Polarity sensitivity is a ubiquitous phenomenon involving expressions such as anybody, nobody, ever, never, somebody and their counterparts in other languages. These expressions belong to different classes such as negative and positive polarity, negative concord, and negative indefinites. In this book, Ahmad Alqassas proposes a unified approach to the study of this phenomenon that relies on examining the interaction between the various types of polarity sensitivity, with a particular focus on Arabic. Alqassas shows that treating this interaction is fundamental for scrutinizing their licensing conditions. Alqassas draws on data from Standard Arabic and the major regional dialects represented by Jordanian, Egyptian, Moroccan, and Qatari. Through the (micro)comparative approach, Alqassas explains the distributional contrasts with a minimal set of universal syntactic operations such as Merge, Move, and Agree. He also considers a fine-grained inventory of negative formal features for polarity items and their licensors. These simple features paint a complex landscape of polarity and lead to important conclusions about syntactic computation. By engaging with the rich but under-studied landscape of Arabic polarity sensitivity, this book provides a new perspective on the syntax-semantic interface and develops a unified syntactic analysis for polarity sensitivity. These contributions have important implications for the study of Arabic and for syntactic theory more generally.

As a child I would often lie awake at night, praying that through some miracle I would be woken up by people who had come to take me back to my rightful family, and that those I had come to know as my parents would tell me the truth: that I was, in fact, adopted and had been born a girl and they had had a doctor operate on me.’

Growing up as Kgositsile, meaning ‘king’,  Tshiamo Modisane  always knew that she was a girl despite her assigned birth gender. This talented child of a pastor from KwaThema and Daveyton townships near Johannesburg was expected to conform to conservative black culture’s expectations for a male, and would endure censure and even abuse from family, friends, peers and strangers into adulthood. Yet Tshiamo began making courageous choices at the age of five, a journey of both self-doubt and self-belief that culminated in gender-affirmation surgery in her thirties. With sass, faith and baked-in confidence from her family ties to the entertainment world, she successfully transitioned from male to female while navigating a career as an actress, celebrity stylist and Lux’s first gender-non-conforming brand ambassador.

As admirable as it is affirming, this poignant memoir examines past hurts and present truths, and opens up a sorely needed discussion about unconditional acceptance.

A quest is never what you expect it to be.

Elizabeth Madeline Martin spends her days in a retirement home in Cape Town, watching the pigeons and squirrels on the branch of a tree outside her window. Bedridden, her memory fading, she can recall her early childhood spent in a small wood-and-iron house in Blackridge on the outskirts of Pietermaritzburg. Though she remembers the place in detail – dogs, a mango tree, a stream – she has no idea of where exactly it is. ‘My memory is full of blotches,’ she tells her daughter Julia, ‘like ink left about and knocked over.’

Julia resolves to find the Blackridge house: with her mother lonely and confused, would this, perhaps, bring some measure of closure? A journey begins that traverses family history, forgotten documents, old photographs, and the maps that stake out a country’s troubled past – maps whose boundaries nature remains determined to resist. Kind strangers, willing to assist in the search, lead to unexpected discoveries of ancestors and wars and lullabies. Folded into this quest are the tender conversations between a daughter and a mother who does not have long to live.

Taken as one, The Blackridge House is a meditation on belonging, of the stories we tell of home and family, of the precarious footprint of life.

Die verstommende storie van ’n sakelegende wat een van Afrika se welvarendste maatskappye uit niks opgebou het.

Anton Rupert was 'n Karooseun wat in die Depressie grootgeword het, en dit skaars kon bekostig om te gaan studeer, maar sy Rembrandt groep word uiteindelik ʼn wêreldleier in o.m. luukse goedere. Wat was Rupert se geheim? Rupert se oorspronklike sienings oor die skepping van werk en welvaart in ‘n sukkelende ekonomie is sy blywende nalatenskap met diepgaande lesse vir Suid-Afrika vandag. Sy storie is meer relevant as ooit.

Hier vertel die gesoute sakeskrywer Ebbe Dommisse die volle verhaal, vol kleur en anakdotes, in dié opgedateerde uitgawe van sy hoogaangeskrewe biografie van Rupert.

Rihanna invites you into her world with this stunning visual autobiography.

From her Barbados childhood to her worldwide tours, from iconic fashion moments to private time with friends and family, the book showcases intimate photographs of her life as an artist, performer, designer, and entrepreneur. Many of these images have never before been published.

This large-format book is 504 pages with 1,050 color images on 3 paper stocks and 7 single- and double-page gatefolds, 9 bound-in booklets, 1 tip-in sheet, and a double-sided, removable poster.