A SCHOLARLY BOOK REPOSITORY31 have author last names that start with Z have author last names that start with Z
"Frank C. Zagare combines a deep command of historical scholarship and the sophisticated skills of an applied game theorist to develop and test a theory of why deterrence failed, catastrophically, in July 1914. . . . Zagare concludes with sage advice on how to avoid even more cataclysmic breakdowns in a nuclear world."
---Steven J. Brams, New York University
"Zagare's deft study of the origins of the First World War using his perfect deterrence theory uncovers new insights into that signal event and shows the value of formal theory applied to historical events. A must-read for those interested in security studies."
---James D. Morrow, University of Michigan
"Through an exemplary combination of formal theory, careful qualitative analysis, and lucid prose, The Games of July delivers important and interesting answers to key questions concerning the international political causes of World War I. Its well-formed narratives and its sustained engagement with leading works in IR and diplomatic history . . . make it a rewarding read for security scholars in general and a useful teaching tool for international security courses."
---Timothy W. Crawford, Boston College
Taking advantage of recent advances in game theory and the latest historiography, Frank C. Zagare offers a new, provocative interpretation of the events that led to the outbreak of World War I. He analyzes key events from Bismarck's surprising decision in 1879 to enter into a strategic alliance with Austria-Hungary to the escalation that culminated in a full-scale global war. Zagare concludes that, while the war was most certainly unintended, it was in no sense accidental or inevitable.
The Games of July serves not only as an analytical narrative but also as a work of theoretical assessment. Standard realist and liberal explanations of the Great War are evaluated along with a collection of game-theoretic models known as perfect deterrence theory.
Frank C. Zagare is UB Distinguished Professor of Political Science at the State University of New York at Buffalo.
Cover illustration: Satirical Italian postcard from World War I. Used with permission from The University of North Carolina at Chapel Hill Libraries.
"In Albin J. Zak III's highly original study, phonograph records are not just the medium for disseminating songs but musical works unto themselves. Fashioned from a mix of copyright law, recording studios and techniques, the talent of musicians and disc jockeys, the ingenuity and avarice of producers, and the appetites of record buyers, the all-powerful marketplace Zak describes is an unruly zone where music of, by, and for the people is made and anointed."
---Richard Crawford, author of America's Musical Life: A History
"Wrestling clarity from the exuberant chaos of early rock 'n' roll, Albin Zak's I Don't Sound Like Nobody redefines our understanding of the record in the shaping of the post–World War II soundscape. Zak tracks the story which extends from Bing Crosby and Frank Sinatra through Elvis and Buddy Holly to the Beatles and Bob Dylan with excursions into dozens of lesser known, but crucial, players in a game with few established rules. A crucial addition to the bookshelf."
---Craig Werner, author of A Change Is Gonna Come: Music, Race & the Soul of America
"I Don't Sound Like Nobody is a superb account of the transformation of American popular music in the 1950s. Albin Zak insightfully explores what recording actually means in terms of the process of making and consuming music. His discussion of the legal, aesthetic, and industrial ramifications of changes in the recording process over the course of the 1950s will make popular music scholars and record collectors reconsider what they think they know about the period."
---Rob Bowman, author of Soulsville, U.S.A.: The Story of Stax Records
"Informative, original, and entertaining. Through a narrative that is not only enlightening but also compelling, I Don't Sound Like Nobody probes the sources and mechanisms of change within post-war American popular music, shedding a cultural and historical light on the convergence of musical idioms that created '50s rock and roll."
---Stan Hawkins, author of Settling the Pop Score
"From the birth of the record industry through the legacy of Presley, the development of rock and roll, and the Beatles 'stunning arrival on the world's stage,' Albin Zak takes us on a journey of exceptional scholarship. The breadth of coverage and deep examination of recordings and repertoire reveal the author's reverence and sensitivity to the many dimensions and origins of this complex musical soundscape."
---William Moylan, author of Understanding and Crafting the Mix: The Art of Recording
The 1950s marked a radical transformation in American popular music as the nation drifted away from its love affair with big band swing to embrace the unschooled and unruly new sounds of rock 'n' roll.
The sudden flood of records from the margins of the music industry left impressions on the pop soundscape that would eventually reshape long-established listening habits and expectations, as well as conventions of songwriting, performance, and recording. When Elvis Presley claimed, "I don't sound like nobody," a year before he made his first commercial record, he unwittingly articulated the era's musical Zeitgeist.
The central story line of I Don't Sound Like Nobody is change itself. The book's characters include not just performers but engineers, producers, songwriters, label owners, radio personalities, and fans---all of them key players in the decade's musical transformation.
Written in engaging, accessible prose, Albin Zak's I Don't Sound Like Nobody approaches musical and historical issues of the 1950s through the lens of recordings and fashions a compelling story of the birth of a new musical language. The book belongs on the shelf of every modern music aficionado and every scholar of rock 'n' roll.
Albin J. Zak III is Professor of Music at the University at Albany, State University of New York. He is the editor of The Velvet Underground Companion and the author of The Poetics of Rock: Cutting Tracks, Making Records, a groundbreaking study of rock music production. Zak is also a record producer, songwriter, singer, and guitarist.Jacket design by Paula Newcomb
Jacket photograph © Eve Arnold/Magnum Photos
Why do people act? Why are other people drawn to watch them? How is acting as a performing art related to role-playing outside the theater? As the first philosophical study devoted to acting, Acts: Theater, Philosophy, and the Performing Self sheds light on some of the more evasive aspects of the acting experience— such as the import of the actor's voice, the ethical unease sometimes felt while embodying particular sequences, and the meaning of inspiration. Tzachi Zamir explores acting’s relationship to everyday role-playing through a surprising range of examples of “lived acting,” including pornography, masochism, and eating disorders. By unearthing the deeper mobilizing structures that underlie dissimilar forms of staged and non-staged role-playing, Acts offers a multi-layered meditation on the percolation from acting to life.
The book engages questions of theatrical inspiration, the actor’s “energy,” the difference between acting and pretending, the special role of repetition as part of live acting, the audience and its attraction to acting, and the unique significance of the actor’s voice. It examines the embodied nature of the actor’s animation of a fiction, the breakdown of the distinction between what one acts and who one is, and the transition from what one performs into who one is, creating an interdisciplinary meditation on the relationship between life and acting.
"[Zanker] investigates altruistic behavior in the epic with professional sophistication but in a way that makes his investigation available to a wide audience from undergraduates to advanced scholars. . . . [A] very useful interpretative study." --Choice
Graham Zanker is Senior Lecturer in Classics, University of Canterbury, New Zealand.
Power and Negotiation is a unique study that addresses the concept of power and produces new findings both about the concept itself and about its applications to negotiation. It rejects both the notion of power as a resource and power as an ability. Instead, the work defines power as an act that is designed to cause the other party to move in a desired direction, thus separating the concept both from its source and from its effects and leaving it open to much more detailed analysis. At the same time, it also examines perceived power on the basis of which symmetries and asymmetries in the relations between parties can be identified. It then looks at six cases of clear asymmetry, two cases of symmetry, and one mixed situation. The book ends with a careful examination of lessons for practice and lessons for theory.
The book will appeal to students of negotiation strategy and international relations.
I. William Zartman is Jacob Blaustein Professor of International Organization and Conflict Resolution, The Johns Hopkins University. The late Jeffrey Z. Rubin was Professor of Psychology at Tufts University.
The volume's first section consists of commentaries on the texts of the concertos, including thoughts on creating a critical edition. In subsequent sections, contributors analyze the structure of the pieces and the circumstances in which they were first composed and performed. How do these works compare with other concertos of the period? Where were Mozart's contributions truly original, where conventional? What musical references did he expect his listeners to catch?
Generously illustrated with facsimiles, tables, and more than one-hundred musical examples, Mozart's Piano Concertos substantially advances our understanding of these wonderful works. Its exceptional scope--addressing everything from textual problems (what notes should be played?) to performance practice (how can we make the music sound more nearly as Mozart heard it?)--will make it invaluable to anyone who loves his piano concertos.
Contributors:
V. Kofi Agawu, Wye Jameson Allanbrook, Eva Badura-Skoda, Karol Berger, Richard Crawford, Ellwood Derr, Dexter Edge, Cliff Eisen, Martha Feldman, David Grayson, William Kinderman, Robert D. Levin, Janet M. Levy, David Rosen, Carl Schachter, Elaine Sisman, Jane R. Stevens, Alan Tyson, James Webster, Christoph Wolff, and Neal Zaslaw.
Neal Zaslaw is Professor of Music, Cornell University.
With the prevalence of disinformation geared to instill doubt rather than clarity, Creating Chaos Online unmasks disinformation when it attempts to pass as deliberation in the public sphere and distorts the democratic processes. Asta Zelenkauskaitė finds that repeated tropes justifying Russian trolling were found to circulate across not only all analyzed media platforms’ comments but also across two analyzed sociopolitical contexts suggesting the orchestrated efforts behind messaging. Through a dystopian vision of publics that are expected to navigate in the sea of uncertain both authentic and orchestrated content, pushed by human and nonhuman actors, Creating Chaos Online offers a concept of post-publics. The idea of post-publics is reflected within the continuum of treatment of public, counter public, and anti-public. This book argues that affect-instilled arguments used in public deliberation in times of uncertainty, along with whataboutism constitute a playbook for chaos online.
“The authors make some very critical interventions in this debate and scholars engaged in the environmental ‘pollution haven’ and ‘race to the bottom’ debates will need to take the arguments made here seriously, re-evaluating their own preferred theories to respond to the insightful theorizing and empirically rigorous testing that Zeng and Eastin present in the book.”
—Ronald Mitchell, University of Oregon
Ka Zeng finds answers to both of these questions in the domestic repercussions of the structure of trade between the United States and its trading partners, whether the United States has a competitive trade relationship with its trading partner, or whether trade is complementary.
This book offers practical policy prescriptions that promise to be of interest to trade policymakers and students of international trade policy.
Ka Zeng is Assistant Professor of Political Science at the University of Arkansas, Fayetteville.
Fragmenting Globalization uses multiple methods, including time series, cross-sectional analysis of the pattern of Preferential Trade Alliance formation by existing World Trade Organization members, a firm-level survey, and case studies of the pattern of corporate support for regional trade liberalization in both China and the United States. Zeng and Li show that the growing fragmentation of global production, trade, and investment is altering trade policy away from the traditional divide between export-oriented and import-competing industries.
In Greece, dance (and, by extension, the body) has historically held a central role in the process of national identity construction. When the crisis broke out, artists had to navigate through a precariously fluctuating landscape, with their bodies as their only stable referent. In Greece, dance has held a historical role in national identity construction of Greece as the cradle of Western civilization. As the financial crisis coincided with the European Refugee Crisis, dancing bodies became agents to advocate for human rights. By centering the analysis of the Greek crisis on the dancing bodies, Performing the Greek Crisis is able to examine the various ways that artists reconceptualized their history and reframed ideas of national belonging, race, citizenship, and immigration.
Rapid social economic changes, the transition from a planned economy to a market economy, or even economic liberalization can lead to political instability and the collapse of authoritarian regimes. Despite experiencing all of these unprecedented changes in the past forty years, China under the Chinese Communist Party’s leadership has so far successfully transformed and improved both its governance capacity and its ruling capacity. Governing and Ruling addresses this regime resilience puzzle by examining the political logic of its taxation system, especially the ways in which taxation helps China handle three governance problems: maneuvering social control, improving agent discipline, and eliciting cooperation. Changdong Zhang argues that a taxation system plays an important role in sustaining authoritarian rule, in China and elsewhere, by combining co-optation and repression functions. The book collects valuable firsthand and secondhand data; studies China’s taxation system, intergovernmental fiscal relationships, composition of fiscal revenue sources, and tax administration; and discusses how each dimension influences the three governance problems.
Since the beginning of the twentieth century, modern Chinese intellectuals, reformers, revolutionaries, leftist journalists, and idealistic youth had often crossed the increasing gap between the city and the countryside, which made the act of “going to the countryside” a distinctively modern experience and a continuous practice in China. Such a spatial crossing eventually culminated in the socialist state program of “down to the villages” movements during the 1960s and 1970s. What, then, was the special significance of “going to the countryside” before that era? Going to the Countryside deals with the cultural representations and practices of this practice between 1915 and 1965, focusing on individual homecoming, rural reconstruction, revolutionary journeys to Yan’an, the revolutionary “going down to the people” as well as going to the frontiers and rural hometowns for socialist construction. As part of the larger discourses of enlightenment, revolution, and socialist industrialization, “going to the countryside” entailed new ways of looking at the world and ordinary people, brought about new experiences of space and time, initiated new means of human communication and interaction, generated new forms of cultural production, revealed a fundamental epistemic shift in modern China, and ultimately created a new aesthetic, social, and political landscape.
As a critical response to the “urban turn” in the past few decades, this book brings the rural back to the central concern of Chinese cultural studies and aims to bridge the city and the countryside as two types of important geographical entities, which have often remained as disparate scholarly subjects of inquiry in the current state of China studies. Chinese modernity has been characterized by a dual process that created problems from the vast gap between the city and the countryside but simultaneously initiated constant efforts to cope with the gap personally, collectively, and institutionally. The process of “crossing” two distinct geographical spaces was often presented as continuous explorations of various ways of establishing the connectivity, interaction, and relationship of these two imagined geographical entities. Going to the Countryside argues that this new body of cultural productions did not merely turn the rural into a constantly changing representational space; most importantly, the rural has been constructed as a distinct modern experiential and aesthetic realm characterized by revolutionary changes in human conceptions and sentiments.
In Search of Admiration and Respect uses the Chinese case to underscore what Zheng calls "infrastructure of persuasion," in which American philanthropy, museums, exhibitions, and show business had disproportionate power in setting the agenda of unequal intercultural encounters. This volume also provides historical insights into China's ongoing quest for international recognition. Drawing upon diverse archival sources, Zheng expands the contours of cultural diplomacy beyond established powers and sheds light on the limited agency of peripheral nations in their self-representation.
Yu Zheng challenges the idea that democracy is the prerequisite for developing countries to attract foreign direct investment (FDI) and promote economic growth. He examines the relationship between political institutions and FDI through the use of cross-national analysis and case studies of three rapidly growing Asian economies with a focus on the role of microinstitutional “special economic zones” (SEZ).
China’s authoritarian system allows for bold, radical economic reform, but China has attracted FDI largely because of its increasingly credible investment environment as well as its central and local governments’ efforts to overcome constraints on investment. India’s democratic institutions provide more political assurance to foreign investors, but its market became conducive to FDI only when the government adopted more flexible investment policies. Taiwan’s democratic transition shifted its balance of policy credibility and flexibility, which was essential for the nation’s economic takeoff and sustained growth.
Zheng concludes that a more accurate understanding of the relationship between political institutions and FDI comes from careful analysis of institutional arrangements that entail a trade-off between credibility and flexibility of governance.
One of the most significant global events in the last forty years has been the rise of China— economically, technologically, politically, and militarily. The question on people's minds for decades has been whether China will replace the United States as a superpower in the near future. But for China, this power must be comprehensive — having strong economic and militant forces are only two pieces of the puzzle. China must also possess soft power, such as attractive ideologies, values, and culture.
China as Number One? explores China’s soft powers through the eyes of Chinese citizens. Utilizing data from the World Values Survey, the contributors to this collection analyze the potential soft power of a rising China by examining its residents' social values. A comprehensive study of changes and continuities in the political and social values of Chinese citizens, the book examines findings in the context of evolutionary modernization theory and cross-national comparison.
Zilis finds that the media tends not to quote from majority opinions. However, the greater the division over a particular ruling among the justices themselves, the greater the likelihood that the media will criticize that ruling, characterize it as "activist," and employ inflammatory rhetoric. Hethen demonstrates that the media’s portrayal of a decision, as much as the substance of the decision itself, influences citizens’ reactions to and acceptance of it.
This meticulously constructed study and its persuasively argued conclusion advance the understanding of the media, judicial politics, political institutions, and political behavior.
In a bold reconsideration of the late sixties San Francisco counterculture movement, Counterculture Kaleidoscope takes a close look at the cultural and musical practices of that era. Addressing the conventional wisdom that the movement was grounded in rebellion and opposition, the book exposes two myths: first, that the counterculture was an organized social and political movement of progressives with a shared agenda who opposed the mainstream (dubbed "hippies"); and second, that the counterculture was an innocent entity hijacked by commercialism and transformed over time into a vehicle of so-called "hip consumerism."
Seeking an alternative to the now common narrative, Nadya Zimmerman examines primary source material including music, artwork, popular literature, personal narratives, and firsthand historical accounts. She reveals that the San Francisco counterculture wasn't interested in commitments to causes and made no association with divisive issues---that it embraced everything in general and nothing in particular.
"Astute and accessible, Counterculture Kaleidoscope provides thought-provoking insights into the historical, cultural and social context of the San Francisco counter-culture and its music scene, including discussions of Vietnam and student protest, the Haight-Ashbury Diggers, the Grateful Dead, Led Zeppelin, Altamont, and Charlie Manson. A must for students and scholars of socio-musical activity and for all of us to whom music matters."
---Sheila Whiteley, author of The Space Between the Notes: Rock and the Counter-Culture and Too Much Too Young: Popular Music, Age and Gender
"The hippie counterculture has never garnered the scholarly attention accorded the new left and the black freedom struggle. Overviews of the period ritualistically mention it as part and parcel of that apparently incandescent era---the Sixties---but rarely capture its distinctiveness. Counterculture Kaleidoscope is a timely and provocative intervention in Sixties scholarship that significantly deepens our understanding of this important but understudied phenomenon."
—Alice Echols, Associate Professor, University of Southern California, and author of Scars of Sweet Paradise: The Life and Times of Janis Joplin
Edward Albee was a giant in American theater, in the same pantheon with Arthur Miller, Eugene O’Neill, and Tennessee Williams. His prolific career included three Pulitzer Prizes and the 2005 Lifetime Achievement Tony Award.
Albee continued producing major works for the theater into his eighties, including a prequel to The Zoo Story, which shocked the country when it first appeared in 1958—and his plays have seen major revivals on and off Broadway in recent years. Yet even with this resurgence of popularity, no up-to-date treatment of his plays is currently in print.
With engaging discussions of his most famous plays, such as Who’s Afraid of Virginia Woolf and Three Tall Women, as well as his lesser known works, this essential guide reveals the heart of Albee’s drama, highlighting the themes of sex, death, loneliness, and time that have occupied the playwright during his more than fifty years in the theater.
Toby Zinman is the theater critic for the Philadelphia Inquirer. She has written for numerous publications, including Variety,American Theater, and Theatre Journal. She is Professor of English at the University of the Arts, Philadelphia.
Dumb Luck is the first translation of a major work by Vu Trong Phung, arguably the greatest Vietnamese writer of the twentieth century. The novel's clever plot, richly drawn characters and humorous tone and its preoccupation with sex, fashion and capitalism will appeal to a wide audience. It will appeal to students and scholars of Vietnam, comparative literature, colonial and postcolonial studies, and Southeast Asian civilization.
Vu Trong Phung died in Hanoi, in 1939 at the age of twenty-seven. He is the author of at least eight novels, seven plays, and several other works of fiction in addition to Dumb Luck.
Peter Zinoman is Associate Professor of Southeast Asian History, University of California, Berkeley. Nguyen Nguyet Cam is Vietnamese Language Instructor, University of California, Berkeley.
When did fairy tales begin? What qualifies as a fairy tale? Is a true fairy tale oral or literary? Or is a fairy tale determined not by style but by content? To answer these and other questions, Jan M. Ziolkowski not only provides a comprehensive overview of the theoretical debates about fairy tale origins but includes an extensive discussion of the relationship of the fairy tale to both the written and oral sources. Ziolkowski offers interpretations of a sampling of the tales in order to sketch the complex connections that existed in the Middle Ages between oral folktales and their written equivalents, the variety of uses to which the writers applied the stories, and the diverse relationships between the medieval texts and the expressions of the same tales in the "classic" fairy tale collections of the nineteenth century. In so doing, Ziolkowski explores stories that survive in both versions associated with, on the one hand, such standards of the nineteenth-century fairy tale as the Brothers Grimm, Hans Christian Andersen, and Carlo Collodi and, on the other, medieval Latin, demonstrating that the literary fairy tale owes a great debt to the Latin literature of the medieval period.
Murphy is best remembered for his immense legal contributions supporting individual liberty and fighting discrimination, particularly discrimination against the most vulnerable. Despite being a loyal ally of Franklin Delano Roosevelt, when FDR ordered the removal of Japanese Americans during World War II, Supreme Court Justice Murphy condemned the policy as “racist” in a scathing dissent to the Korematsu v. United States decision—the first use of the word in a Supreme Court opinion. Every American, whether arriving by first class or in chains in the galley of a slave ship, fell under Murphy’s definition of those entitled to the full benefits of the American dream.
Justice and Faith explores Murphy’s life and times by incorporating troves of archive materials not available to previous biographers, including local newspaper records from across the country. Frank Murphy is proof that even in dark times, the United States has extraordinary resilience and an ability to produce leaders of morality and courage.
Zizek argues that Schelling's most profound thoughts are found in the series of three consecutive attempts he made to formulate the "ages of the world/Weltalter," the stages of the self-development of the Absolute. Of the three versions, claims Zizek, it is the second that is the most eloquent and definitive encompassing of Schelling's lyrical thought. It centers on the problem of how the Absolute (God) himself, in order to become actual, to exist effectively, has to accomplish a radically contingent move of acquiring material, bodily existence. Never before available in English, this version finally renders accessible one of the key texts of modern philosophy, a text that is widely debated in philosophical circles today.
The Abyss of Freedom is Zizek's own reading of Schelling based upon Lacanian psychoanalytic theory. It focuses on the notion that Lacan's theory--which claims that the symbolic universe emerged from presymbolic drives--is prefigured in Schelling's idea of logos as given birth to from the vortex of primordial drives, or from what "in God is not yet God." For Zizek, this connection is monumental, showing that Schelling's ideas forcefully presage the post-modern "deconstruction" of logocentrism.
Slavoj Zizek is not a philosopher who stoops to conquer objects but a radical voice who believes that philosophy is nothing if it is not embodied, nothing if it is only abstract. For him, true philosophy always speaks of something rather than nothing. Those interested in the genesis of contemporary thought and the fate of reason in our "age of anxiety" will find this coupling of texts not only philosophically relevant, but vitally important.
Slavoj Zizek is the author of The Sublime Object of Ideology, Tarrying with the Negative: Kant, Hegel and the Critique of Ideology, and most recently, The Indivisible Remainder: An Essay on Schelling and Related Matters. Currently he is a Senior Researcher at the Institute for Social Sciences, University of Ljubljana. Judith Norman is Assistant Professor of Philosophy at Trinity University in San Antonio, Texas.
The cases represent a range of classroom contexts: K–12 ESL/sheltered English immersion, modern foreign language, and post-secondary EAP; private, charter, and public schools; and urban and suburban settings. The book is ideally suited to College/School of Education and MA TESOL courses but will also be useful in professional development workshops for all types of language teachers.
In recent years critical studies of Bishop and Moore have flourished, a large percentage of them devoted to explorations of sexuality and gender. A gap is growing, however, between feminist repossessions of Moore and Bishop and recent readings of their antiessentialist poetics. On the one hand, these poets are appearing more frequently in the feminist canon, but the price of this inclusion is usually the suppression of their strategies of self-restraint. While Zona questions the poetic privileging of self-expression, she establishes contiguity between feminist poetry and developments in American poetry at large. In doing so she asserts the centrality of feminist poetry within discussions of contemporary American poetry, thereby challenging the common perception of feminist poetry as an "alternative" (which often means auxiliary) genre.
Kirstin Hotelling Zona is Assistant Professor of Poetry and Poetics, Illinois State University.
Coexistence in the Aftermath of Mass Violence demonstrates how imagination, empathy, and resilience contribute to the processes of social repair after ethnic and political violence. Adding to the literature on transitional justice, peacebuilding, and the anthropology of violence and social repair, the authors show how these conceptual pathways—imagination, empathy and resilience—enhance recovery, coexistence, and sustainable peace. Coexistence (or reconciliation) is the underlying goal or condition desired after mass violence, enabling survivors to move forward with their lives. Imagination allows these survivors (victims, perpetrators, bystanders) to draw guidance and inspiration from their social and cultural imaginaries, to develop empathy, and to envision a future of peace and coexistence. Resilience emerges through periods of violence and its aftermaths through acts of survival, compassion, modes of rebuilding social worlds, and the establishment of a peaceful society.
Focusing on society at the grass roots level, the authors discuss the myriad and little understood processes of social repair that allow ruptured societies and communities to move toward a peaceful and stable future. The volume also illustrates some of the ways in which imagination, empathy, and resilience may contribute to the prevention of future violence and the authors conclude with a number of practical and policy recommendations. The cases include Cambodia, Rwanda, Sierra Leone, Somaliland, Colombia, the Southern Cone, Iraq, and Bosnia.
Mastering Academic Reading is meant to challenge advanced academically oriented students of English. The units and the readings within them are long. The comprehension and expansion exercises after them are demanding. The hoped-for outcome is that students trained using this textbook will be able to better hold their own in university classes where the reading volume across disciplines and vocabulary demands are high.
Almost every reading is taken, in minimally adapted form, from a book or academic / professional journal. Two introductory passages have been composed expressly for this book in order to provide narrowly focused background material. Beyond these pieces, readers are in the hands of “real-world” authors and their difficult, lexically diffuse, and allusion-filled creations. Journal articles and book excerpts predominate, but Mastering Academic Reading also offers a book review and a government pamphlet as well.
Since one aspect of reading practice builds on others, the units are laid out in tiers, not in sections. Each unit has been organized into three tiers. In general, there is one reading per tier, although the first tier in Unit 3 contains two passages (both necessary to provide conceptual background for the other two tiers). Each reading is 3,500-5,000 words. The book focuses on the three primary goals of academic reading: reading to learn; reading to integrate, write, and critique texts; and reading for basic comprehension.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press