Titlebook: Bringing War to Book; Writing and Producin Rachel Woodward,K. Neil Jenkings Book 2018 The Editor(s) (if applicable) and The Author(s) 2018

Fortify

刺耳的声音

Who Is Involved in Writing and Production?,bering; the roles of readers and editors of the manuscript; and the roles of publishers and editors and others working professionally on the book. We also discuss how, for all that they are collaboratively produced, authors identify their books as their own.

出汗

Michael Haase,Anja Haase-Fielitzts twin goals of telling stories rooted in factual information about military participation, and presenting narratives which prioritise the individual, lived experience of that participation in texts which claim authenticity on the basis of the witnessing of events recounted. We continue this introd

nocturia

Stefano Dell’Atti,Antonia Patrizia Iannuzzif ways in which these books are used in order to consider the purposes they can be seen to serve. We review how military memoirs have informed the writing of histories of armed conflicts, and their utility in exploring the socio-cultural understandings of war and the sociology of military personnel.

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narcissism

灰心丧气

BUST

伪造

Walid Maalej,Anil Kumar Thurimellariting and production of a book is always a collaborative process, involving the named author working with others. We look first at published texts to assess how authors acknowledge their collaborators and collaborative practices, explicitly and implicitly. We then discuss what our authors had to sa

热心助人

Managing Requirements Knowledgean existing literature on paratext. We examine in detail some of the key paratextual features of the covers of military memoirs, looking at the titles of books, the way in which an author’s name is presented, and the overall design of the cover, including the imagery and other features used. Given t