Selasa, 15 Oktober 2013

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How to Beat Your Wife, by Dr. Steve Ogan

Most men do not know how to treat their wives, especially when these women fail to play the roles divinely stipulated for them. In this book, you will discover how a husband can help his wife overcome the negative traits in her character while correcting the wrong foundations that may have been laid down in their union.

  • Sales Rank: #4313280 in Books
  • Published on: 2013-06-05
  • Released on: 2013-06-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .38" w x 6.00" l, .50 pounds
  • Binding: Paperback
  • 150 pages

About the Author
Dr. Steve Ogan is a former lecturer in the Department of History, University of Port Harcourt, Nigeria. He holds a PhD in history from the University of Ibadan. He is an anointed teacher and a much sought-after marriage counselor, evangelist, and poet. His ministry is a blessing to many people around the world. He oversees the High Calling Outreach, a literature evangelism ministry. He is married to Atim Sofori Ogan, and they have five sons.

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1 of 1 people found the following review helpful.
MUST HAVE FOR MEN
By Amazon Customer
Bought this product and cant imagine life without it now. It even conveniently rolls up allowing me to practice what i just read while its still fresh in my mind. Paves the way with new outside of the box thinking for beating your wife. After reading this i learned that my ways were arcane at best. With his streamline no B.S. methods i have increased the efficiency of beating my wife by 500 percent. In conclusion if your a man this is a must read!!!!!!!!!!!!

0 of 0 people found the following review helpful.
Fabulous book!
By David Q. Tognoni
Fabulous book. "And it is not about physically beating your wife"

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Senin, 14 Oktober 2013

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  • Published on: 2005-09-08
  • Number of items: 2
  • Binding: Paperback

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Minggu, 06 Oktober 2013

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"Grandma Pearl was born to Abraham and Eva Kudimore in December of 1879. The Kudimor's lived in the town of Savran, located in the province of Podolski-Goberna. The province was in The Pale in the Ukrainian region of Imperial Russia." So begins the story of my grandmother, Pearl Kudimor Golokow. She escaped from Russia in 1906 with three little girls. Interviewed not long before her death in the 1973, I used the transcripts to write down her stories. Her memories cover the escape from Savran; arrival in Ellis Island; early years in New York City, and the move to the Ferrer Colony & Modern School in New Jersey in the 1930's. Grandma had an enormous influence on my life and art. She raised me until I was 10. I include my memories of living with Grandma in the Colony, and attending The Modern School. Originally created as a family heirloom, the requests from friends and acquaintances led me to make it more widely available. This book is illustrated with family and historic photos, documents, and photos of my sculptures. The volume is an artistic collage of my grandmother, the events that affected her, and her enduring influence on my own life.

  • Sales Rank: #4836136 in Books
  • Published on: 2015-09-04
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .18" w x 8.50" l, .44 pounds
  • Binding: Paperback
  • 74 pages

About the Author
Bobby Pearl is many things - lawyer, artist, proud mother and grandmother - to name a few. Her work as a lawyer focused on Mediation and Arbitration while serving on the Federal Mediation and Conciliation Service Panel since 1978. She started studying at at 15 and won awards for her sculptures, as well as publishing articles about art. She has happily made Austin, Texas her home for the past 30 years.

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1 of 1 people found the following review helpful.
Five Stars
By zg
Amazing book. It was deeply touching and personal.

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Jumat, 13 September 2013

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Body, Memory and Architecture, by Kent C. Bloomer and Charles W. Moore

  • Sales Rank: #11364852 in Books
  • Published on: 1979
  • Binding: Paperback

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Senin, 09 September 2013

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How to Bake Everything: Simple Recipes for the Best Baking, by Mark Bittman

In the most comprehensive book of its kind, Mark Bittman offers the ultimate baker’s resource. Finally, here is the simplest way to bake everything, from American favorites (Crunchy Toffee Cookies, Baked Alaska) to of-the-moment updates (Gingerbread Whoopie Pies). It explores global baking, too: Nordic ruis, New Orleans beignets, Afghan snowshoe naan. The recipes satisfy every flavor craving thanks to more than 2,000 recipes and variations: a pound cake can incorporate polenta, yogurt, ricotta, citrus, hazelnuts, ginger, and more. New bakers will appreciate Bittman’s opinionated advice on essential equipment and ingredient substitutions, plus extensive technique illustrations. The pros will find their creativity unleashed with guidance on how to adapt recipes to become vegan, incorporate new grains, improvise tarts, or create customized icebox cakes using a mix-and-match chart. Demystified, deconstructed, and debunked—baking is simpler and more flexible than you ever imagined.

  • Sales Rank: #36762 in eBooks
  • Published on: 2016-10-04
  • Released on: 2016-10-04
  • Format: Kindle eBook

Review

"Bittman’s latest tome cements his position as encyclopedist of modern cooking. Here he focuses on the process of baking, presenting more than 2,000 recipes. It surprises no one that he inventories cakes, cookies, pies, breads, and all manner of pastries, but Bittman delves deep into less expected crackers and their cousins, flatbreads. He also gives instructions for fillings and frostings to top those baked items. Other nonbaked recipes embrace frozen desserts, sauces, and even some candies. Bittman’s gift is the ability to share myriad intelligent approaches to basic recipes, making one formula yield multiple results and encouraging readers to use their own imaginations. Tables and sidebars throughout offer equipment and technique tips. He even shows how to reformat standard recipes into vegan-friendly alternatives. In his quest to leave no baking question unanswered, Bittman advises how to repurpose burned cookies to ensure that even disaster can be salvaged. This compendium is the next best thing to having the master himself in the kitchen, and should be a staple for all public library collections."—Booklist (starred review)


"Prolific author and food writer Bittman (How to Cook Everything) brings the joy of baking to life in this comprehensive collection of 2,000 recipes demystifying the baking process. He explains its fundamentals, simple techniques, and foundation recipes that serve as springboards for “a number of easy twists” on from-the-oven homemade treats. Bittman is big on improvisational embellishments, adaptability, and recipe flexibility for every diet, and he creates useful “mix-and-match” charts for substitute ingredients, innovative variations, and add-ins. Sidebars contain advice on topics such as the advantages of milling nut flours at home and the importance of cooking with kids. There’s the lowdown on gluten, 18 flour types, sweeteners, fats and oils, dairy options, and types of chocolate. Flowcharts, lexicons defining baking terminology, and recommendations for tools and core items to stock in a baker’s pantry are also included. The marvels of eggs and every genre of pastry dough, especially puff pastry, are celebrated. This tour through the world of baking doesn’t skimp; it has 15 pages on pancakes alone, charts showing ways to dress up cookies, and 10 varieties of fritters. A section on savory baking features cabbage strudel and corn-filled chicken chile cobbler. There’s nothing half-baked about this impressive omnibus as Bittman delivers the promised “everything” in an epic homage to baking."—Publishers Weekly

"Since How To Cook Everything (1998) and How To Cook Everything Vegetarian (2007) are two of my cookbook staples, I was excited to receive How To Bake Everything: Simple Recipes for the Best Baking (Houghton Harcourt. Oct.), the latest release from food journalist and former New York Times columnist Mark Bittman. From bakeware basics to getting started with brownies, pies, or breads, this work will provide bakers at all levels with something new. My husband has already tried a pound cake recipe, plus some frostings to go along with it. Naturally, I plan to experiment with more recipes while watching PBS’s The Great British Baking Show."—Library Journal

“Wow! Once again, Bittman shows that he’s unafraid of the big. He manages to take on ‘everything’ to do with baking without losing track of how simple, fun, and delicious it should be.”—Yotam Ottolenghi, author of Jerusalem, Plenty, and Nopi
 
“He’s taught us how to cook everything before, and now it’s time to bake. Leaving no question unanswered, here Mark Bittman has mastered all things baking, ensuring that everyone from novices to guys like me can whip, fold, and maybe even knead bakery-worthy breads and pastries from their home ovens.”—Jim Lahey, founder/owner of Sullivan Street Bakery and author of My Bread
 
“How to Bake Everything is more than a recipe book, it is a constant companion to help navigate the complex vocabulary and techniques of the mysterious and joyous world of baking. Bittman dispels all of my previously perplexing baking phobias so that I can now truly create delicious and satisfying pies, loaves, and slumps with confidence for the first time in my long chef’s life. You NEED this book! It will replace all baking cookbooks in my library and its pages are destined for the same stained and dogeared finish as How to Cook Everything!”—Mario Batali, chef, entrepreneur, and philanthropist
 
“The genius of Mark Bittman’s approach is his eminent practicality and consistent ability to elucidate and unravel the hows and whys of good cooking. How to Bake Everything is a grand addition to any cook’s repertoire—in simplicity one finds greatness.”—Christopher Kimball, founder of Milk Street Kitchen

"Like all of Bittman’s books, this is incredibly comprehensive — with over 2,000 recipes — and it makes for a perfect starter book for new bakers."—Grub Street

"The prolific Mark Bittman is back with How to Bake Everything. This time, he's taking on the cooking domain often viewed as too rigid and precise for the casual cook and Bittman-ized it, showing us what is negotiable and what isn't, focusing on simple core recipes with lots of variations, along with charts, lists, and illustrations. His aim is to turn us all into confident, creative bakers who can improvise, adapted, and customize, whether baking a tart, a cake, cookies, flat-bread, a crusty baguette or a flaky croissant." — Sybil Pratt, BookPage

About the Author
MARK BITTMAN is the author of more than 20 books, including the best-selling, award-winning How to Cook Everything series, several of which are also successful apps. As a beloved New York Times columnist and writer, he produced The Minimalist column, hundreds of food and travel stories and videos, and was the country's leading weekly Opinion writer on food. He now devotes his time to cookbooks, teaching, and developing strategies to guarantee that food is fair, affordable, nutritious, green, and delicious. He can be found at markbittman.com, @bittman on Twitter, and @markbittman on Instagram.

Most helpful customer reviews

48 of 50 people found the following review helpful.
Pretty please with sugar on top, bake recipes from the book before you review...
By MadMeg
Of the 13 reviews so far, only one person has actually baked from the book and with questionable results. Another review did have some results but it is no longer is on line. I bought How To Cook Everything when it first came out in 1998 and used it so often when cooking that the binding is no longer attached. I've given or suggested HTCE for new cooks for years. I own other Bittman books that I don't use quite so much but reference them on occasion. This book was one I really wanted and I pre-ordered it. I'm really focused on improving my baking this winter.

I'm not sold on this book yet and wish reviews would be updated by people after they've actually baked from it. Yes it is full of information and there's lots of good sounding recipes, but information and good sounding don't necessarily equate with good results. Baking is much more science than art so the information needs to be spot on. Unlike cooking where questionable results in many cases can be tweaked to be edible or even better than the recipe, this is not always the case with baking. So here's my take so far.

I made the banana bread and like the prior reviewer whose post is no longer viewable, it was dense. Since we both had the same result, I'll keep the current recipe which is loved by all. I made the Overnight Waffles for use in a Belgian waffle maker. The description reads light and chewy. They were definitely chewy. To contrast, I made the King Arthur waffles the next morning and this was undoubtedly the winner.

The first shot at the no knead bread was a gloppy mess, which led to me overworking the dough and eventually throwing it out. Cut to the NYTimes video of Mark and Jim Leahy and voila, my bread came out perfectly using the NYT recipe, which is different than the book. Made the HTBE version again and it was same result as the first time which is runnier and goopier than the NYT version. I baked it and it was fine. Didn't look as nice as the NYT version and not as easy to work with, but texture and flavor were nice. Waited a couple of days and I made it again.
Im going to stick to the NYT version. The ratio of measured ingredients is not the same between the two recipes, which speaks to using weight as the reference in a recipe. Also, short of reading about working with sticky dough six pages earlier, a person not familiar with bread baking would be confused by the optional 2 tbsp of olive oil. There should at least be a mention next to the word optional about greasing the bowl with it.

The recipe for the sourdough starter was a bomb. I now have the KA one finishing up in the kitchen and I will stick to it.

I'm ready to bake from The Four and Twenty Blackbirds Pie book and will do a comparison between their crust which is not made with a food processor and Mark's which is. I hope more reviewers actually review after trying some of the recipes and not just based on appearances. Certainly I've not made enough to give a full review on all recipes, but felt it important the book not come off as the solution to every homemakers desire to nail baking first time around without anyone commenting on results.

18 of 18 people found the following review helpful.
Destined to be dog-eared and stained.
By silent thinker
This is a cook book for people like me, who can't help tweaking recipes. Mark Bittman, like in his other books, has recipes with multitude suggestions for personalizing the baked goodies.

This was the Bittman weekend at my house. Here are the recipes I've tried, with my thoughts on the final items.

Banana Bread. Easy recipe, no problems. I gave the bread 4.5/5. It was a bit too sweet for my taste (maybe the bananas were extra sugary?), but I am biased. I've used an awesome recipe for years that contains sour cream, and Bittman's recipe doesn't. His was a bit firmer than mine, but then again, that's a matter of preference.

Pumpkin pie. That's 2 recipes, the flaky crust (good -- though I might've gotten carried away and over processed it a bit, but it held up fine). The pie could have used more spices, but the texture and mouth-feel were excellent. Definitely beats store bought!

Popovers. I got six giant ones baked in a large size popover pan (recipe for 12 small). Excellent!

And then for the holy grail. Brownies. I've spent my life searching for the perfect one...This might be it. He uses cocoa, not chocolate, but I did add the bonus chocolate chunks, one of the optional tweaks he recommended. Soft, fudgy, chocolatey, gooey.... next attempt will be with Valrohna instead of Hershey's, and I'll know for sure if I the search is over!

I agree with the reviewers who commented on the lack of measurements in weights. I was miffed when a recipe read to use a "stick" of butter, and I had Plugra brand, that's 8 oz, while the usual stick in the US is 4oz, one of four in the package. I played safe and used 4oz of it, and the recipe worked. I suspect the lack of weight measurements may be a carry-over from his cooking books, but baking needs to be more exact, and the oversight is almost inexcusable. So, I'm with the other reviewers on that, and am knocking off a star.

However, I'm discovering that I prefer the format and style of this book more so than my previous go-to all-purpose baking tome, the King Arthur Flour Bakers Companion, which has been relegated to the Goodwill pile. It's easier for me to riff off a "master" recipe than to pore through ten similar recipes (e.g. Muffins with variations vs. pages of different muffins that are all essentially the same basic recipe). This may be preferable to those of us who are somewhat experienced bakers, might be harder for brand new ones. For this, though, I'm giving 3/4 of a star back.

Final verdict: 4.75 stars.

I have a few more recipes planned for this week. If there is a significant change to my rating, I will update the review.

One last disclaimer: I paid for this book, wasn't given any freebies, and I don't know Mr Bittman!

31 of 35 people found the following review helpful.
Awesome
By M. E. Carter
I'm a professional baker and because I own a few of Mark Bittman''s cookbooks I thought I'd get this one a try as well. It arrived today and it's another winner by Bittman. It's very detailed and thorough. This is great for bakers of all levels. It breaks down ingredients, equipment and techniques wonderfully. It has a lot of basic recipes with different variations. This book is a great learning tool, however you don't get pictures of food in this book other than illustrations when showing you how to do a action. I'm purchasing two more, one for each of my daughters to have.

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Minggu, 08 September 2013

[B118.Ebook] Download The Rhetoric of Fiction, by Wayne C. Booth

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The Rhetoric of Fiction, by Wayne C. Booth

The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.

For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

  • Sales Rank: #138680 in Books
  • Published on: 1983-02-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.50" h x 5.33" w x 8.08" l, 1.33 pounds
  • Binding: Paperback
  • 572 pages

About the Author
Wayne C. Booth (1921–2005) was the George Pullman Distinguished Service Professor at the University of Chicago. His many books include The Rhetoric of Fiction, A Rhetoric of Irony, The Power and Limits of Pluralism, The Vocation of a Teacher, and Forthe Love of It, all published by the University of Chicago Press.

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146 of 148 people found the following review helpful.
expand your appreciation of fiction
By Paul Vitols
This thoughtful, probing exploration of how fiction is narrated will make you a better reader and a better writer.

The title's reference to "rhetoric of fiction" makes this book sound obscure and academic, but I found Booth's inquiry into fictional "rhetoric"--that is, the techniques used by authors to persuade readers to accept what they are reading--accessible and insightful. Starting from the old "show vs. tell" debate of fiction-writing (the relative merits of presenting action directly vs. summarizing and explaining), Booth points out that storytelling has always involved the artifice of the author's giving the reader information, as of the inner nature of a character, that is not available to us in real life. We accept the biblical narrator's description of Job as a man who is perfect, upright, and who eschews evil, when we would never accept any such statements made by one living person about another.

Taking examples from a variety of works, from "The Odyssey" to "The Decameron" to "Emma" to "A Portrait of the Artist as a Young Man", Booth shows how writers' approaches to narration have evolved to the 20th-century situation of authors' attempts to efface the narrator altogether and give the impression that the narrator is not providing any point of view at all (Booth thinks this effort hasn't exactly worked--at least, not without large and perhaps unintended tradeoffs). A recurring touchstone in the book is Henry James, who Booth feels is a particular master of the subtleties of narration and its authority.

Booth is clearly a knowledgeable and perceptive reader, but his tone is common-sense and reader-friendly. He is not an ivory-tower lecturer; he comes across as someone who loves fiction and who enjoys delving into its mysteries. He is disarmingly candid about the lack of critical consensus on just about any aspect of literature, and what this implies about its so-called experts.

Of course, the more of the works you have read that he discusses, the more you can get out of the discussion, although I enjoyed reading about works I had not yet read, and indeed Booth's appreciation of them encouraged me to read some I might not have otherwise (in my case, Jane Austen's "Emma").

One of my main recurring thoughts in reading this book was, "Hm, I never thought about that..." This is a critical work that does not kill works of art through analysis, but rather stimulates a heightened appreciation by looking at new subtleties in fiction. My relationship with fiction--a relationship that is very important to me--was deepened by reading this book.

40 of 42 people found the following review helpful.
Every book expresses a set of values
By Evelina
Booth wrote this excellent work to counter the notion that readers can enjoy a novel purely on aesthetic grounds, without regard to the meaning of the book. He counters the notion that meaning does not matter or that it is possible to write without meaning. The book is a response to the theory of deconstructionism. Booth makes the point that every novel expresses an idea of what the author thinks is right and what the author thinks is wrong, even if the author denies any such intention. Many modern works, such as those by Camus, for instance, seem at first reading to be completely bare of endorsing any values. I don't believe in good or bad, they may appear to be saying. But upon closer examination, we see that Camus tells the reader that art is good or that feeling or being alive is good. So he does have a value system. Modern authors may claim that they do not take sides or that they are purely relativistic. But in the end, they all show that they value one thing over another thing. Many modern writers who deny having values turn out in reality to value tolerance or freedom.

Everyone who reads Pride and Prejudice agrees that the author is telling us that it is good that Elizabeth gave up her prejudice and that Darcy gave up his pride. Even if there is a reader who does not agree with such sentiments, he or she cannot deny that Austen does express those sentiments.

Having made the point that a writing must express a value system, Booth goes on to ask what kind of values books generally endorse. He finds that writers almost universally endorse what most of us understand to be the good and dislike what we understand to be the bad. At one point, Booth asks if someone had written an excellent book from the viewpoint of a nazi officer for whom the end of the Third Reich was a tragedy, a book with wonderful language, sentence construction, imagery, etc. would we like it as much as we like Hamlet. Would we regard the fate of the nazi officer, death at the hands of allied troops, as great a tragedy as the fate of Hamlet? Unlikely. And what about a reader who knew nothing about the nazis? What if the writer said that he was not endorsing the nazi viewpoint but was careful not to state that explicitly. Would a description of nazi beliefs or actions be enough to make them repugnant to the reader? Booth's answer is no. He believes that unless the context has a definite message - this is bad (or good)- the writer cannot rely on the reader coming to that conclusion, no matter what the writer puts down on paper. Recording the action say, of putting people in death camps, will not necessarily lead to the conclusion that such is a bad action. The writer, including writers who deny any such intent, guides the reader in what and how to think. (I don't remember Booth talking about it, but has not Gone with the Wind for many decades given readers the impression that slavery was not that bad?)

Booth does not believe that it is possible to record a purely neutral action. Every word that is put to paper stakes out one position or another.

Booth provides a masterly discussion of how literature affects the reader.
Many people, the people among us that apparently have the highest IQs, deny any connection between values and art, much less morality and art. But Booth points out how we feel when we read a book that does not endorse our values. We feel repugnance. Many readers, for instance, find it hard to like Mansfield Park. They find it hard to accept that Austen is endorsing the conservative scheme of morality in the book.

All in all, Booth shows us, in very clear language, how fiction works.

18 of 19 people found the following review helpful.
Booth's Most-Recognized Book
By J. F. Stanley
Here is what I wrote on Wikipedia about this book (I am Jstanley01 on the Page History document there):

In what was likely Booth's most-recognized book, The Rhetoric of Fiction, he argued that all narrative is a form of rhetoric.

The book can be seen as his critique of those he viewed as mainstream critics. Critics according to Booth, who cites an abundant array of sources, that beginning roughly with Henry James began to emphasize the difference between "showing" and "telling" in fiction. And who have placed more and more of a dogmatic premium on "showing."

Despite the realistic effects that modern authors have achieved, according to Booth, trying to distinguish narratives in this way is simplistic and deeply flawed. He argued, citing authors of a variety of stripes, that they invariably both show and tell. And he observed that they appear to choose between the techniques based upon decisions about how to convey their various "commitments" along various "lines of interest."

Booth's criticism can be viewed as distinct from traditional biographical criticism (still practiced, especially among popular critics), the new criticism which argued that one can only talk about what the text says, and the modern criticism which argues for the "eradication" of authorial presence. Booth claimed that it is impossible to talk about a text without talking about an author, because the existence of the text implies the existence of an author.

Booth not only argued that, whether or not an author -- as distinct from the narrator of a text -- intrudes directly in a work, that readers will always infer the existence of an author behind any text they encounter. He also claimed that readers always draw conclusions about the beliefs and judgments (and also, conclusions about the skills and "success") of a text's implied author, along the text's various lines of interest:

"However impersonal he may try to be, his readers will inevitably construct a picture of the official scribe who writes in this manner -- and of course that official scribe will never be neutral toward all values. Our reaction to his various commitments, secret or overt, will help to determine our response to the work."[1]

This implied author (a widely-used term that Booth coined in this book; who he also called an author's "second self"[2]) is the one who "chooses, consciously or unconsciously, what we read; we infer him as an ideal, literary, created version of the real man; he is the sum of his own choices"[3]

Booth also spent several chapters -- which include numerous referrals to and citations from widely-recognized works of fiction -- describing the various effects that implied authors achieve along the various lines of interest that he identifies, and the pitfalls they fall into, depending upon whether or not the implied author provides commentary, and upon the degree to which a story's narrator is reliable or unreliable, personal or impersonal.

Booth detailed three "Types of Literary Interest" that are "available for technical manipulation in fiction":

"(1) Intellectual or cognitive: We have, or can be made to have, strong intellectual curiosity about "the facts," the true interpretation, the true reasons, the true origins, the true motives, or the truth about life itself. (2) Qualitative: We have, or can be made to have, a strong desire to see any pattern or form completed, or to experience a further development of qualities of any kind. We might call this kind "aesthetic," if to do so did not suggest that a literary form using this interest was necessarily of more artistic value than one based on other interests. (3) Practical: We have, or can be made to have, a strong desire for the success or failure of those we love or hate, admire or detest; or we can be made to hope for or fear a change in the quality of a character. We might call this kind "human," if to do so did not imply that 1 and 2 were somehow less than human."[4]

In the 1983 edition of The Rhetoric of Fiction, in which a lengthy addendum to the original 1961 book was published, Booth outlined various identities taken on by both authors and readers: The Flesh-and Blood Author, the Implied Author, the Teller of This Tale, the Career Author, and the "Public Myth"; and, the Flesh-and-Blood Re-Creator of Many Stories, the Postulated Reader, the Credulous Listener, the Career Reader, and the Public Myth about the "Reading Public."[5]

[...]
_______________________________

[1] The Rhetoric of Fiction 71.

[2] The term "second self" was brought into prominence by Kathleen Tillotson (1959), see Tom Kindt, Hans-Harald Müller, The Implied Author: Concept and Controversy (2006) p. 50).

[3] The Rhetoric of Fiction 74-75.

[4] The Rhetoric of Fiction 125.

[5] The Rhetoric of Fiction 428-421.

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Solve Your Child's Sleep Problems — The Complete Practical Guide for ParentsFrom Dorling Kindersley

  • Published on: 1987
  • Binding: Unknown Binding

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