'This is a life-changing book. Read it three times and then give a copy to anyone you care about. It will make things better' – Seth Godin, author of This is Marketing

'All you need is Buster Benson. His methods are instantly actionable, [and] his writing is funny and relatable' – Adam Grant, author of Originals

Why Are We Yelling is Buster Benson's essential guide to having more honest and constructive arguments.

The way we argue is broken. Whether it’s about Brexit, the existence of ghosts, the best burger in the city or who’s allowed to sit in your favourite chair, we end up digging our heels in and yelling at one another or choosing to avoid heated topics entirely. There has to be a better way.

Buster Benson, a Silicon Valley entrepreneur with two decades of experience facilitating hard conversations at some of the biggest tech companies in the world, recommends eight things to try in order to make disagreements more productive. By applying these eight new habits, we can flip frustrating, unproductive disagreements into ones that bear fruit and bring people closer together.

In this book you'll master practical skills to make your disagreements more productive by:

- Understanding four ways of disagreeing that are more valuable than simply ‘winning’ the argument
- Identifying the kind of argument you’re having so you know how best to negotiate it
- Articulating the best possible version of your opponent’s argument before attacking it

With this toolkit we can explore more possibilities and perspectives in the world, simply because we’ll no longer be afraid to wade into scary topics of conversation.

Michael Moran is fascinated by the thinkers he discusses. But unlike most of them, he has no illusion that philosophy can do the work of science and be even a minor source of factual knowledge. Moreover, being highly speculative, it is unlikely that most philosophy will reveal more to us about the `nature of reality' than, say, imaginative literature. Among other things, the author considers both where the usefulness, and indeed the dangers, of philosophy may lie and how, as an academic subject, it might be practised. `I have written this volume not primarily for fellow academics but for anyone who is really interested in modern philosophy and who would like to know what another thoughtful reader has made of it. In other words, I still cling to the hope that there must somewhere exist an intelligent readership outside the routines of academia itself, consisting of individuals who are deeply concerned with ideas, are already reasonably informed, but feel the need for more stimulus. This book is primarily meant for them.' (Introduction, p. 9) Sir Isaiah Berlin, commenting on the author's article on Coleridge: `It seems to me to be one of the most perceptive pieces on Coleridge that I have ever read in English.'

A thoroughly updated edition of a beloved classic that has guided generations of researchers in conducting effective and meaningful research.

With more than a million copies sold since its first publication, The Craft of Research has helped generations of researchers at every level—from high-school students and first-year undergraduates to advanced graduate students to researchers in business and government. Conceived by seasoned researchers and educators Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams, this fundamental work explains how to choose significant topics, pose genuine and productive questions, find and evaluate sources, build sound and compelling arguments, and convey those arguments effectively to others.

While preserving the book’s proven approach to the research process, as well as its general structure and accessible voice, this new edition acknowledges the many ways research is conducted and communicated today. Thoroughly revised by Joseph Bizup and William T. FitzGerald, it recognizes that research may lead to a product other than a paper—or no product at all—and includes a new chapter about effective presentations. It features fresh examples from a variety of fields that will appeal to today’s students and other readers. It also accounts for new technologies used in research and offers basic guidelines for the appropriate use of generative AI. And it ends with an expanded chapter on ethics that addresses researchers’ broader obligations to their research communities and audiences as well as systemic questions about ethical research practices.

This new edition will be welcomed by a new and more diverse generation of researchers. 

The History of the English Language has been a standard university course offering for over 150 years. Yet relatively little has been written about teaching a course whose very title suggests its prodigious chronological, geographic, and disciplinary scope. In the nineteenth century, History of the English Language courses focused on canonical British literary works. Since these early curricula were formed, the English language has changed, and so have the courses. In the twenty-first century, instructors account for the growing prominence of World Englishes as well as the English language's transformative relationship with the internet and social media. Approaches to Teaching the History of the English Language addresses the challenges and circumstances that the course's instructors and students commonly face. The volume reads as a series of "master classes" taught by experienced instructors who explain the pedagogical problems that inspired resourceful teaching practices. Although its chapters are authored by seasoned teachers, many of whom are preeminent scholars in their individual fields, the book is designed for instructors at any career stage-beginners and veterans alike. The topics addressed in Approaches to Teaching the History of the English Language include: the unique pedagogical dynamic that transpires in language study; the course's origins and relevance to current university curricula; scholarly approaches that can offer an abiding focus in a semester-long course; advice about navigating the course's formidable chronological ambit; ways to account for the language's many varieties; and the course's substantial and pedagogical relationship to contemporary multimedia platforms. Each chapter balances theory and practice, explaining in detail activities, assignments, or discussion questions ready for immediate use by instructors.

Top-notch biblical scholars from around the world and from various Christian traditions offer a fulsome yet readable introduction to the Bible and its interpretation. The book concisely introduces the Old and New Testaments and related topics and examines a wide variety of historical and contemporary interpretive approaches, including African, African-American, Asian, and Latino streams. Contributors include N. T. Wright, M. Daniel Carroll R., Stephen Fowl, Joel Green, Michael Holmes, Edith Humphrey, Christopher Rowland, and K. K. Yeo, among others. Questions for reflection and discussion, an annotated bibliography, and a glossary are included.

What is language and how can we investigate its acquisition by children or adults? What perspectives exist from which to view acquisition? What internal constraints and external factors shape acquisition? What are the properties of interlanguage systems? This comprehensive 31-chapter handbook is an authoritative survey of second language acquisition (SLA). Its multi-perspective synopsis on recent developments in SLA research provides significant contributions by established experts and widely recognized younger talent. It covers cutting-edge and emerging areas of enquiry not treated elsewhere in a single handbook, including third language acquisition, electronic communication, incomplete first language acquisition, alphabetic literacy and SLA, affect and the brain, discourse, and identity. Written to be accessible to newcomers as well as experienced scholars of SLA, the Handbook is organised into six thematic sections, each with an editor-written introduction.

Classical Traditions in Modern Fantasy is the first collection of essays in English focusing on how fantasy draws deeply on ancient Greek and Roman mythology, philosophy, literature, history, art, and cult practice. Presenting fifteen all-new essays intended for both scholars and other readers of fantasy, this volume explores many of the most significant examples of the modern genre-including the works of H. P. Lovecraft, J. R. R. Tolkien's The Hobbit, C. S. Lewis's Chronicles of Narnia, J. K. Rowling's Harry Potter series, George R. R. Martin's Game of Thrones series, and more-in relation to important ancient texts such as Aeschylus' Oresteia, Aristotle's Poetics, Virgil's Aeneid, and Apuleius' The Golden Ass. These varied studies raise fascinating questions about genre, literary and artistic histories, and the suspension of disbelief required not only of readers of fantasy but also of students of antiquity. Ranging from harpies to hobbits, from Cyclopes to Cthulhu, and all manner of monster and myth in-between, this comparative study of Classics and fantasy reveals deep similarities between ancient and modern ways of imagining the world. Although antiquity and the present day differ in many ways, at its base, ancient literature resonates deeply with modern fantasy's image of worlds in flux and bodies in motion.

This introductory guide to grammar explains one hundred basic grammatical terms. A knowledge of such terms, and how they interconnect, is crucial for an understanding of the structure and function of language. The explanations are listed alphabetically for easy reference, like a dictionary, but offer much more than a simple definition. Each entry is divided into sections, providing a clear explanation, examples, exercises, and highlighting the main contrasts and interrelationships between the terms. Many entries contain a ?for interest? section which sets out further fascinating points, often drawing on some of the more exotic languages of the world, or discussing important contemporary issues, such as dialects, standard language, and sexism in language. Clearly written and easy to use, this book will be an invaluable source of information for students of language and linguistics.

Elly van Gelderen provides examples of linguistic cycles from a number of languages and language families, along with an account of the linguistic cycle in terms of minimalist economy principles. A cycle involves grammaticalization from lexical to functional category followed by renewal. Some well-known cycles involve negatives, where full negative phrases are reanalyzed as words and affixes and are then renewed by full phrases again. Verbal agreement is another example: full pronouns are reanalyzed as agreement markers and are renewed again. Each chapter provides data on a separate cycle from a myriad of languages. Van Gelderen argues that the cross-linguistic similarities can be seen as Economy Principles present in the initial cognitive system or Universal Grammar. She further claims that some of the cycles can be used to classify a language as analytic or synthetic, and she provides insight into the shape of the earliest human language and how it evolved.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

When we watch and listen to actors speaking lines that have been written by someone else-a common experience if we watch any television at all-the illusion of "people talking" is strong. These characters are people like us, but they are also different, products of a dramatic imagination, and the talk they exchange is not quite like ours.
Television Dramatic Dialogue examines, from an applied sociolinguistic perspective, and with reference to television, the particular kind of "artificial" talk that we know as dialogue: onscreen/on-mike talk delivered by characters as part of dramatic storytelling in a range of fictional and nonfictional TV genres. As well as trying to identify the place which this kind of language occupies in sociolinguistic space, Richardson seeks to understand the conditions of its production by screenwriters and the conditions of its reception by audiences, offering two case studies, one British (Life on Mars) and one American (House).