Kirjahaku

'A fascinating journey into our relationship with the physical book...I lost count of the times I exclaimed with delight when I read a nugget of information I hadn't encountered before' Val McDermid, The TimesMost of what we say about books is really about the words inside them: the rosy nostalgic glow for childhood reading, the lifetime companionship of a much-loved novel. But books are things as well as words, objects in our lives as well as worlds in our heads. And just as we crack their spines, loosen their leaves and write in their margins, so they disrupt and disorder us in turn. All books are, as Stephen King put it, 'a uniquely portable magic'. Here, Emma Smith shows us why.Portable Magic unfurls an exciting and iconoclastic new story of the book in human hands, exploring when, why and how it acquired its particular hold over us. Gathering together a millennium's worth of pivotal encounters with volumes big and small, Smith reveals that, as much as their contents, it is books' physical form - their 'bookhood' - that lends them their distinctive and sometimes dangerous magic. From the Diamond Sutra to Jilly Cooper's Riders, to a book made of wrapped slices of cheese, this composite artisanal object has, for centuries, embodied and extended relationships between readers, nations, ideologies and cultures, in significant and unpredictable ways. Exploring the unexpected and unseen consequences of our love affair with books, Portable Magic hails the rise of the mass-market paperback, and dismantles the myth that print began with Gutenberg; it reveals how our reading habits have been shaped by American soldiers, and proposes new definitions of a 'classic'-and even of the book itself. Ultimately, it illuminates the ways in which our relationship with the written word is more reciprocal - and more turbulent - than we tend to imagine.

Celebrating the 400th Anniversary of the publication of Shakespeare's First Folio This is the biography of a book: the first collected edition of Shakespeare's plays printed in 1623 and known as the First Folio. It begins with the story of its first purchaser in London in December 1623, and goes on to explore the ways people have interacted with this iconic book over the four hundred years of its history. Throughout the stress is on what we can learn from individual copies now spread around the world about their eventful lives. From ink blots to pet paws, from annotations to wineglass rings, First Folios teem with evidence of their place in different contexts with different priorities. This study offers new ways to understand Shakespeare's reception and the history of the book. Unlike previous scholarly investigations of the First Folio, it is not concerned with the discussions of how the book came into being, the provenance of its texts, or the technicalities of its production. Instead, it reanimates, in narrative style, the histories of this book, paying close attention to the details of individual copies now located around the world - their bindings, marginalia, general condition, sales history, and location - to discuss five major themes: owning, reading, decoding, performing, and perfecting. This is a history of the book that consolidated Shakespeare's posthumous reputation: a reception history and a study of interactions between owners, readers, forgers, collectors, actors, scholars, booksellers, and the book through which we understand and recognize Shakespeare.

This is a biography of a book: the first collected edition of Shakespeare's plays printed in 1623 and known as the First Folio. It begins with the story of its first purchaser in London in December 1623, and goes on to explore the ways people have interacted with this iconic book over the four hundred years of its history. Throughout the stress is on what we can learn from individual copies now spread around the world about their eventful lives. From ink blots to pet paws, from annotations to wineglass rings, First Folios teem with evidence of their place in different contexts with different priorities. This study offers new ways to understand Shakespeare's reception and the history of the book. Unlike previous scholarly investigations of the First Folio, it is not concerned with the discussions of how the book came into being, the provenance of its texts, or the technicalities of its production. Instead, it reanimates, in narrative style, the histories of this book, paying close attention to the details of individual copies now located around the world - their bindings, marginalia, general condition, sales history, and location - to discuss five major themes: owning, reading, decoding, performing, and perfecting. This is a history of the book that consolidated Shakespeare's posthumous reputation: a reception history and a study of interactions between owners, readers, forgers, collectors, actors, scholars, booksellers, and the book through which we understand and recognize Shakespeare.

A THE TIMES BOOK OF THE YEAR 2019'The best introduction to the plays I've read, perhaps the best book on Shakespeare, full stop' Alex Preston, Observer'It makes you impatient to see or re-read the plays at once' Hilary MantelA genius and prophet whose timeless works encapsulate the human condition like no others. A writer who surpassed his contemporaries in vision, originality and literary mastery. Who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't really tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant, deflecting us from investigating the challenges of his inconsistencies and flaws. This electrifying new book thrives on revealing, not resolving, the ambiguities of Shakespeare's plays and their changing topicality. It introduces an intellectually, theatrically and ethically exciting writer who engages with intersectionality as much as with Ovid, with economics as much as poetry: who writes in strikingly modern ways about individual agency, privacy, politics, celebrity and sex. It takes us into a world of politicking and copy-catting, as we watch him emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cut-throat issues of succession politics, religious upheaval and technological change. The Shakespeare in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.This is Shakespeare. And he needs your attention.

"The book is written in an admirably clear style and is effectively structured throughout its three parts with eight concise chapters. The book's intention - in which it largely succeeds - is to strengthen secondary data analysis as one technique in the 'methodological toolbox' available to researchers, one which has been on the margin for far too long."British Journal of Educational TechnologySecondary data is a powerful tool for providing context to an otherwise small-scale study, as well as being an efficient way of bringing together a large amount of data, particularly where access to the field may be difficult.This comprehensive guide introduces students to the use of secondary data in educational and social research, and provides a practical resource for researchers who are new to the field of secondary data analysis. The author encourages researchers to consider the potential for using secondary data both as their primary research method, but also as a useful strategy in mixed methods designs.The first part of the book explores the role of secondary data analysis in contemporary social research. It considers the arguments for and against its use and addresses its particular benefits in mixed method research designs, especially those in the political arithmetic tradition.The second part introduces worked examples which show the potential for using secondary sources to answer a varied range of research questions. It provides step-by-step guidance on how to manipulate and analyse secondary data. The inclusion of recent national and international datasets as exemplars allows students to place their research in a 'real life' context and to consider current and topical research issues.

Engaging with histories of the book and of reading, as well as with studies of material culture, this volume explores ’popularity’ in early modern English writings. Is ’popular’ best described as a theoretical or an empirical category in this period? How can we account for the gap between modern canonicity and early modern print popularity? How might we weight the evidence of popularity from citations, serial editions, print runs, reworkings, or extant copies? Is something that sells a lot always popular, even where the readership for print is only a small proportion of the population, or does popular need to carry something of its etymological sense of the public, the people? Four initial chapters sketch out the conceptual and evidential issues, while the second part of the book consists of ten short chapters-a ’hit parade’- in which eminent scholars take a genre or a single exemplar - play, romance, sermon, or almanac, among other categories-as a means to articulate more general issues. Throughout, the aim is to unpack and interrogate assumptions about the popular, and to decentre canonical narratives about, for example, the sermons of Donne or Andrewes over Smith, or the plays of Shakespeare over Mucedorus. Revisiting Elizabethan literary culture through the lenses of popularity, this collection allows us to view the subject from an unfamiliar angle-in which almanacs are more popular than sonnets and proclamations more numerous than plays, and in which authors familiar to us are displaced by names now often forgotten.

Are you studying Shakespeare and looking for a handy summary of plots, characters and interpretations? Or are you a keen theatregoer wanting essential background on the Shakespeare plays you see on stage? Ideal for students and theatre enthusiasts alike, this lively and authoritative guide presents key information, clearly set out, on all Shakespeare's dramatic and poetic works, covering plots and people, sources, context, performance history and major themes. Ordered alphabetically for easy reference, each play entry features a 'key facts' box providing informative and revealing statistics, including a breakdown of each play's major roles. The guide is illustrated with striking performance photographs throughout, and also provides brief accounts of Shakespeare's life and language, Shakespeare in print and theatre in Shakespeare's time. This is an indispensable reference source for all students and theatregoers.

Are you studying Shakespeare and looking for a handy summary of plots, characters and interpretations? Or are you a keen theatregoer wanting essential background on the Shakespeare plays you see on stage? Ideal for students and theatre enthusiasts alike, this lively and authoritative guide presents key information, clearly set out, on all Shakespeare's dramatic and poetic works, covering plots and people, sources, context, performance history and major themes. Ordered alphabetically for easy reference, each play entry features a 'key facts' box providing informative and revealing statistics, including a breakdown of each play's major roles. The guide is illustrated with striking performance photographs throughout, and also provides brief accounts of Shakespeare's life and language, Shakespeare in print and theatre in Shakespeare's time. This is an indispensable reference source for all students and theatregoers.

This lively and innovative introduction to Shakespeare promotes active engagement with the plays, rather than recycling factual information. Covering a range of texts, it is divided into seven subject-based chapters: Character; Performance; Texts; Language; Structure; Sources and History, and it does not assume any prior knowledge. Instead, it develops ways of thinking and provides the reader with resources for independent research through the 'Where next?' sections at the end of each chapter. The book draws on scholarship without being overwhelmed by it, and unlike other introductory guides to Shakespeare it emphasizes that there is space for new and fresh thinking by students and readers, even on the most-studied and familiar plays.

This lively and innovative introduction to Shakespeare promotes active engagement with the plays, rather than recycling factual information. Covering a range of texts, it is divided into seven subject-based chapters: Character; Performance; Texts; Language; Structure; Sources and History, and it does not assume any prior knowledge. Instead, it develops ways of thinking and provides the reader with resources for independent research through the 'Where next?' sections at the end of each chapter. The book draws on scholarship without being overwhelmed by it, and unlike other introductory guides to Shakespeare it emphasizes that there is space for new and fresh thinking by students and readers, even on the most-studied and familiar plays.

This series introduces students to more sophisticated analysis and wider critical perspectives to enbable students to appreciate contrasting interpretations of the text and to develop critical thinking. This volume explores Shakespeare's "Twelfth Night".

York Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced intorduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

Shakespeare's play of 1604 is marked from its outset by a doubleness in its very title 'Othello, or the Moor of Venice'. In this study Emma Smith teases out instances of doubleness, duplication and paradox to discuss the play's language and its themes.

Shakespeare's play of 1604 is marked from its outset by a doubleness in its very title 'Othello, or the Moor of Venice'. In this study Emma Smith teases out instances of doubleness, duplication and paradox to discuss the play's language and its themes.

______________ ‘Emma Smith has written a book that should - and I hope does - endure as a classic among memoirs of childhood. I savoured every page' - Miranda Seymour, Evening Standard ‘A wonderful book, full of unexpected effects, and I suspect that it will become a classic of the genre ... so sincerely compassionate that I honestly can't read it without weeping' - Lynne Truss, Sunday Times ‘Evocative, witty and profoundly moving' - Daily Telegraph 'Deserves to become an overnight classic and to find a home at holiday cottage bedsides from St. Ives to Great Yarmouth' - Patrick Gale, author of Notes on an Exhibition ______________ The Great Western Beach is Emma Smith's wonderfully atmospheric memoir of a 1920s childhood in Newquay, Cornwall. She recalls the rocks, the sea, the beaches, the picnics, the teas and pasties, the bracing walks, the tennis tournaments and bathing parties, the curious residents and fascinating holiday-makers - relishing every glorious, salty detail. But above all this is a portrait of a family from the astonishingly clear-eyed perspective of a nine-year-old girl: her furious, frustrated father, perpetually on his way to becoming a world famous artist but suffering the indignity of being a lowly bank clerk; her beautiful, unperceptive mother, made for better things perhaps but at least, with three fiancés killed in the Great War, married with children at last; the twins, fearless, defiant Pam and sickly, bewildered Jim, for whom life is always an uphill climb, and baby Harvey, brought on the same winds of change that mean that life, with all its complication and wonder, cannot stay still and the Cornish playground of Emma's childhood will one day be lost forever.

Underachievement in school is one of the most widely-used terms in education today. As a discourse, it has been responsible for influencing government policy, staffroom discussions, as well as the pages of academic journals and the TES. It is also a subject that raises questions about what we expect from a fair and equitable education system. This book provides a critical analysis of two sides of the underachievement debate, at each of the three levels of focus - international, the UK, and the individual. On the one hand, it considers the 'crisis account' of falling standards and failing pupils and, on the other, present an alternative account, which urges a re-evaluation of the underachievement debate in order to consider who might be underachieving and why.

Underachievement in school is one of the most widely used terms in education today. As a discourse, it has been responsible for influencing government policy, staffroom discussions, as well as the pages of academic journals and the TES. It is also a subject which raises questions about what we expect from a fair and equitable education system. This book provides a critical analysis of two sides of the underachievement debate, at each of the three levels of focus - international, the UK and the individual. On the one hand, it will consider the 'crisis' account; of falling standards and failing pupils and, on the other, present an alternative account, which urges a re-evaluation of the underachievement debate in order to consider who might be underachieving and why.

Arden Student Guides: Language and Writing offer a new type of study aid which combines lively critical insight with practical guidance on the critical writing skills you need to develop in order to engage fully with Shakespeare’s texts. The books’ core focus is on language: both understanding and enjoying Shakespeare’s complex dramatic language, and expanding your own critical vocabulary, as you respond to his plays.Key features include: an introduction considering when and how the play was written, addressing the language with which Shakespeare created his work, as well as the generic, literary and theatrical conventions at his disposal detailed examination and analysis of the individual text, focusing on its literary, technical and historical intricacies discussion of performance history and the critical reception of the work a ‘Writing matters’ section in every chapter, clearly linking the analysis of Shakespeare’s language to your own writing strategies in coursework and examinations.Written by world-class academics with both scholarly insight and outstanding teaching skills, each guide will empower you to read and write about Shakespeare with increased confidence and enthusiasm. At a climactic point in the play, Macbeth realises that the witches have deceived him through their ambiguous language: ‘they palter with us in a double sense’. This book explores Shakespeare’s own paltering in the play – the densely rich language of ambition, of blood, and of guilt that structures Macbeth.

______________‘Wonderfully written, humorous and humane, and beautifully evocative of the time' - Independent Summer Reads‘Smith's writing exudes wisdom and humour, and her descriptions ... are vividly drawn' - Times Literary Supplement‘Hope and energy radiate from every sentence of this lovely volume as it emerges into the light after its long sojourn in the cemetery of forgotten books' - Daily Mail______________A classic and unforgettable tale of three girls who abandon their middle-class comforts for an adventure of a lifetime during the Second World WarIn 1943 Emma Smith joined the Grand Union Canal Carrying Company under their wartime scheme of employing women to replace the boaters. She set out with two friends on a big adventure: three eighteen-year-olds, freed from a middle-class background, precipitated into the boating fraternity. They learn how to handle a pair of seventy-two foot-long canal boats, how to carry a cargo of steel north from London to Birmingham and coal from Coventry; how to splice ropes, bail out bilge water, keep the engine ticking over and steer through tunnels. They live off kedgeree and fried bread and jam, adopt a kitten, lose their bicycles, laugh and quarrel and get progressively dirtier and tougher as the weeks go by. Maidens' Trip is a classic memoir of the growth to maturity of three young women in the exceptional circumstances of Britain at war.

______________ 'A delight' - Spectator 'An entrancing memoir' - Jane Shilling, New Statesman 'A wonderful journey beautifully told, and like all great memoirs, remains with the reader like the echo of friendship' - Independent on Sunday ______________ The new memoir from the author of Maidens' Trip and The Great Western Beach; a remarkable story of a young woman growing up against the backdrop of the Second World War, and postwar life in India, Paris and bohemian Chelsea Uprooted from her beloved Great Western Beach, Emma Smith moves with her family from Newquay to the Devonshire village of Crapstone. But the dust has hardly settled when tragedy strikes, and Emma’s father, a DSO-decorated hero of the Great War, is so frustrated by the hardship of life as a lowly bank clerk and by his thwarted artistic ambitions that he suffers a catastrophic breakdown - from which disaster Emma's resourceful mother rallies courageously. Then, in 1939, the war again becomes a reality. Emma’s sister Pam at once enlists with the WAAF and Jim, her politically minded brother, after initially declaring himself a pacifist, joins the RAF. But what should Emma, aged only sixteen, do? Secretarial collage equips her for a job with MI5 but it’s dull work and Emma yearns for fresh air. She is rescued by a scheme taking on girls as crew for canal boats. Freedom! The war over, Emma travels to India with a documentary film company, lives in Chelsea, falls in love in France and spends time in Paris where she sets about mending a broken heart by writing her first novel. Sitting beside the Seine during a heatwave with her typewriter on her knees, she is unwittingly snapped by legendary photographer Robert Doisneau. The zest, thirst for life and buoyant spirits of Emma, as she recalls in evocative detail the quality of England in the thirties and forties give As Green as Grass the feel of a ready-made classic. ______________ 'Evocative and arresting ... hugely engaging' - Daily Express 'One envies Emma Smith's precise and sly humour in her portrait of life' - Michael Ondaatjie 'Optimistic, generous and thoroughly enjoyable' - Giulia Rhodes, Sunday Express 'I've rarely come across a more gripping childhood memoir' - Diana Athill 'A cracking memoir' - Bel Mooney, Daily Mail ______________