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Books > Language & Literature > Literary & linguistic reference works
The English-Sepedi/Sepedi-English Bilingual Dictionary is part of the
Pharos entry-level series of bilingual dictionaries for English and the
nine official African languages in South Africa. The dictionary is
suitable for English or Sepedi first or second-language speakers
wishing to learn an additional language. It is easy to use and will
help users build their vocabulary, improve grammar and use common
phrases correctly, whether at school level, in the workplace, as a
tourist, or just for anyone wishing to learn Sepedi.
The Pharos series of bilingual dictionaries supports the Department of
Basic Education’s Language-in-Education Policy to develop and maintain
all the official languages, to promote multilingualism in South Africa,
and to support the teaching and learning of all the official
languages.
Sepedi is part of the SothoTswana subfamily of languages with 9.1%
(4.6m) of the population as mother-tongue speakers and 9.1m second-language
users, 13.8m in total (Stats SA 2011).
Conversations with LeAnne Howe is the first collection of
interviews with the groundbreaking Choctaw author, whose
genre-bending works take place in the US Southeast, Oklahoma, and
beyond our national borders to bring Native American characters and
themes to the global stage. Best known for her American Book
Award-winning novel Shell Shaker (2001), LeAnne Howe (b. 1951) is
also a poet, playwright, screenwriter, essayist, theorist, and
humorist. She has held numerous honors including a Fulbright
Distinguished Scholarship in Amman, Jordan, from 2010 to 2011, and
she was the recipient of the Modern Language Association's first
Prize for Studies in Native American Literatures, Cultures, and
Languages for her travelogue, Choctalking on Other Realities
(2013). Spanning the period from 2002 to 2020, the interviews in
this collection delve deeply into Howe's poetics, her innovative
critical methodology of tribalography, her personal history, and
her position on subjects ranging from the Lone Ranger to Native
American mascots. Two previously unpublished interviews, "'An
American in New York': LeAnne Howe" (2019) and "Genre-Sliding on
Stage with LeAnne Howe" (2020), explore unexamined areas of her
personal history and how it impacted her creative work, including
childhood trauma and her incubation as a playwright in the 1980s.
These conversations along with 2019's Occult Poetry Radio interview
also give important insights on the background of Howe's newest
critically acclaimed work, Savage Conversations (2019), about Mary
Todd Lincoln's hallucination of a "Savage Indian" during her time
in Bellevue Place sanitarium. Taken as a whole, Conversations with
LeAnne Howe showcases the development and continued impact of one
of the most important Indigenous American writers of the
twenty-first century.
This grammar of English embraces major lexical, phonological,
syntactic structures and interfaces. It is based on the substantive
assumption: that the categories and structures at all levels
represent mental substance, conceptual and/or perceptual. The
adequacy of this assumption in expressing linguistic
generalizations is tested. The lexicon is seen as central to the
grammar; it contains signs with conceptual, or content, poles,
minimally words, and perceptual, and expression, poles, segments.
Both words and segments are differentiated by substance-based
features. They determine the erection of syntactic and phonological
structures at the interfaces from lexicon. The valencies of words,
the identification of their semantically determined complements and
modifiers, control the erection of syntactic structures in the form
of dependency relations. However, the features of different segment
types determines their placement in the syllable, or as prosodies.
Despite this discrepancy, dependency and linearization are two of
the analogical properties displayed by lexical, syntactic and
phonological structure. Analogies among parts of the grammar are
another consequence of substantiveness, as is the presence of
figurativeness and iconicity.
Teaching Creative Writing is designed to showcase practical
approaches developed by practitioners in the ever-growing community
of writers in higher education. Aimed at enabling those who teach
the subject to review, borrow, and adapt ideas, the emphasis
throughout is on diversity. Contributions from an international
team of writers cover a variety of forms and genres and include
traditional and innovative components of creative writing courses.
Peculiar Whiteness: Racial Anxiety and Poor Whites in Southern
Literature, 1900-1965 argues for deeper consideration of the
complexities surrounding the disparate treatment of poor whites
throughout southern literature and attests to how broad such
experiences have been. While the history of prejudice against this
group is not the same as the legacy of violence perpetrated against
people of color in America, individuals regarded as ""white trash""
have suffered a dehumanizing process in the writings of various
white authors. Poor white characters are frequently maligned as
grotesque and anxiety inducing, especially when they are aligned in
close proximity to blacks or to people with disabilities. Thus, as
a symbol, much has been asked of poor whites, and various
iterations of the label (e.g., ""white trash,"" tenant farmers, or
even people with a little less money than average) have been
subject to a broad spectrum of judgment, pity, compassion, fear,
and anxiety. Peculiar Whiteness engages key issues in contemporary
critical race studies, whiteness studies, and southern studies,
both literary and historical. Through discussions of authors
including Charles Chesnutt, Thomas Dixon, Sutton Griggs, Erskine
Caldwell, Lillian Smith, William Faulkner, and Flannery O'Connor,
we see how whites in a position of power work to maintain their
status, often by finding ways to recategorize and marginalize
people who might not otherwise have seemed to fall under the
auspices or boundaries of ""white trash.
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