This study presents an account of object shift, a word order phenomenon found in most of the Scandinavian languages where an object occurs unexpectedly to the left and not to the right of a sentential adverbial. The book examines object shift across many of the Scandinavian languages and dialects, and analyses the variation, for example whether object shift is optional or obligatory, whether it applies only to pronouns or other objects as well, and whether it applies to adverbials. The authors show that optimality theory, traditionally used in phonology, is a useful framework for accounting for the variation as well as the interaction of object shift with other syntactic constructions such as verb second, other verb movements, double object constructions, particle verbs and causative verbs. The book moves on to investigate the interaction with remnant VP-topicalisation in great detail. With new and original observations, this book is an important addition to the fields of phonology, optimality theory and theoretical syntax.

This is the first book to view Shakespeare's plays from the prospect of the premodern death arts, not only the ars moriendi tradition but also the plurality of cultural expressions of memento mori, funeral rituals, commemorative activities, and rhetorical techniques and strategies fundamental to the performance of the work of dying, death, and the dead. The volume is divided into two sections: first, critically nuanced examinations of Shakespeare's corpus and then, second, of Hamlet exclusively as the ultimate proving ground of the death arts in practice. This book revitalizes discussion around key and enduring themes of mortality by reframing Shakespeare's plays within a newly conceptualized historical category that posits a cultural divide-at once epistemological and phenomenological-between premodernity and the Enlightenment.

This book argues that the international community must share responsibility for contributing to the conditions that resulted in violent conflict in Timor-Leste, four years after it declared independence from Indonesia. Its failure to tailor interventions to Timor-Leste’s specific political economy and conflict dynamics distanced the state from its citizens and undermined its capacity to forge a political settlement founded on a robust social contract. At a time in which conflict-affected states are receiving unprecedented attention and peacekeeping operations and humanitarian emergencies are becoming increasingly complex, this book argues that radical changes are urgently required in the way the international community operates in these environments. The findings are rooted in an examination of the mechanisms used by international development actors in Timor-Leste between 1998 and 2006. In bringing together wide-ranging perspectives, the author shows that international actions cannot be separated from the local political and socio-economic context, demonstrating that interventions are never ‘apolitical’ and that peacebuilding must be intentional. Indeed, political settlements premised on a robust social contract should not be taken for granted anywhere. The impact of increasing disenfranchisement, mistrust in institutions and structural inequalities evident in the global North suggest that lessons from peacebuilding in Timor-Leste are relevant far beyond its shores. This book is essential for students and researchers in the fields of development studies, international political economy, peacebuilding and conflict resolution, and for practitioners and policymakers striving to advance peace.

This is the first book to demonstrate how mnemotechnic cultural commonplaces can be used to account for the look, style, and authorized content of some of the most influential books produced in early modern Britain. In his hybrid role as stationer, publisher, entrepreneur, and author, John Day, master printer of England’s Reformation, produced the premier navigation handbook, state-approved catechism and metrical psalms, Book of Martyrs, England’s first printed emblem book, and Queen Elizabeth’s Prayer Book. By virtue of finely honed book trade skills, dogged commitment to evangelical nation-building, and astute business acumen (including going after those who infringed his privileges), Day mobilized the typographical imaginary to establish what amounts to—and still remains—a potent and viable Protestant Memory Art.

This book argues that the international community must share responsibility for contributing to the conditions that resulted in violent conflict in Timor-Leste, four years after it declared independence from Indonesia. Its failure to tailor interventions to Timor-Leste's specific political economy and conflict dynamics distanced the state from its citizens and undermined its capacity to forge a political settlement founded on a robust social contract. At a time in which conflict-affected states are receiving unprecedented attention and peacekeeping operations and humanitarian emergencies are becoming increasingly complex, this book argues that radical changes are urgently required in the way the international community operates in these environments. The findings are rooted in an examination of the mechanisms used by international development actors in Timor-Leste between 1998 and 2006. In bringing together wide-ranging perspectives, the author shows that international actions cannot be separated from the local political and socio-economic context, demonstrating that interventions are never 'apolitical' and that peacebuilding must be intentional. Indeed, political settlements premised on a robust social contract should not be taken for granted anywhere. The impact of increasing disenfranchisement, mistrust in institutions and structural inequalities evident in the global North suggest that lessons from peacebuilding in Timor-Leste are relevant far beyond its shores. This book is essential for students and researchers in the fields of development studies, international political economy, peacebuilding and conflict resolution, and for practitioners and policymakers striving to advance peace.

Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.

Paying special attention to Sidney's Arcadia, Spenser's Faerie Queene, and Shakespeare's romances, this study engages in sustained examination of chiasmus in early modern English literature. The author's approach leads to the recovery of hidden designs which are shown to animate important works of literature; along the way Engel offers fresh and more comprehensive interpretations of seemingly shopworn conventions such as memento mori conceits, echo poems, and the staging of deus ex machina. The study, grounded in the philosophy of symbolic forms (following Ernst Cassirer), will be a valuable resource for readers interested in intellectual history and symbol theory, classical mythology and Renaissance iconography. Chiastic Designs affords a glimpse into the transformative power of allegory during the English Renaissance by addressing patterns that were part and parcel of early modern "mnemonic culture."

Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.

Paying special attention to Sidney's Arcadia, Spenser's Faerie Queene, and Shakespeare's romances, this study engages in sustained examination of chiasmus in early modern English literature. The author's approach leads to the recovery of hidden designs which are shown to animate important works of literature; along the way Engel offers fresh and more comprehensive interpretations of seemingly shopworn conventions such as memento mori conceits, echo poems, and the staging of deus ex machina. The study, grounded in the philosophy of symbolic forms (following Ernst Cassirer), will be a valuable resource for readers interested in intellectual history and symbol theory, classical mythology and Renaissance iconography. Chiastic Designs affords a glimpse into the transformative power of allegory during the English Renaissance by addressing patterns that were part and parcel of early modern "mnemonic culture."

This is the first book to view Shakespeare’s plays from the prospect of the premodern death arts, not only the ars moriendi tradition but also the plurality of cultural expressions of memento mori, funeral rituals, commemorative activities, and rhetorical techniques and strategies fundamental to the performance of the work of dying, death, and the dead. The volume is divided into two sections: first, critically nuanced examinations of Shakespeare’s corpus and then, second, of Hamlet exclusively as the ultimate proving ground of the death arts in practice. This book revitalizes discussion around key and enduring themes of mortality by reframing Shakespeare’s plays within a newly conceptualized historical category that posits a cultural divide—at once epistemological and phenomenological—between premodernity and the Enlightenment.

The official school drop-out figure in the US in recent years has been 25 per cent of the cohort. Estimates from large cities are often double these rates, and in some areas 60 per cent or worse. This text focuses on this problem in US schools, but from an unusual perspective. It is a study gained from in-depth interviews of 100 "stop-outs" - that is, those who dropped out but then decided to return to school. Four basic questions are posed by this text: who drops out?; why did they drop out?; what caused them to return?; and what intervention policies can be formulated to prevent students dropping out in the first place? The answers provided by this text for the last question are intended to make it of particular interest to school administrators.

The first-ever critical anthology of the death arts in Renaissance England, this book draws together over 60 extracts and 20 illustrations to establish and analyse how people grappled with mortality in the 16th and 17th centuries. As well as providing a comprehensive resource of annotated and modernized excerpts, this engaging study includes commentary on authors and overall texts, discussions of how each excerpt is constitutive and expressive of the death arts, and suggestions for further reading. The extended Introduction takes into account death's intersections with print, gender, sex, and race, surveying the period's far-reaching preoccupation with, and anticipatory reflection upon, the cessation of life. For researchers, instructors, and students interested in medieval and early modern history and literature, the Reformation, memory studies, book history, and print culture, this indispensable resource provides at once an entry point into the field of early modern death studies and a springboard for further research.

Dieses Buch ist kein Lehrbuch. Doch ist es aus Vorlesungen gewachsen, die ich seit ein paar Jahren an der ETH in ZUrich gehalten habe. Es wendet sich an Studenten der Mathematik mittlerer und oberer Semester, aber weniger mit dem Ziel, diesen mathematische Logik oder Axiomatik beizubringen, als vielmehr, urn in ihnen die kritischen Fahigkeiten gegenUber der Mathematik zu wecken und zu scharfen. Denn nur allzu leicht wird der Student durch un sere Erziehung eingelullt. Die jahre- lange Beschaftigung mit der Technik der Schulalgebra und -geometrie und mit dem irnrnensen Gebaude der Analysis lasst bei fast allen das GefUhl aufkornrnen, sie wUssten nun, was die reel len Zahlen seien, was eine Funktion, was der euklidische Raum, was eine Rechenvorschrift sei. Es liegt mir fern, die NUtzlichkeit, ja Notwendigkeit, eines weit- gehenden Konsensus in der Mathematik zu verneinen. Wogegen ich aber ankarnpfe, ist die Phantasielosigkeit, die in der Tendenz liegt, Grundbegriffe und Grundhaltungen unbesehen zu Ubernehrnen. Was ich in diesem BUchlein darstellen will, ist die systematische Kritik an den Grundlagen der Mathematik, welche die mathematische Logik des 20. Jahrhunderts technisch moglich gemacht hat. Der Terminus "Meta- mathematik" unseres Titels deutet also auf die Methode, "Elementar- mathematik" weist auf den Gegenstand: Analysis, Geometrie und Algo- rithrnik. In nuce: Wie kornrnt man zu den Axiomen der Elementarmathematik, und was ist von ihnen zu halten? Die Fertigstellung dieses BUchleins verdanke ich der kompetenten Arbeit von Brigitte Knecht (Text) und Dr. Ernst Graf (Zeichnungen).

This is the first critical anthology of writings about memory in Renaissance England. Drawing together excerpts from more than seventy writers, poets, physicians, philosophers and preachers, and with over twenty illustrations, the anthology offers the reader a guided exploration of the arts of memory. The introduction outlines the context for the tradition of the memory arts from classical times to the Renaissance and is followed by extracts from writers on the art of memory in general, then by thematically arranged sections on rhetoric and poetry, education and science, history and philosophy, religion, and literature, featuring texts from canonical, non-canonical and little-known sources. Each excerpt is supported with notes about the author and about the text's relationship to the memory arts, and includes suggestions for further reading. The book will appeal to students of the memory arts, Renaissance literature, the history of ideas, book history and art history.

All sorts of bad things can happen in a day, but the hard and tough situations do not have to overshadow our lives. We do not need to linger in our problems, but instead we can live in the good promises of God. In all that Jesus has done by dying and rising for us, we can have a good day every day. God's glory is too awesome to stay stuck in anything bad. Life is too short for a bad cup of coffee and for a whole lot of other bad things. In the midst of our often crazy and chaotic lives, faith says, "Life is good today."

Drawing together leading scholars of early modern memory studies and death studies, Memory and Mortality in Renaissance England explores and illuminates the interrelationships of these categories of Renaissance knowing and doing, theory and praxis. The collection features an extended Introduction that establishes the rich vein connecting these two fields of study and investigation. Thereafter, the collection is arranged into three subsections, 'The Arts of Remembering Death', 'Grounding the Remembrance of the Dead', and 'The Ends of Commemoration', where contributors analyse how memory and mortality intersected in writings, devotional practice, and visual culture. The book will appeal to scholars of early modern literature and culture, book history, art history, and the history of mnemonics and thanatology, and will prove an indispensable guide for researchers, instructors, and students alike.

Learn how you can translate what you believe about student learning into useful practice. Your vision-based leadership can help * Build a shared commitment for your school's future * Energize staff and students to work toward real school improvements * Translate your best hopes for your school into reality The authors show you how to use your "vision statement" to create a workable procedure for attaining your goals for your school. Start by creating a positive, encouraging learning environment for your students and your teachers. Provide them with a clear direction for ongoing improvement. Learn how you can bring together the skills and resources from your teachers, parents, and community members to bring about meaningful improvement for your school. Any school leader can use the guidelines here to implement the kind of vision-based leadership that will help them create dramatic gains in their school's learning and teaching--education's bottom line. Take your vision-based goals for your school and turn them into the reality of educational excellence for your students.