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Knowing What Things Are: An Inquiry-Based Approach (Synthese Library #466)
by André J. AbathThis book provides an account of what is to know what things are, focusing on kinds, both natural (such as water) and social (such as marriage). It brings tools from an area that has received much attention in recent years, the epistemology of inquiry. The knowledge of what things are is to be understood as resulting from successful inquiries directed at questions of the form ‘What is x?’, where x stands for a given kind of thing. The book also addresses knowledge-wh in general (which includes knowledge-who and knowledge-where), as well as the phenomenon of ignorance regarding what things are and our obligations in respect to knowing what things are. It also brings to light new avenues of research for those interested in the relation between the knowledge of what things are and concept possession and amelioration.‘Knowing What Things Are’ should be of interest to researchers in Epistemology, Philosophy of Language, Metaphysics, Philosophy of Mind, Social Philosophy and Linguistics.
Knowing What is Good for You: A Theory of Prudential Value and Well-Being
by Tim E. TaylorAn examination of the philosophical issues surrounding prudential value: what it is for something to be good for a person; and well-being: what it is for someone's life to go well. It critically analyses competing approaches, and proposes a new subjective account that addresses key weaknesses of existing theories.
Knowing, Teaching, and Learning History: National and International Perspectives
by Peter N. Stearns Peter Seixas Sam WineburgOn January 18,1995, the "History Wars," to that point confined largely to skirmishes on op-ed pages of the New York Times and Washington Post, erupted on the floors of the United States Congress.
Knowing Shakespeare
by Lowell Gallagher Shankar RamanA collection of essays on the ways the senses 'speak' on Shakespeare's stage. Drawing on historical phenomenology, science studies, gender studies and natural philosophy, the essays provide critical tools for understanding Shakespeare's investment in staging the senses.
Knowing It When You See It: Henry James/Cinema (SUNY series, Literature . . . in Theory)
by Patrick O'DonnellPerched as he was at the beginning of literary modernism and the evolution of film as a medium, Henry James addressed a cluster of epistemological and aesthetic issues related to the visualization of reality. In Knowing It When You See It, Patrick O'Donnell compares several late novels and stories by Henry James with a series of films directed by Michael Haneké, Alfred Hitchcock, Quentin Tarantino, Christopher Nolan, and Lars Von Trier. O'Donnell argues that these issues find parallels in films made at the other end of an arc extending from the last decades of the nineteenth century to the initial years of the twenty-first. In mapping affinities between literature and film, he is not concerned with adaptation or discursivity, but rather with how the "visual" is represented in two mediums—with how seeing becomes knowledge, how framing what is seen becomes a critical part of the story that is conveyed, and how the perspective of the camera or the narrator shapes reality. Both James and these later auteurs "think" visually in ways that inter-illuminate their fictions and films, and newly bring into relief the trajectory of modernity in relation to visuality.
Knowing Fictions: Picaresque Reading in the Early Modern Hispanic World (Haney Foundation Series)
by Barbara FuchsEuropean exploration and conquest expanded exponentially in the late fifteenth and sixteenth centuries, and as the horizons of imperial experience grew more distant, strategies designed to convey the act of witnessing came to be a key source of textual authority. From the relación to the captivity narrative, the Hispanic imperial project relied heavily on the first-person authority of genres whose authenticity undergirded the ideological armature of national consolidation, expansion, and conquest. At the same time, increasing pressures for religious conformity in Spain, as across Europe, required subjects to bare themselves before external authorities in intimate confessions of their faith. Emerging from this charged context, the unreliable voice of the pícaro poses a rhetorical challenge to the authority of the witness, destabilizing the possibility of trustworthy representation precisely because of his or her intimate involvement in the narrative.In Knowing Fictions, Barbara Fuchs seeks at once to rethink the category of the picaresque while firmly centering it once more in the early modern Hispanic world from which it emerged. Venturing beyond the traditional picaresque canon, Fuchs traces Mediterranean itineraries of diaspora, captivity, and imperial rivalry in a corpus of texts that employ picaresque conventions to contest narrative authority. By engaging the picaresque not just as a genre with more or less strictly defined boundaries, but as a set of literary strategies that interrogate the mechanisms of truth-telling itself, Fuchs shows how self-consciously fictional picaresque texts effectively encouraged readers to adopt a critical stance toward the truth claims implicit in the forms of authoritative discourse proliferating in Imperial Spain.
Knowing Dickens
by Rosemarie BodenheimerIn this compelling and accessible book, Rosemarie Bodenheimer explores the thoughtworld of the Victorian novelist who was most deeply intrigued by nineteenth-century ideas about the unconscious mind. Dickens found many ways to dramatize in his characters both unconscious processes and acts of self-projection-notions that are sometimes applied to him as if he were an unwitting patient. Bodenheimer explains how the novelist used such techniques to negotiate the ground between knowing and telling, revealing and concealing. She asks how well Dickens knew himself-the extent to which he understood his own nature and the ways he projected himself in his fictions-and how well we can know him. Knowing Dickens is the first book to systematically explore Dickens's abundant correspondence in relation to his published writings. Gathering evidence from letters, journalistic essays, stories, and novels that bear on a major issue or pattern of response in Dickens's life and work, Bodenheimer cuts across familiar storylines in Dickens biography and criticism in chapters that take up topics including self-defensive language, models of memory, relations of identification and rivalry among men, houses and household management, and walking and writing.
Knowing Books: The Consciousness of Mediation in Eighteenth-Century Britain (Material Texts)
by Christina LuptonThe eighteenth century has long been associated with realism and objective description, modes of representation that deemphasize writing. But in the middle decades of the century, Christina Lupton observes, authors described with surprising candor the material and economic facets of their own texts' production. In Knowing Books Lupton examines a variety of eighteenth-century sources, including sermons, graffiti, philosophical texts, and magazines, which illustrate the range and character of mid-century experiments with words announcing their status as physical objects. Books that "know" their own presence on the page and in the reader's hand become, in Lupton's account, tantalizing objects whose entertainment value competes with that of realist narrative.Knowing Books introduces these mid-eighteenth-century works as part of a long history of self-conscious texts being greeted as fashionable objects. Poststructuralist and Marxist approaches to literature celebrate the consciousness of writing and economic production as belonging to revolutionary understandings of the world, but authors of the period under Lupton's gaze expose the facts of mediation without being revolutionary. On the contrary, their explication of economic and material processes shores up their claim to material autonomy and economic success. Lupton uses media theory and close reading to suggest the desire of eighteenth-century readers to attribute sentience to technologies and objects that entertain them.Rather than a historical study of print technology, Knowing Books offers a humanist interpretation of the will to cede agency to media. This horizon of theoretical engagement makes Knowing Books at once an account of the least studied decades of the eighteenth century and a work of relevance for those interested in new attitudes toward media in the twenty-first.
Know It, Show It, Independent Practice [Grade 4] (Into Reading)
by Houghton HarcourtNIMAC-sourced textbook
Know It, Show It, Independent Practice [Grade 3] (Into Reading)
by Houghton HarcourtNIMAC-sourced textbook
Know It, Show It, Grade K, Independent Practice (Into Reading, Read Aloud Module 10)
by Houghton HarcourtNIMAC-sourced textbook
Know It, Show It [Grade 2]: Independent Practice (Into Reading)
by Houghton HarcourtNIMAC-sourced textbook
Know It, Show It [Grade 1]: Independent Practice (Into Reading)
by Houghton HarcourtNIMAC-sourced textbook
Know It, Show It: Independent Practice (Into Reading Series)
by Houghton Mifflin HarcourtNIMAC-sourced textbook <p>Grade 6
Knots: Post-Lacanian Psychoanalysis, Literature and Film (Literary Criticism and Cultural Theory)
by Jean-Michel RabatéThis collection of specially commissioned essays offers a wide array of new psychoanalytic approaches impacted by Lacanian theory, queer studies, post-colonial studies, feminism, and deconstruction in the domains of film and literature. We have witnessed a remarkable return to psychoanalysis in those fields, fields from which it had been excluded or discredited for a while. This has changed recently, and we need to understand why. The fourteen essays make use a freshly minted psychoanalytic concepts to read diverse texts, films and social practices. The distinguished authors gathered here, an international group of scholars coming from Japan, China, Korea, India, Belgium, Greece, France, Australia, and the USA, are all cognizant of the advances of theory under the form of deconstruction, feminism, post-colonial studies and trauma studies. These essays take into account the latest developments in Lacanian theory and never bracket off subjective agency when dealing with literature or film. The authors make sense of changes brought to psychoanalytical theory by redefinitions of the Oedipus complex, reconsiderations of the death drive, applications of Lacan’s symptom and the concept of the Real, reassessments of the links between affect and trauma, insights into the resilience of Romantic excess and jouissance, awareness of the role of transference in classical and modernist texts, and pedagogical techniques aimed at teaching difficult texts, all the while testifying to the influence on Lacanian theory of thinkers like Maurice Blanchot, Roland Barthes, Melanie Klein, Didier Anzieu, Jacques Derrida, Judith Butler, Gilles Deleuze, Alain Badiou, and Slavoj Zizek.
Knot Cannot
by Tiffany StoneA pun-packed look at friendship, jealousy, and being yourselfKnot is a piece of rope who longs to do the same things as Snake. Snake can slither and swim and hiss. Sadly, Knot cannot! But when Snake finds herself in a pickle, Knot discovers there's one thing he can do that Snake cannot. Knot can knot--a lot! With wordplay a-plenty, this uproarious read-a-loud encourages readers to find--and celebrate!--whatever it is they do best.
Knocked Up: The Shooting Script (Shooting Script)
by Judd ApatowThey say that opposites attract. For slacker Ben Stone (Seth Rogen) and career girl Alison Scott (Katherine Heigl), that’s certainly the case—at least for one intoxicated evening. Two months and several pregnancy tests later, Ben and Alison go through a hysterically funny, anxious, and heartwarming journey that leads to huge laughs.This Newmarket Shooting Script® Book includes: Introduction by writer/director Judd Apatow Article and artwork by Charlyne Yi (who plays Jodi) Complete shooting script 30 color photos Script magazine article by Sarah Vance Complete cast and crew credits
Knocked Up: The Shooting Script (Newmarket Shooting Script)
by Judd ApatowThey say that opposites attract. For slacker Ben Stone (Seth Rogen) and career girl Alison Scott (Katherine Heigl), that’s certainly the case—at least for one intoxicated evening. Two months and several pregnancy tests later, Ben and Alison go through a hysterically funny, anxious, and heartwarming journey that leads to huge laughs.This Newmarket Shooting Script® Book includes: Introduction by writer/director Judd Apatow Article and artwork by Charlyne Yi (who plays Jodi) Complete shooting script 30 color photos Script magazine article by Sarah Vance Complete cast and crew credits
Knock-Knock Jokes & Silly Stories for Kids
by May B. GigglinIn this book of knee-slapping knock-knocks and silly stories, kids will discover swallowed gum, peanut butter–eating elephants, and monsters roaming the desert. Best of all, with Knock-Knock Jokes and Stilly Stories for Kids, children will boost their reading skills and confidence all while becoming proud joke-tellers along the way. Jokes galore! Hundreds of knock-knock jokes and silly stories to keep kids entertained at home, in the car, or on the go! The power of silly: LOL-funny jokes and silly stories motivate kids to read aloud and create fun, shared memories with friends and family. Early reader–friendly: Tailored to early and reluctant readers, the book begins with bite-sized jokes and progresses to full-page stories, making reading fun and easy for those just getting started. Look here! Funny illustrations to bring kids deeper into the joke and help little ones with comprehension.
The Knights of Modernism: The Chivalric Ideal in the World Novel of the 20th Century (Schriften zur Weltliteratur/Studies on World Literature #12)
by Branko VranešAccording to the customary literary-historical and theoretical notion, the fact that the first modern novel represents a parody or travesty of the chivalric ideal merits no particular attention. Failing to become attuned to the real role of the chivalric ideal at the beginning of the era of the modern novel, commentators missed the chance to adequately review the role of chivalry at the end of that period. The modern novel did not only begin, but also ended with a travesty of the chivalric ideal. The deep need of a significant number of modernist writers to measure their own time according to the ideals of the high and late Middle Ages cannot, therefore, be explained by a set of literary-historical, spiritual-historical or social circumstances. The predilection of a range of twentieth century novelists for a distant feudal past suggests that there exists a fundamental poetic connection between the modern (or at least the modernist) novel and the ideals of chivalry.
Knights in Arms
by Goran StanivukovicDrawing from medieval chivalric culture, the prose romance was a popular early modern genre featuring stories of courtship, combat, and travel. Flourishing at the same moment as the growing English trade with the Eastern Mediterranean, prose romances adopted both Eastern settings and new conceptions of masculinity - commercial rather than chivalric, erotic rather than militant.Knights in Arms moves beyond the best-known examples of the genre, such as Philip Sidney's Arcadia, to consider the broad range of texts which featured the Eastern Mediterranean in this era. Goran Stanivukovic highlights how eroticism within prose romances, particularly homoerotic desire, facilitated commercial, cross-ethnic, and cross-cultural interactions, shaping European knowledge and conceptions of the Mediterranean and the Ottoman Empire. Through his careful examination of these lesser known works, Stanivukovic sheds important light on early modern trade, Mediterranean politics, and the changing meaning of masculinity in an age of commercial expansion.
Knights at Court: Courtliness, Chivalry, and Courtesy from Ottonian Germany to the Italian Renaissance
by Aldo ScaglioneKnights at Court is a grand tour and survey of manners, manhood, and court life in the Middle Ages, like no other in print. Composed on an epic canvas, this authoritative work traces the development of court culture and its various manifestations from the latter years of the Holy Roman Empire (ca. A.D. 1000) to the Italian Renaissance of the fifteenth and sixteenth centuries. Leading medievalist and Renaissance scholar Aldo Scaglione offers a sweeping sociological view of three geographic areas that reveals a surprising continuity of courtly forms and motifs: German romances; the lyrical and narrative literature of northern and southern France; Italy's chivalric poetry. Scaglione discusses a broad number of texts, from early Norman and Flemish baronial chronicles to the romances of Chrétien de Troyes, the troubadours and Minnesingers. He delves into the Niebelungenlied, Dante, Petrarch, Boccaccio, and an array of treatises on conduct down to Castiglione and his successors. All these works and Scaglione's superior scholarship attest to the enduring power over minds and hearts of a mentality that issued from a small minority of people—the courtiers and knights—in central positions of leadership and power. Knights at Court is for all scholars and students interested in "the civilizing process." This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1991.
The Knight, the Cross, and the Song: Crusade Propaganda and Chivalric Literature, 1100-1400 (The Middle Ages Series)
by Stefan Vander ElstThe Knight, the Cross, and the Song offers a new perspective on the driving forces of crusading in the period 1100-1400. Although religious devotion has long been identified as the primary motivation of those who took the cross, Stefan Vander Elst argues that it was by no means the only focus of the texts written to convince the warriors of Western Christianity to participate in the holy war. Vander Elst examines how, across three centuries, historiographical works that served as exhortations for the Crusade sought specifically to appeal to aristocratic interests beyond piety. They did so by appropriating the formal and thematic characteristics of literary genres favored by the knightly class, the chansons de geste and chivalric romance. By using the structure, commonplaces, and traditions of chivalric literature, propagandists associated the Crusade with the decidedly secular matters to which arms-bearers were drawn. This allowed them to introduce the mutual obligation between lord and vassal, family honor, the thirst for adventure, and even the desire for women as parallel and complementary motivations for Crusade, making chivalric and literary concerns an indelible part of the ideology and practice of holy war.Examining English, Latin, French, and German texts, ranging from the twelfth-century Gesta Francorum and Chanson d'Antioche to the fourteenth-century Krônike von Prûzinlant and La Prise d'Alixandre, The Knight, the Cross, and the Song traces the historical development and geographical spread of this innovative use of secular chivalric fiction both to shape the memory and interpretation of past events and to ensure the continuation of the holy war.