The influence of Buddhism on the Chinese language, on Chinese literature and on Chinese culture in general cannot be overstated, and the language of most Chinese Buddhist texts differs considerably from both Classical and Modern Chinese. This reader aims to help students develop familiarity with features of Buddhist texts in Chinese, including patterns of organization, grammatical features and specialized vocabulary. It also aims to familiarize students with the use of a range of resources necessary for becoming independent readers of such texts. Chinese Buddhist Texts is suitable for students who have completed the equivalent of at least one year's college level study of Modern Chinese and are familiar with roughly one thousand of the commonest Chinese characters. Previous study of Classical Chinese would be an advantage, but is not assumed. It is an ideal textbook for students taking relevant courses in Chinese studies programs and in Buddhist studies programs. However, it is also possible for a student to work through the reader on his or her own. Further online resources are available at: lockgraham.com

The influence of Buddhism on the Chinese language, on Chinese literature and on Chinese culture in general cannot be overstated, and the language of most Chinese Buddhist texts differs considerably from both Classical and Modern Chinese. This reader aims to help students develop familiarity with features of Buddhist texts in Chinese, including patterns of organization, grammatical features and specialized vocabulary. It also aims to familiarize students with the use of a range of resources necessary for becoming independent readers of such texts. Chinese Buddhist Texts is suitable for students who have completed the equivalent of at least one year's college level study of Modern Chinese and are familiar with roughly one thousand of the commonest Chinese characters. Previous study of Classical Chinese would be an advantage, but is not assumed. It is an ideal textbook for students taking relevant courses in Chinese studies programs and in Buddhist studies programs. However, it is also possible for a student to work through the reader on his or her own. Further online resources are available at: lockgraham.com

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.
There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Volz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.
With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.
There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Volz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.
With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

In "Blutopia "Graham Lock studies the music and thought of three pioneering twentieth-century musicians: Sun Ra, Duke Ellington, and Anthony Braxton. Providing an alternative to previous analyses of their work, Lock shows how these distinctive artists were each influenced by a common musical and spiritual heritage and participated in self-conscious efforts to create a utopian vision of the future.
A century after Ellington's birth, Lock reassesses his use of music as a form of black history and compares the different approaches of Ra, a band leader who focused on the future and cosmology, and Braxton, a contemporary composer whose work creates its own elaborate mythology. Arguing that the majority of writing on black music and musicians has--even if inadvertently--incorporated racial stereotypes, he explains how each artist reacted to criticism and sought to break free of categorical confines. Drawing on social history, musicology, biography, cultural theory, and, most of all, statements by the musicians themselves, Lock writes of their influential work.
"Blutopia" will be a welcome contribution to the literature on twentieth-century African American music and creativity. It will interest students of jazz, American music, African American studies, American culture, and cultural studies.

From the Harlem Renaissance to the present, African American writers have drawn on the rich heritage of jazz and blues, transforming musical forms into the written word. In this companion volume to The Hearing Eye, distinguished contributors ranging from Bertram Ashe to Steven C. Tracy explore the musical influence on such writers as Sterling Brown, J.J. Phillips, Paul Beatty, and Nathaniel Mackey. Here, too, are Graham Lock's engaging interviews with contemporary poets Michael S. Harper and Jayne Cortez, along with studies of the performing self, in Krin Gabbard's account of Miles Davis and John Gennari's investigation of fictional and factual versions of Charlie Parker. The book also looks at African Americans in and on film, from blackface minstrelsy to the efforts of Duke Ellington and John Lewis to rescue jazz from its stereotyping in Hollywood film scores as a signal for sleaze and criminality. Concluding with a proposal by Michael Jarrett for a new model of artistic influence, Thriving on a Riff makes the case for the seminal cross-cultural role of jazz and blues.

This book provides second language teachers with a functional description of English grammar, in which grammar is viewed not as a set of rules but as a communicative resource. It explores ways in which English grammar enables speakers and writers to represent their experience of the world, to interact with one another, and to create coherent messages. Each chapter includes a focus on areas of difficulty for second language learners, numerous authentic examples, tasks which allow the reader to apply the concepts introduced, and discussion questions. A final chapter covers issues in the learning and teaching of grammar and reviews methodological options for the second or foreign language classroom. Functional English Grammar assumes no previous study of linguistics or English grammar. It is suitable for self-study or as a textbook in teacher education programs.

No-one and nothing, not even the Congress of a Communist Party, can abolish the dictatorship of the proletariat. That is the most important conclusion of this book by Etienne Balibar.
Balibar spells out his reasoning against the background of the 22nd Congress of the French Communist Party, which decided to 'drop' the aim of the dictatorship of the proletariat and to substitute the objective of a 'democratic' road to socialism. His concrete references are therefore usually to arguments put forward within the French Party. But it is quite obvious that the significance of this book is much wider, not least because, in spite of the important political and economic differences separating the nations of western Europe, many of their Communist Parties are evolving in an apparently similar ideological direction, and indeed appear to be borrowing arguments from one another in support of their new positions.