Photos filled with the forlorn faces of hungry and impoverished Americans that came to characterize the desolation of the Great Depression are among the best known artworks of the twentieth century. Captured by the camera's eye, these stark depictions of suffering became iconic markers of a formative period in U.S. history. Although there has been an ample amount of critical inquiry on Depression-era photographs, the bulk of scholarship treats them as isolated art objects. And yet they were often joined together with evocative writing in a genre that flourished amid the period, the documentary book. American Modernism and Depression Documentary looks at the tradition of the hybrid, verbal-visual texts that flourished during a time when U.S. citizens were becoming increasingly conscious of the life of a larger nation.
Jeff Allred draws on a range of seminal works to illustrate the convergence of modernism and documentary, two forms often regarded as unrelated. Whereas critics routinely look to James Agee and Walker Evans' Let Us Now Praise Famous Men as the sole instance of the modernist documentary book, Allred turns to such works as Richard Wright's scathing 12 Million Black Voices, and the oft-neglected You Have Seen Their Faces by Erskine Caldwell and Margaret Bourke-White to open up the critical playing field. And rather than focusing on the ethos of Progressivism and/or the politics and aesthetics of the New Deal, Allred emphasizes the centrality of Life magazine to the consolidation of a novel cultural form.

Poetry. Jacqueline Kudler's new collection of poems traces a delicate and tensile arc. Poignant, unafraid, and disarming in its evocation of the trajectory of one human life, EASING INTO DARK is a return to that life, and for Kudler such return is "a way of realigning memory," a longing not for the life unlived but for the life lived: years growing up in New York, her engagement with imagination and nature, the death of her husband, and the aftermath: the sources of beauty and richness that remain.

This enthralling new translation of Dante's Inferno 'immediately joins ranks with the very best' (Richard Lansing). One of the world's transcendent literary masterpieces, the Inferno tells the timeless story of Dante's journey through the nine circles of hell, guided by the poet Virgil, when in midlife he strays from his path in a dark wood. In this vivid verse translation into contemporary English, Peter Thornton makes the classic work fresh again for a new generation of readers. Recognizing that the Inferno was, for Dante and his peers, not simply an allegory but the most realistic work of fiction to date, he points out that hell was a lot like Italy of Dante's time. Thornton's translation captures the individuals represented, landscapes, and psychological immediacy of the dialogues as well as Dante's poetic effects. The product of decades of passionate dedication and research, his translation has been hailed by the leading Dante scholars on both sides of the Atlantic as exceptional in its accuracy, spontaneity, and vividness. Those qualities and its detailed notes explaining Dante's world and references make it both accessible for individual readers and perfect for class adoption.

This introductory guide to "Othello" in performance offers a scene-by-scene theatrically aware commentary, contextual documents, a brief history of the text and first performances, case studies of key productions, a survey of screen adaptations, a sampling of critical opinion and further reading.

Through life-changing stories, respected thinkers and authentic presentations, Keynote promotes a deeper understanding of the world and gives students the courage and means to express themselves in English. Communication, collaboration and creative thinking drive students towards real 21st century outcomes and encourage them to respond to ideas and find their own voice. Both students and teachers will emerge with new confidence, new ideas and a new determination to communicate in this increasingly information-rich world of Global English.

When talk circulates through technological media - through television or radio and through the activities they support, like the dissemination of news, product advertising or entertainment - it takes on distinctive characteristics, functions and styles. The talking media have developed their own ways of styling individuals (often as celebrities of different types, but also as 'ordinary people'), and ways of styling relationships (such as constructing informality or trust or authority). Media also style their own ways of communicating (how to read the news, how to conduct interviews, how to entertain or educate others, and so on). Media invest heavily in style and styling, drawing on semiotic modes well beyond speech itself. 'Style' therefore needs to be theorised carefully in sociolinguistics and neighbouring disciplines. Episodes and fragments of mediated styles commonly take on new lives when they are re-circulated via interactive 'new' media platforms. Style therefore points to both stability, where ways of speaking and ways of being have become culturally familiar, and to instability, in the talking media's persistent dynamic reworking of stylistic norms. This book explores a wide range of normative structures and creative media processes of this sort, in many different national contexts and in different languages. The globalised world is already massively mediatised - what we know about language, people and society is necessarily shaped through our engagement with media. But talking media are caught up in wider currents of rapid change too. Creative innovations in media styling can heighten our reflexive awareness, but they can also unsettle our existing understandings of language-society relations. In reporting new investigations by expert researchers, situated in relation to relevant theory, the book gives an original and timely account of how style, media and change need to be integrated further to advance the discipline of sociolinguistics.

Building on the first volume in the Studies in Pragmatics series which clearly set out the differences and similarities in approaches to discourse markers, Pragmatic Markers in Contrast continues the debate through offering a unique and thorough examination of the methods and theories for studying pragmatic markers cross-linguistically.
As a result of internationalisation and new developments in linguistics there has been an increasing interest in cross-linguistic studies. Aijmer and Simon-Vandenbergen have assembled experts in this field to explore the comparison of pragmatic markers across languages in order to offer important insights into the similarities and differences between languages. Contrastive studies can also shed more light on the pragmatic and discourse functions that pragmatic markers fulfil in the languages compared. Another issue is to what extent pragmatic markers which have evolved from the same lexical source have developed similar functions in different languages. An impressively large number of different approaches are represented in this volume as well as a wide range of languages including; English, Swedish, Spanish, Dutch, German, French, Norwegian and Solv (a dialect of Finland Swedish).

In Frege's Conception of Logic Patricia A. Blanchette explores the relationship between Gottlob Frege's understanding of conceptual analysis and his understanding of logic. She argues that the fruitfulness of Frege's conception of logic, and the illuminating differences between that conception and those more modern views that have largely supplanted it, are best understood against the backdrop of a clear account of the role of conceptual analysis in logical investigation. The first part of the book locates the role of conceptual analysis in Frege's logicist project. Blanchette argues that despite a number of difficulties, Frege's use of analysis in the service of logicism is a powerful and coherent tool. As a result of coming to grips with his use of that tool, we can see that there is, despite appearances, no conflict between Frege's intention to demonstrate the grounds of ordinary arithmetic and the fact that the numerals of his derived sentences fail to co-refer with ordinary numerals. In the second part of the book, Blanchette explores the resulting conception of logic itself, and some of the straightforward ways in which Frege's conception differs from its now-familiar descendants. In particular, Blanchette argues that consistency, as Frege understands it, differs significantly from the kind of consistency demonstrable via the construction of models. To appreciate this difference is to appreciate the extent to which Frege was right in his debate with Hilbert over consistency- and independence-proofs in geometry. For similar reasons, modern results such as the completeness of formal systems and the categoricity of theories do not have for Frege the same importance they are commonly taken to have by his post-Tarskian descendants. These differences, together with the coherence of Frege's position, provide reason for caution with respect to the appeal to formal systems and their properties in the treatment of fundamental logical properties and relations.

The sudden and spectacular growth in Dante's popularity in England at the end of the eighteenth century was immensely influential for English writers of the period. But the impact of Dante on English writers has rarely been analysed and its history has been little understood. Byron, Shelley, Keats, Coleridge, Blake, and Wordsworth all wrote and painted while Dante's work - its style, project, and achievement - commanded their attention and provoked their disagreement. The Circle of Our Vision discusses each of these writers in detail, assessing the nature of their engagement with the Divine Comedy and the consequences for their own writing. It explores how these Romantic poets understood Dante, what they valued in his poetry and why, setting them in the context of contemporary commentators, translators, and illustrators, (including Fuseli, Flaxman, and Reynolds) both in England and Europe. Romantic readings of the Divine Comedy are shown to disturb our own ideas about Dante, which are based on Victorian and Modernist assumptions. Pite also presents a reconsideration of the concept of 'influence' in general, using the example of Dante's presence in Romantic poetry to challenge Harold Bloom's belief that the relations between poets are invariably a fight to the death.

The Book of Small is a collection of thirty-six short stories about a childhood in a town that still had vestiges of its pioneer past. Emily Carr tells stories about her family, neighbours, friends and strangers-who run the gamut from genteel people in high society to disreputable frequenters of saloons-as well as an array of beloved pets. All are observed through the sharp eyes and ears of a young and ever-curious girl. Carr's writing is a disarming combination of charm and devastating frankness.

How to raise children to be moral, responsible, and productive citizens is one of the most debated issues in society today. In this elegantly written and passionate book, Vigen Guroian argues that our most beloved fairy tales and classic and contemporary fantasy stories written for children have enormous power to awaken the moral imagination.

For courses in College Developmental Writing. Effective writers are effective learners Clear, effective writing is an increasingly important skill in today's world. With its intensive coverage of the writing process, Along These Lines: Writing Paragraphs and Essays, 8th Edition, helps developing writers acquire and improve their skills to become more effective writers - and more effective learners. Biays and Wershoven guide readers, step by step, through the writing process with in?-depth instruction on grammar and a proven focus on developing effective paragraphs and essays. Each chapter offers numerous individual and collaborative exercises, along with contextualized practical writing applications - such as workplace writing, personal writing, and classroom?-centered academic material. Self-?contained chapters provide a flexible framework that can accommodate various learning styles and instructional preferences. Encouraging critical thinking and personal engagement, the authors provide invaluable resources, interactive exercises, and continual reinforcement to give writers a solid foundation for future success. The loose-leaf version of this text is also available with MyLab Writing MyLab (TM) is the teaching and learning platform that empowers you to reach every student. By combining trusted content with digital tools and a flexible platform, MyLab personalizes the learning experience and improves results for each student. When students enter your developmental writing course with varying skill levels, MyLab can help you identify which students need extra support and provide them targeted practice and instruction outside of class. Note: You are purchasing a standalone product; MyLab Writing does not come packaged with this content. Students, if interested in purchasing this title with MyLab Writing, ask your instructor for the correct package ISBN and Course ID. Instructors, contact your Pearson representative for more information. If you would like to purchase both the loose-leaf version of the text and MyLab Writing, search for: 0134984447/ 9780134984445 Along These Lines: Writing Paragraphs and Essays, Books a la Carte Plus MyLab Writing with Pearson eText -- Access Card Package, 8/e Package consists of: 013480810X / 9780134808109 MyLab Writing with Pearson eText -- Access Card -- for Along These Lines: Writing Paragraphs and Essays, 8/e 0134776615 / 9780134776613 Along These Lines: Writing Paragraphs and Essays, Books a la Carte edition, 8/e

Eleanor Roosevelt's character was shaped by the history and culture of the Hudson Valley. More than that, Eleanor Roosevelt loved the Hudson Valley. A woman who knew and cared for the whole world chose this place, Val-Kill, as her home in a cottage by a stream. Eleanor Roosevelt: A Hudson Valley Remembrance reflects her unaffected simplicity and caring interest in her neighbors' concerns. Remembered by friends, colleagues, neighbors, and young people, these qualities inspired a community-based group to lead efforts to save her home in 1977 as the country's first national historic site dedicated to a First Lady. The Eleanor Roosevelt Center at Val-Kill continues her work on issues that affect life today.

Langland's Piers Plowman is a profoundly Christian poem which nevertheless has enjoyed a wide general appeal. Readers - both religious and non-religious - have been drawn by the power of Langland's fictive imagination, the rich variety of imaginary worlds in his great dream-poem. Langland's Fictions examines the construction of the ten dreams which make up the B Text of Pears Plowman, and explores the relation of these dream-fictions to those realities with which the poet was chiefly preoccupied. This relationship is discussed under three main headings: 'fictions of the divided mind', in which the poet's mixed feelings about matters such as the value of learning find expression in imagined scenes and actions; 'fictions of history', in which the main events of salvation history are relived in the parallel worlds of dream; and 'fictions of the self', in which Langland's doubtful sense of his own moral standing as a man and a poet apparently finds expression. This chapter also addresses the controversial question of 'autobiographical elements' in the poem. John Burrow's lively and considered study is a major contribution to our understanding of one of medieval literature's most enduring works.

With a racing career spanning more than four decades, coming second is never an option for Peter Lindenberg. Troubled by a lack of self-confidence, Peter’s ‘average’ childhood saw a bitter parent who doubted his abilities, a demanding school system that forced him to fit the mould, a younger brother who was better at everything, and brutal, undeserved beatings with a sjambok. But when Peter tasted the buzz of barefoot water-skiing he found it impossible to resist, and went on to break records, earn numerous Springbok Colours, and win many world championships. This, however, was just the start.

Little did Peter know the sporting magic that would follow in his life – first as a powerboat racer and then as a race car driver. Despite counting on pins and metal to hold his battered body intact, being arrested unjustly, a serious motor racing accident with his car going up in flames, and a brain haemorrhage, Peter keeps going flat out and quickly ranks on the international championship charts, cheats death twice, and presses the reset button to positively influence a failed marriage.

Flat Out and Fearless is Peter’s cut-to-the-chase life journey that has rendered him one bionic man who is proud of his blatant honesty and his courageous quest to uplift and transform the lives of the downtrodden.

How Words Mean introduces a new approach to the role of words and other linguistic units in the construction of meaning. It does so by addressing the interaction between non-linguistic concepts and the meanings encoded in language. It develops an account of how words are understood when we produce and hear language in situated contexts of use. It proposes two theoretical constructs, the lexical concept and the cognitive model. These are central to the accounts of lexical representation and meaning construction developed, giving rise to the Theory of Lexical Concepts and Cognitive Models (or LCCM Theory).
Vyvyan Evans integrates and advances recent developments in cognitive science, particularly in cognitive linguistics and cognitive psychology. He builds a framework for the understanding and analysis of meaning that is at once descriptively adequate and psychologically plausible. In so doing he also addresses current issues in lexical semantics and semantic compositionality, polysemy, figurative language, and the semantics of time and space, and writes in a way that will be accessible to students of linguistics and cognitive science at advanced undergraduate level and above.

Introduced in 1918 as an award for bravery in the field, the Military Medal was almost immediately open to women. During its 80 year existence, the Military Medal was awarded to women on only 146 occasions, the vast majority during the First World War. This volume provides the definitive roll of recipients together with citations, many of which were not available at the time, plus service and biographical detail. Over 80% of the entries are accompanied by a photograph. The vast majority of the recipients were British, but the medal was open to women of all nationalities and the names of French and United States recipients are recorded together with allied personnel from the Empire.

The Syntax of Ellipsis investigates a number of elliptical constructions found in Dutch dialects within the framework of the Minimalist Program. Using two case studies, Van Craenenbroeck argues that both the PF-deletion and the pro-theory of ellipsis are needed to account for the full range of elliptical phenomena attested in natural language.
The first case study focuses on instances of stranding to the right of a sluiced wh-phrase: prepositions in English (What about?) and demonstrative pronouns in southern Dutch dialects (Wie dat? 'who that'). Van Craenenbroeck gives both of these phenomena a PF-deletion analysis, which turns out to have considerable repercussions for the structure of the left periphery and the syntax of wh-movement. Specifically, while minimal wh-phrases move from their IP-internal base position to specCP, complex ones are base-generated in the (split) left periphery.
The second case study is concerned with Short Do Replies in southern Dutch dialects, a type of contradictory reply that at first sight bears a close resemblance to English VP-ellipsis. Van Craenenbroeck shows that in this case the ellipsis site is best represented as a null, structureless proform that is licensed by the head of a high PolP. Moreover, this pronominal is argued to occur in two other dialectal constructions as well: contradictory replies of the type Da's nie 'that is not' found in Brabant Dutch, and the occurrence of subject clitics and agreement endings on the words for yes and no in Southern Dutch dialects (e.g. Ja-n-s 'yes-PLURAL-they').
The Syntax of Ellipsis will be of interest to scholars of the left periphery, wh-movement, and Dutch dialects.

Joseph Conrad, Jean Rhys, and Pramoedya Ananta Toer are writers renowned for crafting narratives of great technical skill that resonate with potent truths on the colonial condition. Yet given the generational and geographical boundaries that separated them, they are seldom considered in conjunction with one another. The Passage of Literature unites the three in a bracing comparative study that breaks away from traditional conceptions of modernism, going beyond temporal periodization and the entrenched Anglo-American framework that undergirds current scholarship.
This study nimbly traces a trio of distinct yet interrelated modernist genealogies. English modernism as exemplified by Conrad's Malay trilogy is productively paired with the hallmark work of Indonesian modernism, Pramoedya's Buru quartet. The two novel sequences, penned years apart, narrate overlapping histories of imperialism in the Dutch East Indies, and both make opera central for understanding the cultural dynamic of colonial power. Creole modernism--defined not only by the linguistic diversity of the Caribbean but also by an alternative vision of literary history--provides a transnational context for reading Rhys's Good Morning, Midnight and Wide Sargasso Sea, each novel mapped in relation to the colonial English and postcolonial Indonesian coordinates of Conrad's The Shadow-Line and Pramoedya's This Earth of Mankind. All three modernisms-English, Creole, and Indonesian-converge in a discussion of the Indonesian figure of the nyai, a concubine or house servant, who represents the traumatic core of transnational modernism. Throughout the study, Pramoedya's extraordinary effort to reconstruct the lost record of Indonesia's emergence as a nation provides a model for reading each fragmentary passage of literature as part of an ongoing process of decolonizing tradition.
Drawing on translated and un-translated works of fiction and nonfiction, GoGwilt effectively reexamines the roots of Anglophone modernist studies, thereby laying out the imperatives of a new postcolonial philology even as he resituates European modernism within the literary, linguistic, and historical context of decolonization.