Tayap is a small, previously undocumented Papuan language, spoken in a single village called Gapun, in the lower Sepik River region of Papua New Guinea. The language is an isolate, unrelated to any other in the area. Furthermore, Tayap is dying. Fewer than fifty speakers actively command it today. Based on linguistic anthropological work conducted over the course of thirty years, this book describes the grammar of the language, detailing its phonology, morphology and syntax. It devotes particular attention to verbs, which are the most elaborated area of the grammar, and which are complex, fusional and massively suppletive.The book also provides a full Tayap-English-Tok Pisin dictionary. A particularly innovative contribution is the detailed discussions of how Tayap''s grammar is dissolving in the language of young speakers. The book exemplifies how the complex structures in fluent speakers' Tayap are reduced or reanalyzed by younger speakers. This grammar and dictionary should therefore be a valuable resource for anyone interested in the mechanics of how languages disappear. The fact that it is the sole documentation of this unique Papuan language should also make it of interest to areal specialists and language typologists.

This study analyzes Thailand's recent development with up-to-date research, including the most recent political events there. The authors conducted many interviews, culminating with an audience with King Bumiphol. The book includes a who's who of the main characters and a glossary of Thai words and names used in the book.;All the major factors contributing to Thailand's success are covered: the good fortune of avoiding colonization, the effect of Buddhism, a natural balance of political forces, and the development of sound economic policies. The Thai national character, and the problems the country faces - environmemtal damage, income inequality, and the spread of AIDS - are also considered. Dick Wilson has also written "Hong Kong! Hong Kong!".

This book is a brief history of the end of the world as seen through the eyes of theatre. Since its inception, theatre has staged the fall of empires, floods, doomsdays, shipwrecks, earthquakes, plagues, environmental degradations, warfare, nuclear annihilation, and the catastrophic effects of climate change. Using a wide range of plays alongside contemporary thinkers, this study helps guide and galvanize the reader in grappling with the climate crisis. Kulick divides this litany of theatrical cataclysms into four distinct historical phases: the Ancients, including Euripides and Bhasa, the legendary Sanskrit dramatist; the Age of Belief, with the anonymous authors of the medieval mystery cycles, Shakespeare, and Pushkin; the Moderns, with Ibsen, Chekhov, Brecht, Beckett, and Bond; and, finally, the way the world might end now, encompassing Caryl Churchill, Tony Kushner, and Anne Washburn. In tandem with the insights gleaned from these playwrights, the book draws upon the work of contemporary scientists, ecologists, and ethicists to further tease out the philosophical implications of such plays and their relevance to our own troubled times. In the end, Kulick shows how each of these ages and their respective authors have something essential to say, not only about humanity's potential end, but, more importantly, about the possibility for our collective continuance.

Viscosimetry is to this day an easy accessible, but at the same time significant an alytical method for the characterization of polymers in solution. It is therefore widely used in the technical chemistry and chemical engineering like pharmaceu tical, medical, polymer processing and food industries as weIl as in research insti tutes and universities. Viscosimetry allows for a fast and low-priced determination of relevant parameters such as solution structure, volume fraction, coil dimensions, molar mass, viscosity or thermodynamical properties of a polymer in solution. The importance of viscosimetry as an independent area in the field of polymer analytics becomes clear through the Nobel prices awarded for two works in this area. The name of the 1953 honored Prof. Hermann Staudinger for his proof of the existence of polymers is still used in viscosimetry in the intrinsic viscosity (German: "Staudingerindex") (see "Intrinsic viscosimetry" in Chap. 4). In 1974, Prof. Paul J. Flory was honored with the Nobel price for his groundbreaking works on the conformation of polymers in solution and his name is conserved for pos terity in the Flory constant (see "The Fox-Flory theory" in Chap. 8)."

The strengths of international investment law - above all, a strong focus on investor interests and an effective adjudication and enforcement system - also entail its weaknesses: it runs the danger of impeding or even sanctioning the host states' legitimate regulatory interests and ignoring other fields of public international law. How does it cope with public interest concerns such as human rights, the environment or the fight against corruption? At the heart of this book lies a fresh approach towards a general theory of such global public interest considerations in the investment realm. Delineating how and why those considerations matter, and why the current system does not accommodate them properly, Andreas Kulick fleshes out general principles and customary international law as defences the host state may raise against alleged investor rights infringements and promotes proportionality as the appropriate balancing mechanism.

How Greek Tragedy Works is a journey through the hidden meanings and dual nature of Greek tragedy, drawing on its foremost dramatists to bring about a deeper understanding of how and why to engage with these enduring plays. Brian Kulick dispels the trepidation that many readers feel with regard to classical texts by equipping them with ways in which they can unpack the hidden meanings of these plays. He focuses on three of the key texts of Greek theatre: Aeschylus' Agamemnon, Euripides' The Bacchae, and Sophocles' Electra, and uses them to tease out the core principles of the theatre-making and storytelling impulses. By encouraging us to read between the lines like this, he also enables us to read these and other Greek tragedies as artists' manifestos, equipping us not only to understand tragedy itself, but also to interpret what the great playwrights had to say about the nature of plays and drama. This is an indispensable guide for anyone who finds themselves confronted with tackling the Greek classics, whether as a reader, scholar, student, or director.

How Greek Tragedy Works is a journey through the hidden meanings and dual nature of Greek tragedy, drawing on its foremost dramatists to bring about a deeper understanding of how and why to engage with these enduring plays. Brian Kulick dispels the trepidation that many readers feel with regard to classical texts by equipping them with ways in which they can unpack the hidden meanings of these plays. He focuses on three of the key texts of Greek theatre: Aeschylus' Agamemnon, Euripides' The Bacchae, and Sophocles' Electra, and uses them to tease out the core principles of the theatre-making and storytelling impulses. By encouraging us to read between the lines like this, he also enables us to read these and other Greek tragedies as artists' manifestos, equipping us not only to understand tragedy itself, but also to interpret what the great playwrights had to say about the nature of plays and drama. This is an indispensable guide for anyone who finds themselves confronted with tackling the Greek classics, whether as a reader, scholar, student, or director.

This book is a brief history of the end of the world as seen through the eyes of theatre. Since its inception, theatre has staged the fall of empires, floods, doomsdays, shipwrecks, earthquakes, plagues, environmental degradations, warfare, nuclear annihilation, and the catastrophic effects of climate change. Using a wide range of plays alongside contemporary thinkers, this study helps guide and galvanize the reader in grappling with the climate crisis. Kulick divides this litany of theatrical cataclysms into four distinct historical phases: the Ancients, including Euripides and Bhasa, the legendary Sanskrit dramatist; the Age of Belief, with the anonymous authors of the medieval mystery cycles, Shakespeare, and Pushkin; the Moderns, with Ibsen, Chekhov, Brecht, Beckett, and Bond; and, finally, the way the world might end now, encompassing Caryl Churchill, Tony Kushner, and Anne Washburn. In tandem with the insights gleaned from these playwrights, the book draws upon the work of contemporary scientists, ecologists, and ethicists to further tease out the philosophical implications of such plays and their relevance to our own troubled times. In the end, Kulick shows how each of these ages and their respective authors have something essential to say, not only about humanity's potential end, but, more importantly, about the possibility for our collective continuance.

The Elements of Theatrical Expression puts forward 14 essential elements that make up the basic building blocks of theatre. Is theatre a language? Does it have its own unique grammar? And if so, just what would the elements of such a grammar be? Brian Kulick asks readers to think of these elements as the rungs of a ladder, scaling one after the other to arrive at an aerial view of the theatrical landscape. From such a vantage point, one can begin to discern a line of development from the ancient Greeks, through Shakespeare and Chekhov, to a host of our own contemporary authors. He demonstrates how these elements may be transhistorical but are far from static, marking out a rich and dynamic theatrical language for a new generation of theatre makers to draw upon. Suitable for directors, actors, writers, dramaturges, and all audiences who yearn for a deeper understanding of theatre, The Elements of Theatrical Expression equips its readers with the knowledge that they need to see and hear theatre in new and more daring ways.

This book begins with a phone call. You answer it and learn that you got the job. Several months from now you're going to stage a Shakespeare play. Now ... what do you do? I mean, what do you do after that initial burst of adrenalin has passed through your body and you realize you haven't a clue as to what the play is really about, or what you might want to do with it? How exactly do you prepare for such an equally wonderful and daunting task? This is the central question of this book. It grows out of decades of preparing for Shakespeare productions and watching others do the same. It will save you some of the panic, wasted time, and fruitless paths experienced. It guides you through the crucial period of preparation and helps focus on such issues as: * What Shakespeare's life, work, and world can tell us * What patterns to look for in the text * What techniques might help unpack Shakespeare's verse * What approaches might unlock certain hidden meanings * What literary lenses might bring things into sharper focus * What secondary sources might lead to a broader contextual understanding * What thought experiments might aid in visualizing the play Ultimately, this book draws back the curtain and shows how the antique machinery of Shakespeare's theatre works. The imaginative time span begins from the moment you learn that on such and such date you will begin rehearsing such and such Shakespeare play. Our narrative clock starts ticking the moment you put down the phone and stops when you arrive at the rehearsal hall and begin your first table read. So much of what will be the success or failure of a director's project rests on this work that is done before rehearsals even begin.

At first glance, one may think of international investment law as a response to custom (or lack thereof), instead of a field of its application. However, in fact, the opposite is the case. The interpretation and application of customary rules and principles are the bread and butter of international investment law and arbitration. With a diverse range of expert contributors, this collection traces how customary international law is practised in international investment law. It considers how custom should be interpreted and how its rules and principles should be understood and applied by investor-state arbitral tribunals. Raising and addressing vital questions surrounding custom and international law, this collection is a necessary contribution to the scholarship of the theory and history of customary international law and international investment law. This title is also available as Open Access on Cambridge Core.

How does the sexual identity that anthropologists have in their "home" society affect the kind of sexuality they are allowed to express in other cultures? "Taboo" looks at the ethnographer and sexuality in anthropological fieldwork and considers the many roles that sexuality plays in the anthropological production of knowledge and texts.
"Taboo" looks at how the anthropologist's sexuality is perceived by the people with whom he or she does research. It looks at the frequency of sexual violence and intimidation in the field and why its existence is virtually unmentioned in anthropology. Other issues, including same-sex relationships, seduction and eroticism in the field, and traditional sex roles, are confronted. This lively book explores the influence this tabooed topic has had on the entire practice and production of anthropology. Both the seasoned anthropologist and those about to undertake fieldwork will find that "Taboo" contains engrossing articles on the types of personal and professional experiences which make up sexual life in the field.

Taboo looks at the ethnographer and sexuality in anthropological fieldwork and considers the many roles that sexuality plays in the anthropological production of knowledge and texts. How does the sexual identity that anthropologists have in their "home" society affect the kind of sexuality they are allowed to express in other cultures? How is the anthropologists' sexuality perceived by the people with whom he or she does research? How common is sexual violence and intimidation in the field and why is its existence virtually unmentioned in anthropology? These are but a few of the questions to be confronted, exploring from differing perspectives the depth of the influence this tabooed topic has on the entire practice and production of anthropology.
A long-overdue text for all students and lecturers of anthropology, many post-fieldwork readers will find a resonance of issues they have previously faced (or tried to avoid) and those who are still to undertake fieldwork will find articles that refer to other kinds of personal and professional experience as well as providing invaluable preparations for coping in the field.

Few people these days would oppose making the public realm of space, social services and jobs accessible to women and men with disabilities. But what about access to the private realm of desire and sexuality? How can one also facilitate access to that, in ways that respect the integrity of disabled adults, and also of those people who work with and care for them? Loneliness and Its Opposite documents how two countries generally imagined to be progressive engage with these questions in very different ways. Denmark and Sweden are both liberal welfare states, but they diverge dramatically when it comes to sexuality and disability. In Denmark, the erotic lives of people with disabilities are acknowledged and facilitated. In Sweden, they are denied and blocked. Why do these differences exist, and how do both facilitation and hindrance play out in practice? Loneliness and Its Opposite charts complex boundaries between private and public, love and sex, work and intimacy, and affection and abuse. It shows how providing disabled adults with access to sexual lives is not just crucial for a life with dignity. It is an issue of fundamental social justice with far reaching consequences for everyone.

The Elements of Theatrical Expression puts forward 14 essential elements that make up the basic building blocks of theatre. Is theatre a language? Does it have its own unique grammar? And if so, just what would the elements of such a grammar be? Brian Kulick asks readers to think of these elements as the rungs of a ladder, scaling one after the other to arrive at an aerial view of the theatrical landscape. From such a vantage point, one can begin to discern a line of development from the ancient Greeks, through Shakespeare and Chekhov, to a host of our own contemporary authors. He demonstrates how these elements may be transhistorical but are far from static, marking out a rich and dynamic theatrical language for a new generation of theatre makers to draw upon. Suitable for directors, actors, writers, dramaturges, and all audiences who yearn for a deeper understanding of theatre, The Elements of Theatrical Expression equips its readers with the knowledge that they need to see and hear theatre in new and more daring ways.

Tayap is a small, previously undocumented Papuan language, spoken in a single village called Gapun, in the lower Sepik River region of Papua New Guinea. The language is an isolate, unrelated to any other in the area. Furthermore, Tayap is dying. Fewer than fifty speakers actively command it today. Based on linguistic anthropological work conducted over the course of thirty years, this book describes the grammar of the language, detailing its phonology, morphology and syntax. It devotes particular attention to verbs, which are the most elaborated area of the grammar, and which are complex, fusional and massively suppletive.The book also provides a full Tayap-English-Tok Pisin dictionary. A particularly innovative contribution is the detailed discussions of how Tayap''s grammar is dissolving in the language of young speakers. The book exemplifies how the complex structures in fluent speakers' Tayap are reduced or reanalyzed by younger speakers. This grammar and dictionary should therefore be a valuable resource for anyone interested in the mechanics of how languages disappear. The fact that it is the sole documentation of this unique Papuan language should also make it of interest to areal specialists and language typologists.

Driven by public opinion in host states, contracting parties to investment agreements are pursuing many avenues in order to curb a system that is being perceived - correctly or not - as having run out of control. Reassertion of Control over the Investment Treaty Regime is the first book of its kind to examine the many issues of procedure, substantive law, and policy which arise from this trend. From procedural aspects such as frivolous claims mechanisms, the establishment of appeals mechanism or state-state arbitration, to substantive issues such as joint interpretations, treaty termination or detailed definitions of standards of protection, the book identifies and discusses the main means by which states do or may reassert their control over the interpretation and application of investment treaties. Each chapter tackles one of these avenues and evaluates its potential to serve as an instrument in states' reassertion of control.

Das Buch enthalt Kapitel uber: W.-M. Kulicke, M. Kotter, Hamburg; H. Grager, Celle, FRG: "Das Phanomen der " "Fliessverbesserung unter besonderer Berucksichtigung " "homogener Polymerlosungen" M. Andreis, Zagreb, Yugoslavia, J.L. Koenig: "Anwendung der NMR-Spektroskopie auf vernetzten " "Polymersystemen""

This laboratory handbook offers clear guidelines and tips for the practical everyday application of viscosimetry, as well as supplying a comprehensive companion for the interpretation of viscosimetric data from simple to complex polymer solutions.

What is the secret DNA of theater? What makes it unique from its sister arts? Why was it invented? Why does it persist? And now, in such an advanced technological age, why do we still feel compelled to return to a mode of expression that was invented over two thousand years ago? These are some of the foundational questions that are asked in this study of theater from its inception to today. The Secret Life of Theater begins with a look at theater's origins in Ancient Greece. Next, it moves on to examine the history and nature of theater, from Agamenon to Angels in America, through theater's use of stage directions, revealing the many unspoken languages that are employed to communicate with its audiences. Finally, it looks at theater's ever-shifting strategies of engendering fellow-feeling through the use of emotion, allowing the form to become a rare space where one can feel a thought and think a feeling. In an age when many studies are concerned with the "how" of theater, this work returns us to theatre's essential "why." The Secret Life of Theater suggests that by reframing the question we can re-enchant this unique and ever-vital medium of expression.

What is the secret DNA of theater? What makes it unique from its sister arts? Why was it invented? Why does it persist? And now, in such an advanced technological age, why do we still feel compelled to return to a mode of expression that was invented over two thousand years ago? These are some of the foundational questions that are asked in this study of theater from its inception to today. The Secret Life of Theater begins with a look at theater's origins in Ancient Greece. Next, it moves on to examine the history and nature of theater, from Agamenon to Angels in America, through theater's use of stage directions, revealing the many unspoken languages that are employed to communicate with its audiences. Finally, it looks at theater's ever-shifting strategies of engendering fellow-feeling through the use of emotion, allowing the form to become a rare space where one can feel a thought and think a feeling. In an age when many studies are concerned with the "how" of theater, this work returns us to theatre's essential "why." The Secret Life of Theater suggests that by reframing the question we can re-enchant this unique and ever-vital medium of expression.

This accessible book looks at how we talk about sex and why we talk about it the way we do. Drawing on examples that range from personal ads to phone sex, sado-masochistic scenes to sexual assault trials, this work provides a clear introduction to the relationship between language and sexuality. Using a broad definition of "sexuality", it encompasses not only issues surrounding sexual orientation and identity, but also questions about the discursive construction of sexuality and the verbal expression of erotic desire.

The Language and Sexuality Reader is the first collection to bring together historical and contemporary writings from a range of academic disciplines to explore the connections between sex as a domain of human experience and the language we use to speak and write about it. The topics addressed by contributors include gay slang and gay speech styles; the language of drag performances, personal ads, Nepali love letters and Japanese schoolgirl fiction; what counts as 'having sex' and whether 'marriage' has to be heterosexual by definition; the communication of sexual desire, consent and refusal; and how heterosexuals reveal themselves in ordinary conversation.
Bringing together material from fields including anthropology, communication studies, linguistics, medicine and psychology, the text begins by guiding students through early work in the field, which focused on homosexual language-use and its difference from the heterosexual mainstream. The second part of the reader widens the focus: moving away from the generic labels 'homosexual' and 'heterosexual', it explores the diversity of linguistic and sexual practices as documented and debated among scholars from the mid-1990s to the present.
Organised in thematic sections, the Reader addresses
- The origins and development of language and sexuality research from the 1940s to the 1980s
- The use people make of language to perform sexuality and sexual identity
- How language reflects, reinforces or challenges norms defining what is 'natural' and desirable in the sphere of sex
- The verbal communication of sexual desire

Language Shift and Cultural Reproduction, first published in 1992, is a fascinating anthropological study of language and cultural change among the villagers of Gapun, in the Sepik region of Papua New Guinea. Despite their strong attachment to their own language as a source of identity and as a tie to their lands, people are abandoning their vernacular in favour of Tok Pisin, the most widely spoken language in Papua New Guinea. By examining village language socialization practices and drawing on Marshall Sahlins's ideas about structure and event, Don Kulick reveals how daily interactions, attitudes towards language, children, change, and personhood, all contribute to a shift in language and culture that is beyond the villagers' understanding and control. This is the first detailed documention of the process of language shift. It places linguistic change within an interpretive framework, and treats language as a symbolic system that affects, and is affected by, the thoughts and actions of everyday life.

Innovation networks are a major source for acquiring new information and knowledge and thus for supporting innovation processes. Despite the many theoretical and empirical contributions to the explanation of networks, many questions still remain open. For example: How can networks, if they do not emerge by their own, be initiated? How can fragmentation in innovation systems be overcome? And how can networking experience from market economies be transferred to the emerging economies of Central and Eastern Europe? By presenting a selection of papers which address innovation networking from theoretical and political viewpoints, the book aims at giving answers to these questions.