Of the five major Shakespearean tragedies-Hamlet, Macbeth, Romeo and Juliet, King Lear, and Othello-King Lear is perhaps the most challenging. Issues of rulership, family and blood, are overlaid with bastardy, loyalty, lust, and deceit. Add to this the apparently gratuitous on-stage blinding of Gloucester, the deaths of Cordelia, Lear, Gloucester, and Kent, and one might be inclined to agree with Samuel Johnson that "The good suffer more than the evil, that love and suffering, in this play, are almost interchangeable terms and the driving force of the action is derived from the power of the evil to inflict mental agony upon the good" (quoted in Kermode, 505). However, one would be mistaken to accept wholeheartedly the happy endings of the eighteenth and nineteenth century revisionists. While the pleasant ending would certainly ease the sensibilities of the audience, it would omit the Aristotlean concepts of hamartia and the purgation of fear and pity attendant upon actually witnessing Shakespeare's King Lear, the necessary catharsis, a possible scapegoat for our own emotions. Of course, the ending is to some extent unpleasant and even shocking; however, one can argue that the ending is organic to the play; the ending IS, to a great extent, the play.

A Handful of Love is a book of Haiku poetry. The poems are not arranged in any particular order, yet, their individual and collective power, beauty and enlightenment are undaunted by their non-traditional arrangement. This book is perfect for individual, group and even classroom readings. Not only is it well suited for personal entertainment and enlightenment, but many of the short compositions found in it are perfect for group and/or class discussions. Unquestionably this book has the potential to revive the lost arts of reading, writing and simply enjoying Haiku poetry. Unique in its approach as well as in the topics it covers, this is a book that individuals of every age can read, enjoy, love and pass on.

En cu ntas ocasiones te has preguntado: Puedo ser poeta? C mo lograrlo? Ser sencillo o complicado? ..".me gust mucho hacer poes a, es muy lindo porque puedes expresarte y a la misma vez hacer arte." TESTIMONIO 1 "Se me hace una forma muy bonita de expresarse y de ense arnos a hacer poes a...." TESTIMONIO 2 "Fue una bonita experiencia, el inspirarme y dejar fluir mis sentimientos de amor y tristeza...." TESTIMONIO 3 "Me gust la manera en que explica la forma de hacer una d cima y como lo detalla...yo no sab a y pens que no podr a." TESTIMONIO 4 La poes a es creaci n porque a trav s de ella logras que cobren vida tus emociones, pasiones, vivencias que deleitan tus sentidos y despiertan tu sensibilidad, te permite plasmar tus momentos de alegr a, de locura, de amores truncados, de fantas as, etc. Para ser poeta s lo necesitas un l piz, un pedazo de papel o tu procesador de textos y apoyarte con la t cnica para escribir. En este libro encontrar s consejos a trav s de una t cnica sencilla para elaborar tus poes as en "d cima espinela," una forma f cil para compartir la verdad de tu ser a compa eros, familiares, amigos, alumnos, etc.

This edited book documents practices of learning-oriented language assessment through practitioner research and research syntheses. Learning-oriented language assessment refers to language assessment strategies that capitalise on learner differences and their relationships with the learning environments. In other words, learners are placed at the centre of the assessment process and its outcomes. The book features 17 chapters on learning-oriented language assessment practices in China, Brazil, Turkey, Norway, UK, Canada, Japan, Saudi Arabia, and Spain. Chapters include teachers' reflections and practical suggestions. This book will appeal to researchers, teacher educators, and language teachers who are interested in advancing research and practice of learning-oriented language assessment.

Fluency in English is a highly sought after skill in every sphere of life. It is the yardstick that could make or break a person's chances of making it in the competitive job market that has become global and where to communicate confidently and smartly seperates the achiever from the loser. The contents of the book, in the form of explanations and exercises, promises to be easy to understand and the activities fun to work out. What a great way to learn

Entrepreneur and Customer Service Guru Redman Folgate is mysteriously found dead in his mountain retreat. Has been journalist Rock Hardstuff is coincidentally on the scene and decides to solve the murder to redeem his career. Rock must weave his way through a myriad of bizarre characters before he can solve the Who Dunnit with a How Dunnit and so much more. Who Killed Customer Care? uses a comedy murder mystery allegory to explain the secrets of Customer and Client Communication.

Despite their opposite emotional effects, humor and horror are highly similar phenomena. They both can be traced back to (the detection, resolution, and emotional elaboration of) incongruities, understood as semantic violations through unexpected combinations of oppositional information. However, theoretical and experimental comparisons between humor and resolvable incongruities that elicit other emotions than exhilaration have been lacking so far. To gain more insights into the linguistic differences between humor and horror and the cognitive real-time processing of both, a main concern of this book is to discuss the transferability of linguistic humor theories to a systematic horror investigation and directly compare self-paced reading times (SPR), facial actions (FACS), and event-related brain potentials (ERP) of normed minimal quadruplets with frightening and humorous incongruities as well as (in)coherent stimuli. The results suggest that humor and horror share cognitive resources to detect and resolve incongruities. To better distinguish humor from neighboring phenomena, this book refines current humor theories by incorporating humor and horror in a cognitive incongruity processing model.

As the most widely documented language in human history, English holds a unique key to unlocking some of the mysteries of the uniquely human endowment of language. Yet the field of World Englishes has remained somewhat marginal in linguistic theory. This collection heralds a more direct and mutually constructive engagement with current linguistic theories, questions, and methodologies. It achieves this through areal overviews, theoretical chapters, and case studies. The 36 articles are divided between four themes: Foundations, World Englishes and Linguistic Theory, Areal Profiles, and Case Studies. Part I sets out the complex history of the global spread of English. This is followed, in Part II, by chapters addressing the mutual relevance and importance of World Englishes and numerous theoretical subfields of Linguistics. Part III offers detailed accounts of the structure and social histories of specific varieties of English spoken across the globe, highlighting points of theoretical interest. The collection closes with a set of case studies that exemplify the type of analysis encouraged by the volume. As attention is focused on innovative work at the interface of dialect description and theoretical explanation, the book is more succinct in its treatment of applied themes, which are given complementary coverage in other works.