers as diverse as Melville, Emerson, Henry James, DeLillo and Pynchon, it offers an introduction to the major figures and themes in nineteenth and twentieth century American literature.

Nobody's Home is a bold view of the American novel from its beginnings to the contemporary scene. Focusing on some of the deepest instincts of American life and culture--individual liberty, freedom of speech, constructing a life--Arnold Weinstein brilliantly sketches the remarkable career of the American self in some of the major works of the past one hundred fifty years. Weinstein contends that American writers are haunted by the twin specters of the self as a mirage, as Nobody, and by the brutal forces of culture and ideology that deny selfhood to people on the basis of money, sex, and color of skin. His central thesis is that language makes possible freedoms and accomplishments that are achievable in no other realm, and that American fiction is a fascinating record of the human fight against coercion, of the kinds of maneuvering room that we may find in life and in art. This study is unique in several respects: it offers some of the keenest readings of major American texts that have ever been written, including some of the most significant works of the past decades, and it fashions a rich and supple view of the American novel as a writerly form of freedom, in sharp contrast to today's critical emphasis on blindness and co-option.

Nobody's Home is a bold view of the American novel from its beginnings to the contemporary scene. Focusing on some of the deepest instincts of American life and culture--individual liberty, freedom of speech, constructing a life--Arnold Weinstein brilliantly sketches the remarkable career of the American self in some of the major works of the past one hundred fifty years. Weinstein contends that American writers are haunted by the twin specters of the self as a mirage, as Nobody, and by the brutal forces of culture and ideology that deny selfhood to people on the basis of money, sex, and color of skin. His central thesis is that language makes possible freedoms and accomplishments that are achievable in no other realm, and that American fiction is a fascinating record of the human fight against coercion, of the kinds of maneuvering room that we may find in life and in art. This study is unique in several respects: it offers some of the keenest readings of major American texts that have ever been written, including some of the most significant works of the past decades, and it fashions a rich and supple view of the American novel as a writerly form of freedom, in sharp contrast to today's critical emphasis on blindness and co-option.

In his ninth novel, DeLillo (White Noise) gives the American psyche what it has been awaiting for 25 years--an eerily convincing fictional speculation on the events leading up to the assassination of John F. Kennedy.

"The Day Room", Don DeLillo's first play, is a black comedy that explores the chaos caused when the onlooker is unsure of the status of a team of medics in a psychiatric unit. Are they really bona fide staff or patients just pretending to be?

The classic collaboration from the internationally bestselling authors Neil Gaiman and Terry Pratchett, now a Prime original series starring Michael Sheen and David Tennant."Good Omens . . . is something like what would have happened if Thomas Pynchon, Tom Robbins and Don DeLillo had collaborated. Lots of literary inventiveness in the plotting and chunks of very good writing and characterization. It’s a wow. It would make one hell of a movie. Or a heavenly one. Take your pick."—Washington PostAccording to The Nice and Accurate Prophecies of Agnes Nutter, Witch (the world's only completely accurate book of prophecies, written in 1655, before she exploded), the world will end on a Saturday. Next Saturday, in fact. Just before dinner.So the armies of Good and Evil are amassing, Atlantis is rising, frogs are falling, tempers are flaring. Everything appears to be going according to Divine Plan. Except a somewhat fussy angel and a fast-living demon—both of whom have lived amongst Earth's mortals since The Beginning and have grown rather fond of the lifestyle—are not actually looking forward to the coming Rapture.And someone seems to have misplaced the Antichrist . . .