This book presents a novel analysis of concealed-question constructions, reports of a mental attitude in which part of a sentence looks like a nominal complement (e.g. Eve's phone number in Adam knows Eve's phone number), but is interpreted as an indirect question (Adam knows what Eve's phone number is). Such constructions are puzzling in that they raise the question of how their meaning derives from their constituent parts. In particular, how a nominal complement (Eve's phone number), normally used to refer to an entity (e.g. Eve's actual phone number in Adam dialled Eve's phone number) ends up with a question-like meaning.

This book presents a new cross-linguistic analysis of gender and its effects on morphosyntax. It addresses questions including the syntactic location of gender features; the role of natural gender; and the relationship between syntactic gender features and the morphological realization of gender. Ruth Kramer argues that gender features are syntactically located on the n head ('little n'), which serves to nominalize category-neutral roots.

This penetrating analysis is the first comprehensive study by a professional historian of British history from 1945 to the present day. It examines the transformation of post-war Britain from the planning enthusiasm of 1945 to the rise of New Labour. Using a wide variety of sources, including the records of political parties and the most recently released documents from the Public Records Office, Kenneth Morgan brings the story right up to date and draws comparisons with the post-war history of other nations.

Charles Dickens is credited with creating some of the world's best-known fictional characters, and is widely regarded as the greatest novelist of the Victorian age. Even before reading the works of Dickens many people have met him already in some form or another. His characters have such vitality that they have leapt from his pages to enjoy flourishing lives of their own: The Artful Dodger, Miss Havisham, Scrooge, Fagin, Mr Micawber, and many many more. His portrait is present on British ten-pound notes; he is a national icon, indeed himself a generator of what Englishness signifies.

It's one of the best known scenes in all of literature--young Oliver Twist, with empty bowl in hand, asking "Please Sir. I want some more." In Dickens and the Workhouse, historian Ruth Richardson recounts how she discovered the building that was quite possibly the model for the workhouse in Dickens' classic novel. Indeed, Richardson reveals that Dickens himself lived only a few doors down from this notorious building--once as a child and once again as a young journalist. This book offers a colorful portrait of London in Dickens' time, looking at life in the streets and in the workhouse itself.