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Table of Contents

  1. Editor's Introduction "Wonderful Things"
  2. Jeraldine R. Kraver
  3. pp. vii-viii
  4. DOI: https://doi.org/10.1353/cea.2018.0009
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  1. PART I: Infancy through Middle Childhood / 1930s and 1940s (Volume 1, Number 1, through Volume 11, Number 9)
  3. pp. 109-119
  4. DOI: https://doi.org/10.1353/cea.2018.0010
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  1. Contemporary Literature: Vol. 1, No. 2, October 1939
  2. Henry Seidel Canby
  3. p. 120
  4. DOI: https://doi.org/10.1353/cea.2018.0011
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  1. Why the CEA? Vol. 1, No. 2, October 1939
  2. Arthur Yates
  3. pp. 121-122
  4. DOI: https://doi.org/10.1353/cea.2018.0012
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  1. Contemporary Literature Again: Vol. 1, No. 3, December 1939
  2. Willa Cather
  3. pp. 123-124
  4. DOI: https://doi.org/10.1353/cea.2018.0013
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  1. Literary Experimentation: Vol. 2, No. 6, October 1940
  2. Willa Cather
  3. pp. 125-126
  4. DOI: https://doi.org/10.1353/cea.2018.0014
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  1. What Are English Teachers Teaching? Vol. 2, No. 2, February 1940
  2. Cleanth Brooks
  3. pp. 127-132
  4. DOI: https://doi.org/10.1353/cea.2018.0015
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  1. The American Language: Vol. 2, No. 3, March 1940
  2. H. L. Mencken
  3. p. 133
  4. DOI: https://doi.org/10.1353/cea.2018.0016
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  1. An Author Pleads For Her Characters: Vol. 3, No. 4, April 1941
  2. Pearl S. Buck
  3. pp. 134-135
  4. DOI: https://doi.org/10.1353/cea.2018.0017
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  1. Basic English in Secondary Schools: Vol. 2, No. 5, May 1940
  2. I. A. Richards
  3. pp. 136-137
  4. DOI: https://doi.org/10.1353/cea.2018.0018
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  1. PART II: Adolescence / 1950s–1960s (Volume 12, Number 1, through Volume 32, Number 3)
  3. pp. 138-152
  4. DOI: https://doi.org/10.1353/cea.2018.0019
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  1. Two or Three Ideas: Vol. 13. No. 7, October 1951
  2. Wallace Stevens
  3. pp. 153-161
  4. DOI: https://doi.org/10.1353/cea.2018.0020
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  1. Notes on Teaching Ulysses: Pleasures from the Text Itself: Vol. 14, No. 2, February 1952
  2. Howard Nemerov
  3. pp. 162-163
  4. DOI: https://doi.org/10.1353/cea.2018.0021
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  1. A Soft Look Backward: Vol. 29, No. 7, April 1967
  2. Mark Schorer
  3. pp. 164-168
  4. DOI: https://doi.org/10.1353/cea.2018.0022
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  1. Revision as Creation: The Growth of a Poem: Vol. 29, No. 9, June 1967
  2. May Sarton
  3. pp. 169-175
  4. DOI: https://doi.org/10.1353/cea.2018.0023
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  1. From: The Relevance of College English Today: Vol. 32, No. 8, May 1970
  2. Darwin T. Turner
  3. pp. 176-177
  4. DOI: https://doi.org/10.1353/cea.2018.0024
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  1. PART III: Early Adulthood / 1970s-1980s (Volume 32, Number 4, through Volume 52, Numbers 1 and 2)
  3. pp. 178-186
  4. DOI: https://doi.org/10.1353/cea.2018.0025
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  1. Techniques for Survival: IV. The Study of Character: Vol. 34, No. 4, May 1972
  2. Oscar Cargill
  3. pp. 187-192
  4. DOI: https://doi.org/10.1353/cea.2018.0026
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  1. Who is An SF Writer? CEA Chapbook, 1974
  2. Philip K. Dick
  3. pp. 193-197
  4. DOI: https://doi.org/10.1353/cea.2018.0027
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  1. Beyond Objectivity: The Reader-Writer Transaction as an Altered State of Consciousness: Volume 40, Number 1, November 1977
  2. Walter J. Ong
  3. pp. 198-205
  4. DOI: https://doi.org/10.1353/cea.2018.0028
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  1. The Writing "Crisis": Vol. 41, No. 1, November 1978
  2. Leo Marx
  3. pp. 206-213
  4. DOI: https://doi.org/10.1353/cea.2018.0029
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  1. Fifties Vic: Vol. 42, No. 1, November 1970
  2. Margaret Atwood
  3. pp. 214-217
  4. DOI: https://doi.org/10.1353/cea.2018.0030
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  1. Interdisciplinary Writing Workshops: Vol. 43, No. 2, January 1981
  2. Toby Fulwiler
  3. pp. 218-224
  4. DOI: https://doi.org/10.1353/cea.2018.0031
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  1. Current Brain Research and the Composing Process: A Call For Interaction: Vol. 44, No. 2, January 1982
  2. Monica R. Weis
  3. pp. 225-232
  4. DOI: https://doi.org/10.1353/cea.2018.0032
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  1. The Premonitory Shiver: Vol. 47, No. 3, Spring 1985
  2. Maxine Kumin
  3. pp. 233-242
  4. DOI: https://doi.org/10.1353/cea.2018.0033
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  1. Bloodline in Ink: Vol. 51, No. 2/3, Winter/Spring 1989
  2. Ernest Gaines
  3. pp. 243-253
  4. DOI: https://doi.org/10.1353/cea.2018.0034
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  1. John Updike Talks About Writing, His Life, and His Works: Vol. 57, No. 3, Spring/Summer 1995
  2. Ronald G. Shafer, John Updike
  3. pp. 254-261
  4. DOI: https://doi.org/10.1353/cea.2018.0035
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  1. John Updike Talks About Writing, His Life, and His Works: A Writing Workshop: Vol. 57, No. 3, Spring/Summer 1995
  3. pp. 262-280
  4. DOI: https://doi.org/10.1353/cea.2018.0036
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  1. PART IV: Adulthood and Maturity / 1990s–Present (Volume 52, Number 3, through Volume 80, Numbers 2 and 3)
  3. pp. 281-289
  4. DOI: https://doi.org/10.1353/cea.2018.0037
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  1. Contextualization: The Scholarly Writer and the Audience: Vol. 53. No. 1, Fall 1990
  2. Barbara Brothers
  3. pp. 290-294
  4. DOI: https://doi.org/10.1353/cea.2018.0038
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  1. Science by Poetry, Fiction by Geometry: Interdisciplinary Reading and Writing
  2. Ruth D. Weston
  3. pp. 295-301
  4. DOI: https://doi.org/10.1353/cea.2018.0039
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  1. Dark Knowledge in The Handmaid's Tale Vol. 53, No. 3 Spring/Summer 1991)
  2. Jeanne Campbell Reesman
  3. pp. 302-318
  4. DOI: https://doi.org/10.1353/cea.2018.0040
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  1. Kinesthetics of Music and Words: Poems on John Coltrane1: Vol. 65, No. 2, Winter 2003
  2. John T. Shawcross
  3. pp. 319-328
  4. DOI: https://doi.org/10.1353/cea.2018.0041
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  1. Protocols and Provocations: Milton's Gestures of Rebellion: Vol. 68, No. 1–2, Fall 2005 / Winter 2006
  2. Joseph Wittreich
  3. pp. 329-337
  4. DOI: https://doi.org/10.1353/cea.2018.0042
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  1. The Actor's Nature in Mise-en-scène: Chekhovian Kinesthesia and Cinematic Performance: Volume 75, No. 3, November 2013
  2. Ian Dixon
  3. pp. 338-348
  4. DOI: https://doi.org/10.1353/cea.2018.0043
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  1. Mise-en-scène and Kinaesthetically Charged Atmosphere in John Cassavetes' Faces: The CEA Forum Summer/Fall 2013
  2. Ian Dixon
  3. pp. 349-354
  4. DOI: https://doi.org/10.1353/cea.2018.0044
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  1. Five Poems, Five Photographs: Vol. 78, No. 1, March 2016
  2. Lisa Zimmerman
  3. pp. 355-365
  4. DOI: https://doi.org/10.1353/cea.2018.0045
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