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The lives of South Africans have always been interwoven in complex ways. There is a long history of division; but also of profound (and often surprising) instances of mutual recognition. Recognition is an exciting anthology of short stories in which twenty-two South African writers render these intricate connections.
The writers whose stories have been selected use the transformative power of the imagination and the unique appeal of the short story to illuminate aspects of our past and present. Cumulatively their stories tell of a history tainted by misrecognition but not, finally, bound by it. Amongst the twenty-two contributors are some of our best-known short story writers: Pauline Smith, Herman Charles Bosman, H.I. E. Dhlomo, Can Themba, Nadine Gordimer, Alex La Guma, Dan Jacobson, Miriam Tlali, Ahmed Essop, Njabulo Ndebele, Mandla Langa, Chris van Wyk, Damon Galgut, Achmat Dangor and Zoe Wicomb. And there is also a selection of vibrant newer voices: Makhosazana Xaba, Nadia Davids, Mary Watson, Lindiwe Nkutha, Wamuwi Mbao and Kobus Moolman.
Chronologically the collection ranges from the 1920s to the twenty first century. It builds on its predecessor, Encounters, but devotes significant attention to the transitional and post-apartheid years: almost half the stories were published after 1994. The anthology includes a generous and detailed introduction, written by David Medalie. It traces the motif of recognition, discusses the general characteristics of short stories and the narrative devices used by writers, and includes a brief analysis of each short story.
Recognition will appeal to teachers and students of literature. It will be enjoyed by all those who love short stories and appreciate the craftsmanship involved in telling a memorable tale.
Critical Reading and Writing in the Digital Age is a fully introductory, interactive textbook that explores the power relations at work in and behind the texts we encounter in our everyday lives. Using examples from numerous genres - such as fiction, poetry, advertisements and newspapers - this textbook examines the language choices a writer must make in structuring texts, representing the world and positioning the reader. Assuming no prior knowledge of linguistics, Critical Reading and Writing in the Digital Age offers guidance on how to read texts critically and how to develop effective writing skills. Extensively updated, key features of the second edition include: a radically revised and repackaged section that highlights the theme of discourses of power and authority and the new possibilities for resisting them; a revamped analysis of the art of communication which has changed due to the advent of new media including Facebook and Wikipedia; fresh examples, exercises and case studies including fan fiction, articles from the BBC, Daily Mail and South China Morning Post, and a selection of international ads for a variety of products; a brand new companion website at www.routledge.com/cw/goatly featuring projects, quizzes and activities for each chapter, a glossary and further reading. Written by two experienced teachers, Critical Reading and Writing in the Digital Age is an ideal coursebook for students of English language.
In Losing The Plot, well-known scholar and writer Leon de Kock offers a lively and wide-ranging analysis of postapartheid South African writing which, he contends, has morphed into a far more flexible and multifaceted entity than its predecessor. If postapartheid literature's founding moment was the 'transition' to democracy, writing over the ensuing years has viewed the Mandelan project with increasing doubt. Instead, authors from all quarters are seen to be reporting, in different ways and from divergent points of view, on what is perceived to be a pathological public sphere in which the plot- the mapping and making of social betterment - appears to have been lost.
The compulsion to forensically detect the actual causes of such loss of direction has resulted in the prominence of creative nonfiction. A significant adjunct in the rise of this is the new media, which sets up a 'wounded' space within which a 'cult of commiseration' compulsively and repeatedly plays out the facts of the day on people's screens; this, De Kock argues, is reproduced in much postapartheid writing.
And, although fictional forms persist in genres such as crime fiction, with their tendency to overplot, more serious fiction underplots, yielding to the imprint of real conditions to determine the narrative construction.
Beginning theory has been helping students navigate through the thickets of literary and cultural theory for over two decades. This new and expanded fourth edition continues to offer readers the best single-volume introduction to the field. The bewildering variety of approaches, theorists and technical language is lucidly and expertly unravelled. Unlike many books which assume certain positions about the critics and the theories they represent, Beginning theory allows readers to develop their own ideas once first principles and concepts have been grasped. The book has been updated for this edition and includes a new introduction, expanded chapters, and an overview of the subject ('Theory after "Theory"') which maps the arrival of new 'isms' since the second edition appeared in 2002 and the third edition in 2009. -- .
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Once upon a time, the news was only 15 minutes long and middle-class families huddled around a tiny black-and-white screen, TV dinners on their laps, awaiting the weekly showing of sitcoms that depicted an all-white world in which mom wore pearls and heels as she baked endless pies. The revelation that answers were fed to contestants on quiz shows was a national scandal, and the Vietnam War and JFK's assassination were unprecedented eruptions of real-time disaster into the placid televisual world. If this seems a distant past, that's a measure of just how much TV has changed-and changed us. Weaving together personal memoir, social and political history, and reflecting on key moments in the history of news broadcasting and prime time entertainment, Susan Bordo opens up the 75-year-old time-capsule that is TV and illustrates what a constant companion and dominant cultural force television has been, for good and for bad, in carrying us from the McCarthy hearings and The Adventures of Ozzie and Harriet to Mad Men, Killing Eve, and other challenges to the mythology of post-war suburbia-and the emergence of our first "reality tv president." Object Lessons is published in partnership with an essay series in The Atlantic.
Belonging Beyond Borders maps the evolution of cosmopolitanism in Spanish American narrative literature through a generational lens. Drawing on a new theoretical framework that blends intellectual studies and literary history with integrated approaches to Spanish American narrative, this book traces the evolution from aesthetic cosmopolitanism through anti-colonial nationalism to modern political cosmopolitanism. Cosmopolitanism in Latin America has historically been associated with colonialism. In the mid-twentieth-century, authors who presented cosmopolitan narratives were harshly criticized by their nationalist peers. However, with the intensification of cultural globalization Spanish American authors have redefined cosmopolitanism, rejecting a worldview that relies on the creation of an other for the definition of the self. Instead, this new generation has both embraced and challenged global citizenship, redefining concepts to address human rights, identity, migration, belonging, and more. Taking the work of Elena Poniatowka, Mario Vargas Llosa, and Jorge Volpi as examples, this book presents innovative scholarship across literary traditions. It shows how Spanish-American authors offer nuanced understandings of national and global affiliations, and identities and untangles the strings of cosmopolitan thought and activism from those of nationalist criticism.
"The Field of Cultural Production" brings together Bourdieu's most important writings on art, literature and aesthetics. Bourdieu develops a highly original approach to the study of literary and artistic works, addressing many of the key issues that have preoccupied literary, art and cultural criticism in the late twentieth century: aesthetic value and judgement, the social contexts of cultural practice, the role of intellectuals and artists, and the structures of literary and artistic authority.
Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation and consumption. He examines the individuals in institutions involved in making products: not only the writers and artists, but also the publishers, critics, dealers, galleries and academies. He analyses the structure of the cultural field itself, as well as its position within the broader social structures of power.
The essays gathered together in this volume examine a variety of substantive topics, including Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. "The Field of Cultural Production" will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art and cultural studies.
In November 2017 Ali Smith gave the annual Muriel Spark Lecture to kick off the Muriel Spark centenary celebrations. Those lucky enough to get tickets were treated to an invigorating, joyous call-and-response between two of our best writers, both supremely talented in the playful interrogation of truth, power, art and living. In Spark, Smith finds the most formidable inspiration. In Smith, Spark has a formidable champion, one who shows us how Spark's work resonates now more than ever. If you want to read a regenerative blast in praise of how and why fiction matters, start here, and, as Spark writes, `Hear me to the end.'
Kan wat vandag deurgaan as "kabaret" die toets met die verlede deurstaan? In Koffer in Berlyn ontleed Aucamp die talle fasette van kabaret: die integrasie tussen beeld, musiek en woord – met 'n tema en struktuur waarin ironie sentraal staan. Lesings, resensies, koerant- en tydskrifartikels ander letterkundige bydraes, sowel as uittreksels van sommige van Aucamp se kabarette word hier meesterlik byeengebring.
What is narrative? How does it work and how does it shape our lives? H. Porter Abbott emphasizes that narrative is found not just in literature, film, and theatre, but everywhere in the ordinary course of people's lives. This widely used introduction, now revised and expanded in its third edition, is informed throughout by recent developments in the field and includes one new chapter. The glossary and bibliography have been expanded, and new sections explore unnatural narrative, retrograde narrative, reader-resistant narratives, intermedial narrative, narrativity, and multiple interpretation. With its lucid exposition of concepts, and suggestions for further reading, this book is not only an excellent introduction for courses focused on narrative but also an invaluable resource for students and scholars across a wide range of fields, including literature and drama, film and media, society and politics, journalism, autobiography, history, and still others throughout the arts, humanities, and social sciences.
From the end of the nineteenth century and into the twenty-first, Arabic novels and Egyptian fiction have experienced a rebirth as the literary landscape has become more diverse and inclusive. Writing has moved beyond the established themes in the national canon to engage with neocolonial discourses in the globalised world. In Gender, Nation, and the Arabic Novel, Elsadda revisits the modern Arab literary tradition from a gender lens, questioning the process of inclusion and exclusion. In doing so, she recovers literary voices that have been marginalised because they did not fit into the ideological blueprint of the cultural elite. Exploring the literary narratives of prominent authors such as Naguib Mahfouz, Latifa al-Zayyat, and Mohammed Hussein Haikal, Elsadda interrogates the representations of femininity and masculinity in modern Arabic fiction. With a New Woman figure in Arabic literature, she distinguishes between those who support or critique modernist nation building; she also looks at the construction of the New Man and the texts that feature men who represent desirable and undesirable characteristics for the modern nation. By creating a dialogue with a broad range of novels, literary criticism, and social commentaries of men and women, Elsadda's analysis of literary masculinities goes beyond the limitations of Arabic novels and can be applied to all third world literary works that have been described as national allegories.
Die Afrikaanse literatuur het 'n aangrypende lewe in Afrika oopgeskryf. Hierdie lewe kry sy beslag in 'n boeiende takelwerk verse, in 'n kennis van die aand en deur die oe van 'n siener in die suburbs. Kannas kom huis toe en Poppies loop die lange swerfjare deur. Nie slegs die belletrie (die arbeid van skeppende skrywers) is indrukwekkend nie, maar ook die getuienis van kundige lesers - die leesaktiwiteite van akademici wat sin moet maak van skeppende arbeid, wat die patrone moet ople en die teoretiese lense instel op die gedig, die toneelstuk, die essay, die drama of roman. Akademies gesproke is Perspektief en profiel 'n onontbeerlike handleiding. Dit is tans die belangrikste beskouing van ons skryfwerk in Afrikaans en die begeleidende literere gesprek. Dit bied insig in die oeuvres van die belangrikste skrywers (die "profiel" in die boektitel), maar is ook 'n bestekopname van verskuiwende teoretiese gesigspunte en aksente en 'n kartering van die gebied, vandaar die "perspektief". Dit toon by implikasie oortuigend aan hoedat die Afrikaanse letterkunde aansluit in suid-suid-verband met ander literature van die halfrond, en ondersoek die historiese en tydgenootlike noord-suid-bande en -spanninge. Ook verken dit die skryftegnieke en die produksie en resepsie van die Afrikaanse teks in Afrika. Dis 'n boek wat sensitief is vir die polities-kulturele omgewing wat steeds omvorm word deur die momentum geskep deur die koms van demokrasie in 1994. Eerder as om 'n literatuurgeskiedenis te probeer wees wat die finale woord wil spreek en ondubbelsinnig kanoniseer, word die literatuur hier as strydperk aangebied. Hierdie veelstemmige gesprek matig sigself as literatuurgeskiedenis nie objektiwiteit aan nie, maar huldig verskeidenheid en teenspraak. Perspektief en profiel toon aan dat die Afrikaanse letterkunde diep geent is in die kontinent Afrika. Dit boekstaaf die geestesprestasie van mense aan die suidpunt van 'n uitdagende kontinent. Dit is mense wat rekenskap gee van hul ontheemding en twyfel, maar ook van inburgering en liefde vir die land, van verwantskap met landgenote wat ander geskiedenisse en huistale het. Dis 'n literatuur van hierwees en aanhanklikheid aan plant en dier, landskap en leemte. Perspektief en profiel verskyn tydens die groot wending. Dis 'n tyd waarin die Boek soos geslagte dit sedert Gutenberg geken het weens die oorgang na digitaliteit onder beleg kom. Die tydsbesteding aan ernstig lees as aktiwiteit verskraal en hierdie boek is 'n tydige herinnering aan die tydsaamheid en denke wat in 'n literatuur opgesluit is. Die boek verdien 'n staanplek in elke Afrikaanssprekende gesin se boekrak of leplek in hul e-boek-biblioteek. Dit is onontbeerlik vir die student en die akademikus. As jy wil weet hoe jou voorgeslagte hul hierwees verwoord het en hoe jou tydgenote jou eie situasie stem gee, is hierdie boek jou toevlug. Deel 2 - Verkorte inhoud: 'n Oorsig van die Afrikaanse drama en teater van 1990 tot 2010 'n Perspektief op die Afrikaanse drama van 1906 tot 1966 Die vroueskrywer in die Afrikaanse letterkunde 'n Perspektief op die Afrikaanse literere tydskrifte 'n Perspektief op kinder- en jeugliteratuur
Die Afrikaanse literatuur het 'n aangrypende lewe in Afrika oopgeskryf. Hierdie lewe kry sy beslag in 'n boeiende takelwerk verse, in 'n kennis van die aand en deur die oe van 'n siener in die suburbs. Kannas kom huis toe en Poppies loop die lange swerfjare deur. Nie slegs die belletrie (die arbeid van skeppende skrywers) is indrukwekkend nie, maar ook die getuienis van kundige lesers - die leesaktiwiteite van akademici wat sin moet maak van skeppende arbeid, wat die patrone moet ople en die teoretiese lense instel op die gedig, die toneelstuk, die essay, die drama of roman. Akademies gesproke is Perspektief en profiel 'n onontbeerlike handleiding. Dit is tans die belangrikste beskouing van ons skryfwerk in Afrikaans en die begeleidende literere gesprek. Dit bied insig in die oeuvres van die belangrikste skrywers (die "profiel" in die boektitel), maar is ook 'n bestekopname van verskuiwende teoretiese gesigspunte en aksente en 'n kartering van die gebied, vandaar die "perspektief ". Dit toon by implikasie oortuigend aan hoedat die Afrikaanse letterkunde aansluit in suid-suidverband met ander literature van die halfrond, en ondersoek die historiese en tydgenootlike noordsuid-bande en -spanninge. Ook verken dit die skryftegnieke en die produksie en resepsie van die Afrikaanse teks in Afrika. Dis 'n boek wat sensitief is vir die polities-kulturele omgewing wat steeds omvorm word deur die momentum geskep deur die koms van demokrasie in 1994. Eerder as om 'n literatuurgeskiedenis te probeer wees wat die fi nale woord wil spreek en ondubbelsinnig kanoniseer, word die literatuur hier as strydperk aangebied. Hierdie veelstemmige gesprek matig sigself as literatuurgeskiedenis nie objektiwiteit aan nie, maar huldig verskeidenheid en teenspraak. Perspektief en profiel toon aan dat die Afrikaanse letterkunde diep geent is in die kontinent Afrika. Dit boekstaaf die geestesprestasie van mense aan die suidpunt van 'n uitdagende kontinent. Dit is mense wat rekenskap gee van hul ontheemding en twyfel, maar ook van inburgering en liefde vir die land, van verwantskap met landgenote wat ander geskiedenisse en huistale het. Dis 'n literatuur van hierwees en aanhanklikheid aan plant en dier, landskap en leemte. Perspektief en profiel verskyn tydens die groot wending. Dis 'n tyd waarin die Boek soos geslagte dit sedert Gutenberg geken het weens die oorgang na digitaliteit onder beleg kom. Die tydsbesteding aan ernstig lees as aktiwiteit verskraal en hierdie boek is 'n tydige herinnering aan die tydsaamheid en denke wat in 'n literatuur opgesluit is. Die boek verdien 'n staanplek in elke Afrikaanssprekende gesin se boekrak of leplek in hul e-boek-biblioteek. Dit is onontbeerlik vir die student en die akademikus. As jy wil weet hoe jou voorgeslagte hul hierwees verwoord het en hoe jou tydgenote jou eie situasie stem gee, is hierdie boek jou toevlug. Perspektief en profiel Deel 3 bevat drie perspektiewe, asook outeursprofiele alfabeties gerangskik van S tot Z.
Gender in American Literature and Culture introduces readers to key developments in gender studies and American literary criticism. It offers nuanced readings of literary conventions and genres from early American writings to the present and moves beyond inflexible categories of masculinity and femininity that have reinforced misleading assumptions about public and private spaces, domesticity, individualism, and community. The book also demonstrates how rigid inscriptions of gender have perpetuated a legacy of violence and exclusion in the United States. Responding to a sense of 21st century cultural and political crisis, it illuminates the literary histories and cultural imaginaries that have set the stage for urgent contemporary debates.
In SUPPOSE A SENTENCE, Brian Dillon turns his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence - from Shakespeare to Gertrude Stein, John Ruskin to Joan Didion - the book explores style, voice, and language, along with the subjectivity of reading. Both an exercise in practical criticism and a set of experiments or challenges, SUPPOSE A SENTENCE is a polemical and personal reflection on the art of the sentence in literature. Whether the sentence in question is a rigorous expression of a state of vulnerability, extremity, even madness, or a carefully calibrated arrangement, Dillon examines not only how it works and why but also, in the course of the book, what the sentence once was, what it is today, and what it might become tomorrow.
"It is with no desire or hope to promote a correct or superior form
of textuality, with no desire to correct a so-called interpretive
or editorial textual abuse, nor any attempt to prevent anyone from
doing anything imaginable with texts or books that I have
undertaken this book. . . ." So writes Peter Shillingsburg in his
introduction to this series of meditations on the possibilities of
deriving "meaning" from the texts we read.
This book examines tragedy and tragic philosophy from the Greeks through Shakespeare to the present day. It explores key themes in the links between suffering and ethics through postcolonial literature. Ato Quayson reconceives how we think of World literature under the singular and fertile rubric of tragedy. He draws from many key works - Oedipus Rex, Philoctetes, Medea, Hamlet, Macbeth, and King Lear - to establish the main contours of tragedy. Quayson uses Shakespeare's Othello, Chinua Achebe, Wole Soyinka, Tayeb Salih, Arundhati Roy, Toni Morrison, Samuel Beckett and J.M. Coetzee to qualify and expand the purview and terms by which Western tragedy has long been understood. Drawing on key texts such as The Poetics and The Nicomachean Ethics, and augmenting them with Frantz Fanon and the Akan concept of musuo (taboo), Quayson formulates a supple, insightful new theory of ethical choice and the impediments against it. This is a major book from a leading critic in literary studies.
Since the Renaissance, what has been considered the \u201cbest\u201d style of writing has always been connected with the dominant cultural agenda of the time. In this book, Kathryn Flannery offers a demystifying perspective on theorists who have argued for an essential distinction between \u201ccontent\u201d and \u201cstyle,\u201d and focuses on the importance of understanding written prose style as a cultural asset. She addresses the development of prose criticism, the evolution of English teaching, the history of Francis Bacon and Richard Hooker's writing, and a modern discourse on stylistics.
Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world. -- .
Standard approaches to James Joyce's ""Dubliners"" usually emphasise Joyce's mastery of realism as well as his tight control of tone, character and detail. Most readings of these stories - whether in formal criticism or in classroom discussion - usually result in a celebration of the ""completeness"" of Joyce's work, the sense of how everything fits together with such seeming inevitability. In ""Reading 'Dubliners' Again"", Garry Leonard takes a different approach. He abandons the traditional clarity of linear progression, as well as the steady accumulation of meaning in order to explore the gaps, silences, elisions, deferred actions, ""self-delusions and false consistencies"" in the texts. In short, Leonard uses the full force of Lacanian theory regarding the nature of discourse to free himself - and his readers - from 75 years of conventional interpretation. Leonard begins with an overview of Lacan and proceeds to examine each of the 13 stories in a separate chapter. Lacan's rethinking of human subjectivity plays throughout the book and ultimately unites it. Not only does Leonard's work preserve the complex interplay between Lacanian theory and Joyce's texts, but also completes another and no less significant project: the rescuing of ""Dubliners"" from the category of ""easy Joyce"". All those working in the fields of Joyce studies, Irish literature, and literary criticism should find ""Reading 'Dubliners' Again"" a useful work of creative scholarship. Students and scholars working in the allied field of literary history, as well as those interested in a creative, new application of the ""French Freud"", should also appreciate this as a thought-provoking analysis.
Album provides an unparalleled look into Roland Barthes's life of letters. It presents a selection of correspondence, from his adolescence in the 1930s through the height of his career and up to the last years of his life, covering such topics as friendships, intellectual adventures, politics, and aesthetics. It offers an intimate look at Barthes's thought processes and the everyday reflection behind the composition of his works, as well as a rich archive of epistolary friendships, spanning half a century, among the leading intellectuals of the day. Barthes was one of the great observers of language and culture, and Album shows him in his element, immersed in heady French intellectual culture and the daily struggles to maintain a writing life. Barthes's correspondents include Maurice Blanchot, Michel Butor, Jacques Derrida, Michel Foucault, Julia Kristeva, Claude Levi-Strauss, Georges Perec, Raymond Queneau, Alain Robbe-Grillet, Marthe Robert, and Jean Starobinski, among others. The book also features documents, letters, and postcards reproduced in facsimile; unpublished material; and notes and transcripts from his seminars. The first English-language publication of Barthes's letters, Album is a comprehensive testimony to one of the most influential critics and philosophers of the twentieth century and the world of letters in which he lived and breathed.
In these widely praised essays, Calvino reflects on literature as
process, the great narrative game in the course of which writer and
reader are challenged to understand the world. Calvino himself made
the selection of pieces to be included in this volume. Translated
by Patrick Creagh. A Helen and Kurt Wolff Book
A case for literary critics and other humanists to stop wallowing in their aestheticized helplessness and instead turn to poetry, comedy, and love. Literary criticism is an agent of despair, and its poster child is Walter Benjamin. Critics have spent decades stewing in his melancholy. What if instead we dared to love poetry? To choose comedy over Hamlet's tragedy, romance over Benjamin's suicide on the edge of France, of Europe, of civilization? Paul Bove challenges young lit critters to throw away their shades and let the sun shine in. Love's Shadow is his three-step manifesto for a new literary criticism that risks sentimentality and melodrama and eschews self-consciousness. The first step is to choose poetry. There has been since the time of Plato a battle between philosophy and poetry. Philosophy has championed misogyny, while poetry has championed women, like Shakespeare's Rosalind. Philosophy is ever so stringent; try instead the sober cheerfulness of Wallace Stevens. Bove's second step is to choose the essay. He praises Benjamin's great friend and sometime antagonist Theodor Adorno, who gloried in the writing of essays, not dissertations and treatises. The third step is to choose love. If you want a Baroque hero, make it Rembrandt, who brought lovers to life in his paintings. Putting aside passivity and cynicism would amount to a revolution in literary studies. Bove seeks nothing less, and he has a program for achieving it.
Die mens se kommer oor die omgewing is een van die dominante temas van die laaste dekades van die 20ste eeu. In die Weste (en in Europa) het omgewingsbewustheid wyd posgevat en selfs 'n modeverskynsel geword. Ofskoon daar in bree verband nog nie genoeg begrip vir die mens se bydrae tot die krisis en sy reaksie op die globale veranderinge is nie, geniet hierdie kwessies toenemend aandag in die kunste. Ook in die letterkunde kan die "groen gesprek" as 'n belangrike groeipunt beskou word.
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