Translation and Stylistic Variation: Dialect and Heteroglossia in Northern Irish Poetic Translation considers the ways in which translators use stylistic variation, analysing the works of three Northern Irish poet-translators to look at how, in this variety, the translation process becomes a creative act by which translators can explore their own linguistic and cultural heritage. The volume offers a holistic portrait of the use of linguistic variety – dialect and heteroglossia – in the literary translations of Seamus Heaney, Ciaran Carson, and Tom Paulin, shedding light on the translators’ choices but also readers’ experiences of them. Drawing on work from cognitive stylistics, Gibson reflects on how and why translators choose to add linguistic variety and how these choices can often be traced back to their socio-cultural context. The book not only extends existing scholarship on Irish-English literary translation to examine issues unique to Northern Ireland but also raises broader questions about translation in locations where language choice is fraught and political. The volume makes the case for giving increased consideration to the role of the individual translator, both for insights into personal choices and a more nuanced understanding of contemporary literary translation practices, in Ireland and beyond. This book will be of interest to scholars working in translation studies, literary studies and Irish studies.

In this wonderful new book an old tradition is shared with today's carvers. Helen Gibson, a new author at Schiffer Publishing, teaches woodcarving at the John C. Campbell Folk School in North Carolina. The patterns for the creche she carves have been part of the tradition of the school for so long that no one is quite sure of their origins. Carving them is a community effort, with different carvers having different specialties. Helen takes the reader step-by-step through the delicate carving process of one of the figures, with clear color photography illustrating each technique. Patterns and complete views for the Mary, Joseph, three Wisemen, three Shepherds, and the baby in the manager are included. Helen started carving when she was in about the fifth grade. She now lives and works at the school in Brasstown, North Carolina.

This edited volume explores the fundamental aspects of the dark web, ranging from the technologies that power it, the cryptocurrencies that drive its markets, the criminalities it facilitates to the methods that investigators can employ to master it as a strand of open source intelligence. The book provides readers with detailed theoretical, technical and practical knowledge including the application of legal frameworks. With this it offers crucial insights for practitioners as well as academics into the multidisciplinary nature of dark web investigations for the identification and interception of illegal content and activities addressing both theoretical and practical issues.

This edited volume explores the fundamental aspects of the dark web, ranging from the technologies that power it, the cryptocurrencies that drive its markets, the criminalities it facilitates to the methods that investigators can employ to master it as a strand of open source intelligence. The book provides readers with detailed theoretical, technical and practical knowledge including the application of legal frameworks. With this it offers crucial insights for practitioners as well as academics into the multidisciplinary nature of dark web investigations for the identification and interception of illegal content and activities addressing both theoretical and practical issues.

The carving of religious figures is a tradition that is thousands of years old. In earlier books Helen Gibson has shared her techniques for carving the nativity and the figure of St. Francis of Asissi. Now she turns her attention to one of the most dramatic figures in religious history: Moses. This strong, authoritative figure lends itself wonderfully to carving. Helen's friend, Harold Enlow, drew the pattern and Helen leads the reader step-by-step through the carving process. Each step is illustrated with a color photograph. The result is a rewarding carving experience and a great deal of enjoyment.

A year ago Helen Gibson shared her techniques for carving the human figures of the nativity story: Mary, Joseph, Jesus, the wise men, and the shepherds. Now she returns to the story to complete the scene by carving the animals, of the nativity: camels, sheep, cattle, and donkeys. Helen has a highly detailed style of carving that is perfect for this subject. The reader is lead step-by-step through the process of carving one of the animals. Clear color photographs illustrate every cut. A gallery of the other animals shown from every angle and patterns help the carver complete the set.