From Carol Jago and the authors of The Language of Composition comes the first textbook designed specifically for the AP* Literature and Composition course. Arranged thematically to foster critical thinking, Literature & Composition: Reading • Writing • Thinking offers a wide variety of classic and contemporary literature, plus all of the support students need to analyze it carefully and thoughtfully. The book is divided into two parts: the first part of the text teaches students the skills they need for success in an AP Literature course, and the second part is a collection of thematic chapters of literature with extensive apparatus and special features to help students read, analyze, and respond to literature at the college level. Only Literature & Composition has been built from the ground up to give AP students and teachers the materials and support they need to enjoy a successful and challenging AP Literature course. Use the navigation menu on the left to learn more about the selections and features in Literature & Composition: Reading • Writing • Thinking. *AP and Advanced Placement Program are registered trademarks of the College Entrance Examination Board, which was not involved in the publication of and does not endorse this product.

A literary genre is a category of literary composition. Genres may be determined by literary technique, tone, content, or even (as in the case of fiction) length. The distinctions between genres and categories are flexible and loosely defined, often with subgroups. The most general genres in literature are (in loose chronological order) epic, tragedy, comedy, and creative nonfiction. They can all be in the form of prose or poetry. Additionally, a genre such as satire, allegory or pastoral might appear in any of the above, not only as a subgenre, but as a mixture of genres. Finally, they are defined by the general cultural movement of the historical period in which they were composed. This book discusses over 40 forms of literary genres that have survived the test of time and considered classics in literature. Any writer or reader is served well to know and study these genres.

Adaptation of literary texts, be it Indian or foreign, into Indian cinema or Indian literary texts into foreign cinema, is not new for film makers, rather one can say that such adaptation is as long as film making itself. Last few decades have witnessed a spectacular rise of many such adaptations produced out of literary texts. From past to present, literary texts of many popular writers from national to global level have been adapted into Indian cinema and also Indian literary texts into foreign cinema. However, adapting a literary work into a two or three hours cinema, mostly in case of a novel is not always an easy task to a film maker as sometimes, accommodation does not come to fit in the stipulated time frame which eventually results in messing up the whole essence of the original art. Regardless of partial or whole, a cinema based on literary text has always been a great appeal to an erudite person. The present anthology is an endeavour of some select Indian cinema based on literary texts, irrespective of Indian and foreign and also some foreign cinema based on wholly Indian literary texts. Be it Indian cinema based on popular world literature or foreign cinema based on wholly Indian texts, the book is a deft study of the cinematic adaptation of literary texts from an Indian perspective.

This collection of essays from world-renowned scholar Hans Walter Gabler contains writings from a decade and a half of retirement spent exploring textual criticism, genetic criticism, and literary criticism. In these sixteen stimulating contributions, he develops theories of textual criticism and editing that are inflected by our advance into the digital era; structurally analyses arts of composition in literature and music; and traces the cultural implications discernible in book design, and in the canonisation of works of literature and their authors. Distinctive and ambitious, these essays move beyond the concerns of the community of critics and scholars. Gabler responds innovatively to the issues involved and often endeavours to re-think their urgencies by bringing together the orthodox tenets of different schools of textual criticism. He moves between a variety of topics, ranging from fresh genetic approaches to the work of James Joyce and Virginia Woolf, to significant contributions to the theorisation of scholarly editing in the digital age. Written in Gabler’s fluent style, these rich and elegant compositions are essential reading for literary and textual critics, scholarly editors, readers of James Joyce, New Modernism specialists, and all those interested in textual scholarship and digital editing under the umbrella of Digital Humanities.

Writing in the digital age has been as messy as the inky rags in Gutenberg’s shop or the molten lead of a Linotype machine. Matthew Kirschenbaum examines how creative authorship came to coexist with the computer revolution. Who were the early adopters, and what made others anxious? Was word processing just a better typewriter, or something more?

What is Literature? challenges anyone who writes as if literature could be extricated from history or society. But Sartre does more than indict. He offers a definitive statement about the phenomenology of reading, and he goes on to provide a dashing example of how to write a history of literature that takes ideology and institutions into account.

Since its first edition, Literature & Composition was designed specifically for the AP® English Literature course. Its unique structure of skill-building opening chapters combined with an engaging thematic anthology provides the flexibility you need to plan your year and differentiate based on your students’ needs. In this edition, the book you know and love now fully aligns to the new AP® Course and Exam Description.