Anna Faktorovich

Introduction to the Attribution of Literature describes the first unbiased and accessible authorship attribution method, and uses it to present the first accurate re-attribution of 311 canonical texts from the 18th century to only 10 ghostwriters, and 323 texts from the 19th century to 11 ghostwriters. For example, the little-known Sir Francis Cowley Burnand is chronologically, stylometrically, and with handwriting analysis proven to be the ghostwriter behind 55 canonical tested texts, including "Emily Bronte's" Wuthering Heights, "Collins'" Woman in White, "Doyle's" Sherlock Holmes, "Kipling's" Captain Courageous, "Stoker's" Dracula, "Anthony Trollope's" American Senator, "Wells'" Island of Doctor Moreau, "Wilde's" Picture of Dorian Gray, and "Dickens'" Great Expectations. This method applies a combination of 23 to 28 different types of punctuation, parts-of-speech, and lexical linguistic tests. Parts of this book offer extensive statistical evidence in support of why this method’s findings are quantitatively reliable. If preceding attribution methods had been equally reliable; then, they would have also concluded canonical British texts have been overwhelmingly ghostwritten. A section in this book explains the methodological flaws of these preceding attribution approaches because of which they have incorrectly reaffirmed their canonically-accepted bylines. It includes definitions of central stylometric terminology, and explains how readers can apply the described strategies to their own attribution research at any academic level.

This issue features four paintings, including the piece utilized as cover-art, by Nawwar Morelli (member of Latakia Plastic Artists). It also includes six essays from the Editor, Anna Faktorovich, in the first part, called "Fraud in American Documentaries", of a two-part "Theoretical Film Studies" project. The topics covered are: Walter Benjamin's annihilation of quality in mass cultural reproduction in Gasland Part II; Bernard Stiegler's "Star" in Steve Burrows' bleeding mother; Adorno and Horkheimer's "idiotic plot" and representations of Elizabeth Holmes' fraud; Slovoj Zizek's "subject's conception" and "death" in the tragic arc of Leaving Neverland; the fraudulent hoax of the "Banksy" art myth; and Luce Irigaray's "loss of identity" and female empowerment through a skiing legend. The collection concludes with a regular installment of film reviews by Susie Gharib.

The weight-loss essay from the editor, Anna Faktorovich, provides a survey of the frequently cited nutritional research to distill weight loss, veganism, and exercise theory into practical advice for the 71% made up of overweight Americans. The five film criticism essays cover the topics of: violent release comedy in All the Devil's Men, dramatized emotions and racist politics in John Carter, humanitarian extermination and the death-threat in Avengers: Infinity War, the corporate subtext behind the gaming documentary, Playing Hard, and the architecture and politics of gardens in A Little Chaos. The one external contribution is five urban trees photographs from Keith Moul.

Lucinda Thoso, the new Murder Beat reporter, joins the busy newsroom of Cherub Daily. She is immediately thrust into the heart of Los Angeles' gangs, vindictive lovers, corrupt bureaucracy, unintended bloodshed, and convoluted conspiracies. The hunt for the truth becomes personal when Lucinda receives a cryptic newspaper-clipping note in her own mailbox at Cherub that warns of an impending murder. When Lucinda arrives, the threat is proven true: the slashed body of a social worker is an unusual victim that shocks the city. Why would a killer leave a note inviting the discovery? Who would want to kill a lonely caseworker in her home, and yet leave her expensive possessions? Just as answers begin emerging, Lucinda and her police contact, Detective Clovis Pesupetep, are faced with a new gruesome murder of an administrative nurse. With her decades of experience with the macabre, Lucinda finds clues where a slew of techs and detectives fail to see them. On top of their oversights, Clovis' partner, Didier, resists each clue Lucinda uncovers, blocking her progress. Despite great strides, Clovis and Lucinda discover that the realities of crime investigation within the LAPD are such that only subterfuge can lead to the hidden truth.

Lucinda Thoso, the new Murder Beat reporter, joins the busy newsroom of Cherub Daily. She is immediately thrust into the heart of Los Angeles' gangs, vindictive lovers, corrupt bureaucracy, unintended bloodshed, and convoluted conspiracies. The hunt for the truth becomes personal when Lucinda receives a cryptic newspaper-clipping note in her own mailbox at Cherub that warns of an impending murder. When Lucinda arrives, the threat is proven true: the slashed body of a social worker is an unusual victim that shocks the city. Why would a killer leave a note inviting the discovery? Who would want to kill a lonely caseworker in her home, and yet leave her expensive possessions? Just as answers begin emerging, Lucinda and her police contact, Detective Clovis Pesupetep, are faced with a new gruesome murder of an administrative nurse. With her decades of experience with the macabre, Lucinda finds clues where a slew of techs and detectives fail to see them. On top of their oversights, Clovis' partner, Didier, resists each clue Lucinda uncovers, blocking her progress. Despite great strides, Clovis and Lucinda discover that the realities of crime investigation within the LAPD are such that only subterfuge can lead to the hidden truth.

English research writing courses in colleges across the world have a tendency to be dull, and similar to each other. They typically review the elements of the research paper and ask students to draft formulaic papers that fit the set guidelines. There have been plenty of textbooks written for these classes that repeat nearly identical information. This market is definitely over-saturated. One alternative is a Research Writing class that focuses on audio-visual entertainment (such as film or music) and other cultural artifacts, as well as diversity-related topics. This class offers more engaging topics for research than the repeating political or social topics that fit the formula of a traditional college research writing class. Students are likely to be more interested in researching films they watch for fun than dusty topics they are not personally invested in. More colleges are likely to start teaching these types of classes especially with help from textbooks like this one that suits this curriculum. American students are reading less, and watching media more, a class that accepts this shift can embrace the students' preferences, stimulating their imagination and desire to learn. This textbook combines the rigor of a Research Writing class with the imaginative and culturally significant realm of Cultural Studies. Concepts that are typically discussed in Research Writing textbooks, like close reading, thesis statement, and clich s, are covered in full. Complex rhetorical concepts are explained simply and fully. Additionally, the elements of a proper argument are not only digested for students, but are also assisted with discussions of political, economic, social and other types of cultural concepts such as communism or feminism. Teachers who are looking for ideas to inspire their plans, will find assignments across the book to utilize. This book is deliberately short and meant to be a cheap paperback, so that it can be utilized as a quick reference guide and idea book for cultural studies related topics (if not as the primary textbook for a course that entirely combines Research Writing with Cultural Studies).

Within lies a shakeup of the traditional introductory literature course textbook formula, with a unique perspective on literature. You will find some theories that have not even been published in scholarly journals before, like the examination of the merchants' language that Swift uses to disguise his meaning. Each of the sections on fiction, drama and poetry provides the most essential commentary, definitions and concepts. The readings include three short stories from Edgar Allan Poe, novel segments from Don Quixote, and Gulliver's Travels, various poems, and a classic Greek play, Lysistrata. The uniting elements in these pieces are satire, sarcasm, and other forms of humor. This dense political, social and cultural content should inspire students with questions and a desire to write about it.

Within lies a shakeup of the traditional introductory literature course textbook formula, with a unique perspective on literature. You will find some theories that have not even been published in scholarly journals before, like the examination of the merchants' language that Swift uses to disguise his meaning. Each of the sections on fiction, drama and poetry provides the most essential commentary, definitions and concepts. The readings include three short stories from Edgar Allan Poe, novel segments from Don Quixote, and Gulliver's Travels, various poems, and a classic Greek play, Lysistrata. The uniting elements in these pieces are satire, sarcasm, and other forms of humor. This dense political, social and cultural content should inspire students with questions and a desire to write about it.

English research writing courses in colleges across the world have a tendency to be dull, and similar to each other. They typically review the elements of the research paper and ask students to draft formulaic papers that fit the set guidelines. There have been plenty of textbooks written for these classes that repeat nearly identical information. This market is definitely over-saturated. One alternative is a Research Writing class that focuses on audio-visual entertainment (such as film or music) and other cultural artifacts, as well as diversity-related topics. This class offers more engaging topics for research than the repeating political or social topics that fit the formula of a traditional college research writing class. Students are likely to be more interested in researching films they watch for fun than dusty topics they are not personally invested in. More colleges are likely to start teaching these types of classes especially with help from textbooks like this one that suits this curriculum. American students are reading less, and watching media more, a class that accepts this shift can embrace the students' preferences, stimulating their imagination and desire to learn. This textbook combines the rigor of a Research Writing class with the imaginative and culturally significant realm of Cultural Studies. Concepts that are typically discussed in Research Writing textbooks, like close reading, thesis statement, and clich s, are covered in full. Complex rhetorical concepts are explained simply and fully. Additionally, the elements of a proper argument are not only digested for students, but are also assisted with discussions of political, economic, social and other types of cultural concepts such as communism or feminism. Teachers who are looking for ideas to inspire their plans, will find assignments across the book to utilize. This book is deliberately short and meant to be a cheap paperback, so that it can be utilized as a quick reference guide and idea book for cultural studies related topics (if not as the primary textbook for a course that entirely combines Research Writing with Cultural Studies).

This summer issue features three interviews with established researchers and writers. Dr. John Milton Hoberman (University of Texas at Austin) discusses a variety of topics connected with his books, including his most recent book, Dopers in Uniform, on steroids in policing. Allen M. Hornblum (covered widely on CBS, CNN, and BBC) replies to questions on medical ethics and smear campaigns in sports, topics related to his latest release, American Colossus: Big Bill Tilden and the Creation of Modern Tennis. And professor Michele McArdle Stephens (West Virginia University) touches on the use of the hallucinogenic drug, peyote, in the Huichol culture, the subject of her first major book-length publication, In the Lands of Fire and Sun: Resistance and Accommodation in the Huichol Sierra, 1723-1930. Then an essay of film criticism by Heather Duerre Humann (Florida Gulf Coast University) discusses gender in science fiction in the film Sucker Punch. Samantha Lauer contributes her regular feature with reviews of recently released films that she particularly enjoyed including Coco, Mother and Annihilation. In keeping with CCR's mission to promote all visual and audio arts, the last section is a photography project on the themes of timelessness and comfort from a widely published photographer and author, Fabrice Poussin (Shorter University).

Explains all of the steps involved in creating a book with the Anaphora Literary Press. It is designed as a tool for editorial, marketing and design interns of the press. It can also be used by publishing industry professionals who are working for other publishing houses, want to start their own press or want to self-publish their book. This book can be a great tool in editing, marketing and design college classes. The fifth edition of the Guide includes more detailed design and marketing advice. You will also find instructions for making YouTube book trailers and Smashwords ebooks. Authors should not set out on new book production and marketing ventures without reviewing the helpful information provided.

The content of this issue includes an extended set of detailed reviews from the editor, Anna Faktorovich, of recently released and forthcoming scholarly and general interest non-fiction books. These titles cover the history of the Americas, recent political issues and politicians, biographies of famous or applauded individuals, space exploration studies or personal narratives, and various other works (some outstanding and some nonsensical). Then follows a scholarly essay by R. Joseph Rodr guez, a professor at the California State University, Fresno, on reading and teaching poetics about the Borderlands. This season brought in an unusually heavy volume of innovative, modern and emotional poetry from Jonathan Bracker, Michael Ceraolo, Louis Gallo (a regular contributor, who offered eleven poems and all of them were too good to refuse), Susie Gharib, Rob Luke, Tom McFadden, Andrew Alexander Mobbs, Timothy Robbins, Robert Ronnow, and Kobina Wright. In the last section, you will find a set of short fictional stories on topics ranging from the sea to Eastern European fairytales from John W. Dennehy, Alan Fleishman, Kevin Harris and Kathleen Murphey.

This summer issue features three interviews with established researchers and writers. Dr. John Milton Hoberman (University of Texas at Austin) discusses a variety of topics connected with his books, including his most recent book, Dopers in Uniform, on steroids in policing. Allen M. Hornblum (covered widely on CBS, CNN, and BBC) replies to questions on medical ethics and smear campaigns in sports, topics related to his latest release, American Colossus: Big Bill Tilden and the Creation of Modern Tennis. And professor Michele McArdle Stephens (West Virginia University) touches on the use of the hallucinogenic drug, peyote, in the Huichol culture, the subject of her first major book-length publication, In the Lands of Fire and Sun: Resistance and Accommodation in the Huichol Sierra, 1723-1930. Then an essay of film criticism by Heather Duerre Humann (Florida Gulf Coast University) discusses gender in science fiction in the film Sucker Punch. Samantha Lauer contributes her regular feature with reviews of recently released films that she particularly enjoyed including Coco, Mother and Annihilation. In keeping with CCR's mission to promote all visual and audio arts, the last section is a photography project on the themes of timelessness and comfort from a widely published photographer and author, Fabrice Poussin (Shorter University).

The content of this issue includes an extended set of detailed reviews from the editor, Anna Faktorovich, of recently released and forthcoming scholarly and general interest non-fiction books. These titles cover the history of the Americas, recent political issues and politicians, biographies of famous or applauded individuals, space exploration studies or personal narratives, and various other works (some outstanding and some nonsensical). Then follows a scholarly essay by R. Joseph Rodr guez, a professor at the California State University, Fresno, on reading and teaching poetics about the Borderlands. This season brought in an unusually heavy volume of innovative, modern and emotional poetry from Jonathan Bracker, Michael Ceraolo, Louis Gallo (a regular contributor, who offered eleven poems and all of them were too good to refuse), Susie Gharib, Rob Luke, Tom McFadden, Andrew Alexander Mobbs, Timothy Robbins, Robert Ronnow, and Kobina Wright. In the last section, you will find a set of short fictional stories on topics ranging from the sea to Eastern European fairytales from John W. Dennehy, Alan Fleishman, Kevin Harris and Kathleen Murphey.

This issue of CCR includes an interview with Jerry London, an Emmy Award-winning filmmaker, who has worked with some of the top stars in Hollywood. He talks about the directing craft, art, and about the perils of the film industry. Samantha Lauer once again reviewed a set of interesting films, with screenshots to illustrate the descriptions. Finally, an essay from Judity Williams analyzes the rhetoric in the Game of Thrones.