The Complete Works of Arnold Bennett showcases the prolific and diverse writing of the renowned author. Known for his realistic portrayals of British industrial society in the late 19th and early 20th centuries, Bennett's work often delves into the themes of class dynamics, ambition, and personal growth. His writing style combines keen observations with a straightforward narrative approach, making his novels both accessible and thought-provoking. Readers can expect a rich literary experience that captures the essence of the changing social landscape of the time. Arnold Bennett's own life experiences, growing up in the Potteries region of Staffordshire, England, greatly influenced his writing. His firsthand knowledge of the working-class struggles and aspirations permeates his work, adding depth and authenticity to his characters and their dilemmas. Bennett's ability to depict the human condition with empathy and insight sets his work apart in the literary canon. I highly recommend The Complete Works of Arnold Bennett to readers interested in exploring the complexities of British society during the Industrial Revolution. Bennett's timeless themes and engaging storytelling continue to resonate with contemporary audiences, offering valuable insights into the universal struggles of the human experience.

List of members in each volume.

Naming What We Know examines the core principles of knowledge in the discipline of writing studies using the lens of “threshold concepts”—concepts that are critical for epistemological participation in a discipline. The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action. Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

The best-known songs in the world are violent, sexist, and religious — so why do we celebrate national anthems when we should be rewriting them? The story begins in a London theatre in 1745, where the modern idea of anthems started out as triumphant expressions of national superiority. They glorified violence, claimed the support of God for their country, and mostly ignored women. David Pate says it’s time to dump lyrics about cutting throats, watering fields with blood, building walls with the bodies of enemies, and celebrating the sound of machine guns. From the author’s own youth as a schoolboy in Scotland when he was caned for refusing to sing “God Save the Queen” to the ubiquity of anthems in sports and as weapons for extreme patriotism, The Worst Songs in the World looks at the origins of many of the world’s anthems, including the movie theme song that became China’s national anthem and the English tune used for “The Star-Spangled Banner.” This wide-ranging, deeply researched narrative combines politics, personalities, humour, and vivid storytelling to argue for what we should all want: better national songs.

First published in 2001.The standard work on its subject, this resource includes every traceable British entertainment film from the inception of the "silent cinema" to the present day. Now, this new edition includes a wholly original second volume devoted to non-fiction and documentary film--an area in which the British film industry has particularly excelled. All entries throughout this third edition have been revised, and coverage has been extended through 1994.Together, these two volumes provide a unique, authoritative source of information for historians, archivists, librarians, and film scholars.

“The most successful novelist on Planet Earth” (Washington Post), #1 New York Times bestselling author Nora Roberts concludes her Cordina’s Royal Family quartet with the story of a noble and commoner discovering that despite their societal roles, their love has no forbidden boundaries in Cordina’s Crown Jewel. Princess Camilla de Cordina’s life is governed by others. Her appearance is sculpted and behavior is modified so she can be paraded before a gaping media audience only interested in gossip and scandal. Taking a well-deserved “vacation”, she trades her crown for a felt hat and her de Cordina title for the name Camilla MacGee. With no regal entourage in tow, she takes a job in America working for archeologist Delaney Caine in Vermont. Focused and driven with his own goals, Del doesn’t treat his staff with pleasantries, much less offer deference to a currently uncrowned princess. Nonetheless, Camilla finds her newfound persona and detailed work rewarding. And when she uncovers a loving heart beneath Del’s hardened exterior, an unexpected mutual desire arises between them—a desire that could very well be extinguished should Camilla reveal her true identity.