The first book-length treatment of the most cross-linguistically widespread form of ellipsis: elliptical wh-questions, known as sluices. Drawing on data from thirty languages, Merchant shows that sluicing structures are crucial to answering the fundamental questions about the nature of ellipsis and its resolution. The author also carefully documents a number of original generalizations concerning form-identity effects and the complementizer system.

Three years ago, when Cavan footballer Alan O'Mara was twenty-two, he spoke out about his battle with depression which led him to contemplate suicide. Only the thought of his parents and the pain that they would experience in his death prevented him from taking his own life. Now, in The Best is Yet to Come, he tells his story. From the role the GAA played in his life, to the decision he made to share his journey, this is an account of an ordinary young man, a GAA star, who found a way to move past the dark thoughts that beset his mind during his worst days, and who discovered that the only way out of the darkness is to ask for help. 'In summoning his courage and becoming the first active inter-county player to speak of his experiences with depression, Alan O'Mara gives a much needed voice to an aspect of human experience that has been cloaked in silence and stigma. This book, which is needed now more than ever, gives a rare glimpse into the complex inner world of depression and will give hope to those suffering in silence, guidance to those seeking solutions and inspiration for families and friends supporting loved ones.' Conor Cusack

In what is perhaps Shakespeare's earliest play, love goes astray, deception and betrayal cause confusion, and a multilayered plot keeps the pace energetic and joyful. Proteus and Valentine are each sent from Verona to the court of the Duke of Milan. They are the best of friends, until Proteus is enamored by Silvia, though she is the new object of Valentine's affections. Despite having sworn constancy to his own betrothed, Julia, Proteus sets out to betray his unsuspecting friend, only to find that both Silvia and Julia have a thing or two to teach him about loyalty and love. The play reveals how the ideal of male friendship can crumble under the strain of conflicting love interests. A wonderful comedy filled with passionate lovers, women disguised, outlaws, fights, sudden revelations, and a happy denouement, all highlighted by a farcical subplot featuring the character Launce and his dog Crab.

Receive our Memories is a rare study of an epistolary relationship for individuals whose migration from Mexico has been looked at en masse, but not from such a personal and human angle. The heart of the book consists of eighty translated and edited versions of letters from Luz Moreno, a poor, uneducated Mexican sharecropper, to his daughter, a recent emigre to California, in the 1950s. These are contextualized and framed in light of immigration and labor history, the histories of Mexico and the United States in this period, and family history. Although Moreno's letters include many of the affective concerns and quotidian subject matter that are the heart and soul of most immigrant correspondence, they also reveal his deep attachment to a wider world that he has never seen. They include extensive discussions on the political events of his day (the Cold War, the Korean War, the atomic bomb, the conflict between Truman and MacArthur), ruminations on culture and religion (the role of Catholicism in the modern world, the dangers of Protestantism to Mexican immigrants to the United States), and extensive deliberations on the philosophical questions that would naturally preoccupy the mind of an elderly and sick man: Is life worth living? What is death? Will I be rewarded or punished in death? What does it mean to live a moral life? The thoughtfulness of Moreno's meditations and quantity of letters he penned, provide historians with the rare privilege of reading a part of the Mexican national narrative that, as Mexican author Elena Poniatowska notes, is usually "written daily, and daily erased."

Civil wars, more than other wars, sear themselves into the memory of societies that suffer them. This is particularly true at Rome, where in a period of 150 years the Romans fought four epochal wars against themselves. The present volume brings together exciting new perspectives on the subject by an international group of distinguished contributors. The basis of the investigation is broad, encompassing literary texts, documentary texts, and material culture, spanning the Greek and Roman worlds. Attention is devoted not only to Rome's four major conflicts from the period between the 80s BC and AD 69, but the frame extends to engage conflicts both previous and much later, as well as post-classical constructions of the theme of civil war at Rome. Divided into four sections, the first ("Beginnings, Endings") addresses the basic questions of when civil war began in Rome and when it ended. "Cycles" is concerned with civil war as a recurrent phenomenon without end. "Aftermath" focuses on attempts to put civil war in the past, or, conversely, to claim the legacy of past civil wars, for better or worse. Finally, the section "Afterlife" provides views of Rome's civil wars from more distant perspectives, from those found in Augustan lyric and elegy to those in much later post-classical literary responses. As a whole, the collection sheds new light on the ways in which the Roman civil wars were perceived, experienced, and represented across a variety of media and historical periods.

We are still a long way from knowing how to read the rhythms of free verse, a poetry which has been largely neglected by metrical theory. Clive Scott's readable and scholarly study indicates the strategies of reading needed if justice is to be done to free verse's rhythmic versatility. The core of Reading the Rhythm is an analysis of key French twentieth-century poets and poems, including Perse's Eloges, Cendrars's Prose du Transsiberien, Dix-neuf poemes elastiques, and Documentaires; Apollinaire's Calligrammes; Supervielle's Gravitations; and Reverdy's Sources de vent. Contemporary trends in the visual arts - Cubism, Futurism, Orphism, photography - are called upon as perceptual models to illuminate free verse and a further perspective is added by the theme of travel and movement. This is an accomplished examination of the rhythms of free verse, and of its implications for our reading of regular verse. It is also a significant study of modernist poetics.

This book pioneers the study of bilingualism across the lifespan and in all its diverse forms. In framing the newest research within a lifespan perspective, the editors highlight the importance of considering an individual's age in researching how bilingualism affects language acquisition and cognitive development. A key theme is the variability among bilinguals, which may be due to a host of individual and sociocultural factors, including the degree to which bilingualism is valued within a particular context.Thus, this book is a call for language researchers, psychologists, and educators to pursue a better understanding of bilingualism in our increasingly global society.

Samuel Daniell can be described as one of the most accomplished yet least-known artists from the era of British exploration. He travelled around southern Africa between 1800 and 1803, and lived in Ceylon until his death in 1811.

His vivid sketches, drawings and watercolours are individuated and accomplished art works. Daniell’s representations of people of colour are remarkable for their perceptiveness and are perhaps unmatched in their sensitivity in the colonial era.

He also produced many drawings and paintings of animals that are noteworthy for their accuracy. His biography is a fascinating example of how art contributed to the accumulation of scientific knowledge and the extension of British imperial power.

Daniell’s drawings are widely scattered, and mostly unpublished. This biography reconstructs his life and travels by bringing together his known works from collections across the world.

When identical twins wash upon the shore of Ilyria confusion, mistaken identities and misplaced infatuations are sure to follow in this delightful comedy. The shipwrecked twins Viola and Sebastian, each believing the other dead, make their separate ways to the court of Duke Orsinio. Viola protects herself by disguising herself as a boy, Cesario, and enters the Duke's services. He pines for Lady Olivia, but she becomes smitten with the messenger, the disguised Viola, who has herself developed stirrings for the Duke. Add in another suitor, a scheming uncle and the arrival of Sebastian and the hilarious confusion reaches its climax. A wonderful play that is one of Shakespeare's most popular and performed comedies.

In vloei/stof ontgin Gilbert Gibson temas soos die liefde/verhoudings, kinderherinneringe, geskiedkundige gegewens, geweld/oorlog, die belewenis van landskap, en die verloop van tyd/die dood op vernuftige wyse.

Soos in sy vorige bundels, bewys hy dat hy ’n meester is van die hermetiese digkuns – gedigte wat deur ’n spel met taal en vorm vervreemding teweegbring. Die leser word uitgedaag om die betekenis van die gedigte te ontsluit.

Die digter en literêre kritikus Louis Esterhuizen beskryf die bundel as volg: “Inderdaad digverweefde gedigte wat net soveel verhul as wat dit probeer onthul; verbrokkelde verse wat voortstu met verskuiwende betekenisvlakke en versplinterde (wan)begrip waartydens die leser genoodsaak word om ’n aktiewe rol te speel in die (re-)konstruksie van die teks.”

Envisioning a Tibetan Luminary examines the religious biography of Shardza Tashi Gyaltsen (1859-1934), the most significant modern figure representing the Tibetan Boen religion-a vital minority tradition that is underrepresented in Tibetan studies. The work is based on fieldwork conducted in eastern Tibet and in the Boen exile community in India, where traditional Tibetan scholars collaborated closely on the project. Utilizing close readings of two versions of Shardza's life-story, along with oral history collected in Boen communities, this book presents and interprets the biographical image of this major figure, culminating with an English translation of his life story. William M. Gorvine argues that the disciple-biographer's literary portrait not only enacts and shapes religious ideals to foster faith among its readership, but also attempts to quell tensions that had developed among his original audience. Among the Boen community today, Shardza Tashi Gyaltsen has come to be unequivocally revered for an impressive textual legacy and a saintly death. During his lifetime, however, he faced prominent critics within his own lineage who went so far as to issue polemical attacks against him. As Gorvine shows, the biographical texts that inform us about Shardza's life are best understood when read on multiple registers, with attention given to the ways in which the religious ideals on display reflect the broader literary, cultural, and historical contexts within which they were envisioned and articulated.

Ken Thompson served as Sarasota's city manager from 1950 to 1988, making him the longest-serving manager in United States history. During these years, Sarasota experienced a population explosion and an unprecedented modernization of city services. The city moved from a sleepy little town to an independent city with an identifiable economy. This period of growth gave residents a vastly improved bayfront that included Island Park and the Marina Jack development and saw the creation of the current city hall and the Van Wetzel Theater. In thirty-eight years, Sarasota moved from the Circus City to the multifaceted city it is today. Follow well-known Sarasota historian Jeff LaHurd as he recounts the sometimes controversial era of Sarasota's greatest growth.

Deaf around the World is a compendium of work by scholars and activists on the creation, context, and form of sign languages, and on the social issues and civil rights of Deaf communities. Renowned contributors such as James Woodward, Yerker Andersson, and Paddy Ladd offer new histories and overviews of major topics. Each chapter is followed by a response from a pre-eminent thinker in the field. The volume includes studies of sign languages and Deaf communities in Australia, Brazil, Britain, China, France, Germany, Ghana, India, Israel, Italy, Japan, Kenya, Myanmar, Nicaragua, South Africa, Southeast Asia, Sweden, Thailand, and the United States.

Copyright looms large in the digital world. As users and creators of expressive works, we all know more about copyright than we did a decade ago. But scholars of modernism have felt a special urgency in grappling with this branch of law, whose rapid expansion in recent years has prolonged or revived the rights in many modernist works. Indeed, thanks to public clashes between estates and users, 'modernism' has lately begun to seem like a byword for contested intellectual property. At the same time, today's volatile legal climate has prompted us to ask how modernism was, from its beginning, shaped by intellectual property law-and how modernists sought variously to exploit, reform, anoint, and evade copyright. We are beginning to discover, too, how copyright's transatlantic and imperial asymmetries during the modernist decades helped set the stage for its geopolitical role in the new millennium. Modernism and Copyright is the first book to take up these questions and discoveries in all their urgency. A truly multi-disciplinary study, it brings together essays by well-known scholars of literature, theater, cinema, music, and law as well as by practicing lawyers and caretakers of modernist literary estates. Its contributors' methods are as diverse as the works they discuss: Ezra Pound's copyright statute and Charlie Parker's bebop compositions feature here, as do early Chaplin, EverQuest, and the Madison Avenue memo. As our portrait of modernism expands and fragments, Modernism and Copyright locates works like these on one of the few landscapes they all clearly share: the uneven terrain of intellectual property law.

Most people suppose that the whole world knows what it is to love; that romantic love is universal, quintessentially human. Such a supposition has to be able to meet three challenges. It has to justify its underlying assumption that all cultures mean the same thing by the word 'love' regardless of language. It has to engage with the scholarly debate on whether or not romantic love was invented in Europe and is uniquely Western. And it must be able to explain why early twentieth-century Chinese writers claimed that they had never known true love, or love by modern Western standards. By addressing these three challenges through a literary, historical, philosophical, biographical, and above all comparative approach, this highly original work shows how love's profile in China shifted with the rejection of arranged marriages and concubinage in favor of free individual choice, monogamy and a Western model of romantic love.

Anna Maria may have no name, no fortune, no family. But she has her ambition, and her talent.

Her best hope lies in her teacher, Antonio Vivaldi. Soon she is his star pupil.

But as Anna Maria's star rises, not everyone is happy. Because Anna Maria's shining light threatens to eclipse that of her mentor. The prodigy becomes the rival...

She will leave her mark, whatever it takes. Her story will be heard.

Now in its second edition, A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French, the three major languages of the classical vocal repertory. Written for English-speaking singers and offering thorough, consistent explanations, it is an ideal tool for students and an invaluable reference for voice teachers, vocal coaches, and conductors. The book combines traditional approaches proven successful in the teaching of diction with important new material not readily available elsewhere, presenting the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and effective use of the variety of foreign-language dictionaries. Presented in an attractively concise format, the book goes into greater detail than comparable texts, providing specific information to clarify concepts typically difficult for English-speaking singers. Particular emphasis is placed on the characteristics of vowel length, the sequencing of sounds between words, as well as the differences between spoken and sung sounds in all three languages. Featuring significantly expanded coverage of each of the three languages and illustrated with numerous examples, this second edition of A Handbook of Diction for Singers is an exceptional text for courses in diction and a valuable reference source for all vocalists.

In a postfactual world in which claims are often held to be true only to the extent that they confirm pre-existing or partisan beliefs, this book asks crucial questions: how can we identify the many forms of untruthfulness in discourse? How can we know when their use is ethically wrong? How can we judge untruthfulness in the messiness of situated discourse? Drawing on pragmatics, philosophy, psychology, and law, All Bullshit and Lies? develops a comprehensive framework for analyzing untruthful discourse in situated context. TRUST, or Trust-related Untruthfulness in Situated Text, sees untruthfulness as encompassing not only deliberate manipulations of what is believed to be true (the insincerity of withholding, misleading, and lying) but also the distortions that arise from an irresponsible attitude towards the truth (dogma, distortion, and bullshit). Chris Heffer discusses times when truth is not "in play," as in jokes or fiction, as well as instances when concealing the truth can achieve a greater good. The TRUST framework demonstrates that untruthfulness becomes unethical in discourse, though, when it unjustifiably breaches the trust an interlocutor invests in the speaker. In addition to the theoretical framework, this book provides a clear, practical heuristic for analyzing discursive untruthfulness and applies it to such cases of public discourse as the Brexit "battle bus," Trump's tweet about voter fraud, Blair and Bush's claims about weapons of mass destruction, and the multiple forms of untruthfulness associated with the Skripal poisoning case. In All Bullshit and Lies? Chris Heffer turns a critical eye to fundamental questions of truthfulness and trust in our society. This timely and interdisciplinary investigation of discourse provides readers a deeper theoretical understanding of untruthfulness in a postfactual world.

Coleridge's status as a philosopher has often been questioned. `I am a poor poet in England,' he admitted, `but in America, I am a great philosopher.' J. S. Mill's assertion that `the time is yet far distant when, in the estimation of Coleridge, and of his influence upon the intellect of our time, anything like unanimity can be looked for' seems to have been justified. Mary Anne Perkins re-examines Coleridge's claim to have developed a `logosophic' system which attempted `to reduce all knowledges into harmony'. She pays particular attention to his later writings, some of which are still unpublished. She suggests that the accusations of plagiarism and of muddled, abstruse metaphysics which have been levelled at him may be challenged by a thorough reading of his work in which his unifying principle is revealed. She explores the various meanings for the term `Logos', a recurrent theme in every area of Coleridge's thought - philosophy, religion, natural science, history, political and social criticism, literary theory, and psychology. Coleridge was responding to the concerns of his own time, a revolutionary age in which increasing intellectual and moral fragmentation and confusion seemed to him to threaten both individuals and society. Drawing on the whole of Western intellectual history, he offered a ground for philosophy which was relational rather than mechanistic. He is one of those few thinkers whose work appears to become more interesting, his perceptions more acute, as the historical gulf widens. This book is a contribution to the reassessment that he deserves.