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If there is such a thing as essential reading in metaphysics or in philosophy of language, this is it. Ever since the publication of its original version, Naming and Necessity has had great and increasing influence. It redirected philosophical attention to neglected questions of natural and metaphysical necessity and to the connections between these and theories of reference, in particular of naming, and of identity. From a critique of the dominant tendency to assimilate names to descriptions and more generally to treat their reference as a function of their Fregean sense, surprisingly deep and widespread consequences may be drawn. The largely discredited distinction between accidental and essential properties, both of individual things (including people) and of kinds of things, is revived. So is a consequent view of science as what seeks out the essences of natural kinds. Traditional objections to such views are dealt with by sharpening distinctions between epistemic and metaphysical necessity; in particular by the startling admission of necessary a posteriori truths. From these, in particular from identity statements using rigid designators whether of things or of kinds, further remarkable consequences are drawn for the natures of things, of people, and of kinds; strong objections follow, for example to identity versions of materialism as a theory of the mind. This seminal work, to which today's thriving essentialist metaphysics largely owes its impetus, is here published with a substantial new Preface by the author.

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Naming What We Know examines the core principles of knowledge in the discipline of writing studies using the lens of “threshold concepts”—concepts that are critical for epistemological participation in a discipline. The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action. Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.

Naming What We Know, Classroom Edition examines the core principles of knowledge in the discipline of writing studies, using the lens of “threshold concepts”—concepts that are critical for epistemological participation in a discipline. This edition focuses on the working definitions of thirty-seven threshold concepts that run throughout the research, teaching, assessment, and public work in writing studies. Developed from the highly regarded original edition in response to grassroots demand from teachers in writing programs around the United States and written by some of the field’s most active researchers and teachers, the classroom edition is clear and accessible for an audience of even first-year writing students.

Unabashedly explores the McCarthy-era Hollywood blacklisting from the perspective of the informers and cooperators, relying on oral history, interviews, and research to answer the question why they succumbed to pressure

It is not a lack of training in the art of rhetoric that accounts for the ineffectiveness of preaching within Christian churches. More significant is the lack of adequate theological foundations. While recognizing the great contribution that neo-orthodoxy and the "dialectical imagination" have made, Hilkert's major contribution is a scholarly examination of the resources of the "sacramental imagination."This examinations shifts the focus from the divine-human gap and the sinfulness of humanity to the grace discovered in everyday life, and the word entrusted to the entire community of faith. With particular attention to what constitutes "women's experience," the final chapters engage the issue of how social location shapes the experience of both hearers and preachers of the word.

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If there is such a thing as essential reading in metaphysics or in philosophy of language, this is it. Ever since the publication of its original version, Naming and Necessity has had great and increasing influence. It redirected philosophical attention to neglected questions of natural and metaphysical necessity and to the connections between these and theories of reference, in particular of naming, and of identity. From a critique of the dominant tendency to assimilate names to descriptions and more generally to treat their reference as a function of their Fregean sense, surprisingly deep and widespread consequences may be drawn. The largely discredited distinction between accidental and essential properties, both of individual things (including people) and of kinds of things, is revived. So is a consequent view of science as what seeks out the essences of natural kinds. Traditional objections to such views are dealt with by sharpening distinctions between epistemic and metaphysical necessity; in particular by the startling admission of necessary a posteriori truths. From these, in particular from identity statements using rigid designators whether of things or of kinds, further remarkable consequences are drawn for the natures of things, of people, and of kinds; strong objections follow, for example to identity versions of materialism as a theory of the mind. This seminal work, to which today's thriving essentialist metaphysics largely owes its impetus, is here published with a substantial new Preface by the author.

Naming the Gods: Cy Twombly's Passionate Poiesis concerns itself with the contemporary art work of Cy Twombly as seen against the deep background of classical Greek mythology. In particular, the two entwined figures and images of Orpheus, lyre player, lover and journeyer to the underworld, and Dionysos/Bacchus, god of wine, ecstasy and madness, are taken up as the two principal thematic leitmotifs which animate and overarchingly inform Twombly's entire artistic oeuvre across all the mediums in which he worked, both literally and symbolically, from the early 1950's until the last series of brilliantly colored paintings he made just before his death in 2011. His preoccupations with the rhythms of language, poetry and writing on the one hand, and his tendencies towards wildly expressive gestural abstraction on the other, ultimately combine in his creation of a genuinely new and original performative aesthetic which unites and connects the powerful impulses of mark-making, painting and assembling with the basic human needs for individuation, realization and redemption.In a long and rich tradition of sublime poiesis spanning ancient Greek tragedy, through Romanticism, the poets Friedrich Hölderlin and Rainer Maria Rilke, and into our own fragmented and imperiled postmodernist times, Twombly's artistic corpus is viewed as providing a radically renovative relationship and practice for honoring, working with and valorizing both psyche and matter, the inner and outer worlds, as well as with delimiting a uniquely germinative and seminal space for the further enactment of creative human 'doing, ' 'making, ' 'pro-ducing, ' and 'being, ' in reciprocal and intimate relationship with the otherness of 'things, ' nature and the environment.

Intelligence, motivation, personality, learning, stimulation, behaviour and attitude are just some of the categories that map the terrain of 'psychological reality'. These are the concepts which, among others, underpin theoretical and empirical work in modern psychology - and yet these concepts have only recently taken on their contemporary meanings. In this fascinating work, Kurt Danziger goes beyond the taken-for-granted quality of psychological language to offer a profound and broad-ranging analysis of the recent evolution of the concepts and categories on which it depends. He explores this process and shows how its consequences depend on cultural contexts and the history of an emergent discipline. Danziger's internationally acclaimed Constructing the Subject examined the historical dependence of modern psychology on the social practices of psychological investigation. In Naming the Mind, he develops a complementary account that looks at the historically changing structure of psychological discourse. Naming the Mind is an elegant and persuasive explanation of how modern psychology found its language. It will be invaluable reading for students and academics throughout psychology, and for anyone with an interest in the history of the human sciences.

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Naming the Gods: Cy Twombly's Passionate Poiesis concerns itself with the contemporary art work of Cy Twombly as seen against the deep background of classical Greek mythology. In particular, the two entwined figures and images of Orpheus, lyre player, lover and journeyer to the underworld, and Dionysos/Bacchus, god of wine, ecstasy and madness, are taken up as the two principal thematic leitmotifs which animate and overarchingly inform Twombly's entire artistic oeuvre across all the mediums in which he worked, both literally and symbolically, from the early 1950's until the last series of brilliantly colored paintings he made just before his death in 2011. His preoccupations with the rhythms of language, poetry and writing on the one hand, and his tendencies towards wildly expressive gestural abstraction on the other, ultimately combine in his creation of a genuinely new and original performative aesthetic which unites and connects the powerful impulses of mark-making, painting and assembling with the basic human needs for individuation, realization and redemption.In a long and rich tradition of sublime poiesis spanning ancient Greek tragedy, through Romanticism, the poets Friedrich Hölderlin and Rainer Maria Rilke, and into our own fragmented and imperiled postmodernist times, Twombly's artistic corpus is viewed as providing a radically renovative relationship and practice for honoring, working with and valorizing both psyche and matter, the inner and outer worlds, as well as with delimiting a uniquely germinative and seminal space for the further enactment of creative human 'doing, ' 'making, ' 'pro-ducing, ' and 'being, ' in reciprocal and intimate relationship with the otherness of 'things, ' nature and the environment.

History is historically replete with enduring endemic mysteries. For decades both professional and avocational historians dealing with California's often patch-work history have wondered, puzzled, opined and even contentiously disputed how, when, and even why Laguna Beach was called "Laguna Beach."As Ms. Janz so clearly documents in "Naming Laguna Beach" the answer to this curious tea-pot tempest may now be put to rest. Laguna Beach's naming was, literally, ..".in the mail."From a local multi-generational nineteenth-century Laguna family who served among the little town's pioneer postmasters, Ms. Janz grew up hearing all the stories and theories.Digging into her antecedent's personal lives, recollections and preserved period documentation, Ms. Janz presents indisputable foundational sources, including postmarked period envelopes, official U.S. Postal Service communications, period newspaper articles and advertisements, all of which graphically illustrates the series of often seemingly whimsical Postal Service policy changes, bureaucratic bungles, simple misspellings, and Catch-22 ineptitudes that form the warp and woof of California's amazing history.Thankfully Ms. Janz has made the historical effort to straighten things out, "post-haste."

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The leaders of the free world descend on Scotland for an international conference, and every cop in the country is needed for front-line duty...except one. John Rebus's reputation precedes him, and his bosses don't want him anywhere near Presidents Bush and Putin, which explains why he's manning an abandoned police station when a call comes in. During a preconference dinner at Edinburgh Castle, a delegate has fallen to his death. Accident, suicide, or something altogether more sinister? And is it linked to a grisly find close to the site of the gathering? Are the world's most powerful men at risk from a killer? While the government and secret services attempt to hush the whole thing up, Rebus knows he has only seventy-two hours to find the answers.

One of Ireland's best-loved novelists returns with a haunting novella of love, loss and memoryFlora's father has been killed in the Battle of El Alamein, one of the many victims of the Second World War. For Flora and her mother, life will never be the same again.Now, it's just Flora - and Nellie, the family's life-long housekeeper - left; to reminisce in old age, and what really happened between Flora and her brother, Eddie, at the end of that long Irish summer.Appearing now with Jennifer Johnston's classic novel, TWO MOONSIn a house overlooking Dublin Bay, Mimi and her daughter Grace are disturbed by the unexpected arrival of Grace's daughter and her boyfriend. While Grace's visitors focus her attention on an uncertain future, Mimi must begin to set herself to rights with the betrayals and disappointments of the past.

The leaders of the free world descend on Scotland for an international conference, and every cop in the country is needed for front-line duty...except one. John Rebus's reputation precedes him, and his bosses don't want him anywhere near Presidents Bush and Putin, which explains why he's manning an abandoned police station when a call comes in. During a preconference dinner at Edinburgh Castle, a delegate has fallen to his death. Accident, suicide, or something altogether more sinister? And is it linked to a grisly find close to the site of the gathering? Are the world's most powerful men at risk from a killer? While the government and secret services attempt to hush the whole thing up, Rebus knows he has only seventy-two hours to find the answers.

Harnessing the power of poetry, Nancie Atwell's "Naming the World: A Year of Poems and Lessons" empowers adolescents to make sense of their personal place in the world while honing their critical reading and writing skills. "Naming the World"'s 200+ poems and accompanying five-to-ten-minute lessons are used by Nancie every day to jumpstart her reading and writing workshops. Poetry is the foundation upon which her students build excellences as writers in every genre. This is your chance to make the first few minutes of your Language Arts class really count! The 200+ Poems: are compiled from contemporary poets were nominated by Nancie's students as their favorites speak to adolescent interests and issues include poems by Nancie's kids to teach and inspire yours. The 150 Lessons: are used daily by Nancie to jumpstart her reading-writing workshop apply a range of interactive and independent learning strategies present the language Nancie uses with her students.