Language is the most essential medium of scientific activity. Many historians, sociologists and science studies scholars have investigated scientific language for this reason, but only few have examined those cases where language itself has become an object of scientific discussion. Over the centuries scientists have sought to control, refine and engineer language for various epistemological, communicative and nationalistic purposes. This book seeks to explore cases in the history of science in which questions or concerns with language have bubbled to the surface in scientific discourse.
Now in its third edition Poetry: The Basics remains an engaging exploration of the world of poetry. Drawing on examples ranging from Chaucer to children's rhymes, Cole Porter to Carol Ann Duffy, and from around the English-speaking world, it shows how any reader can understand and gain more pleasure from poetry. Exploring poetry’s relationship to everyday language and introducing major genres and technical aspects in an accessible way, it is a clear introduction to how different types of poetry work through the study of details and of whole poems.
Language Files: Materials for an Introduction to Language and Linguistics has become one of the most widely adopted, consulted, and authoritative introductory textbooks to linguistics ever written. The scope of the text makes it suitable for use in a wide range of courses, while its unique organization into student-friendly, self-contained sections allows for tremendous flexibility in course design. The twelfth edition has been significantly revised, clarified, and updated throughout—with particular attention to the chapters on phonetics, phonology, pragmatics, and especially psycholinguistics.
The act of writing is intimately bound up with the flow and eddy of a writer’s being-within-the-world; the everyday practices, encounters and networks of social life. Exploring the geographies of literary practice in the period 1840-1910, this book takes as its focus the work, or craft, of authorship, exploring novels not as objects awaiting interpretation, but as spatial processes of making meaning. As such, it is interested in literary creation not only as something that takes place - the situated nature of putting pen to paper - but simultaneously as a process that escapes such placing.
Surreal Beckett situates Beckett‘s writings within the context of James Joyce and Surrealism, distinguishing ways in which Beckett forged his own unique path, sometimes in accord with, sometimes at odds with, these two powerful predecessors. Beckett was so deeply enmeshed in Joyce’s circle during his early Paris days (1928 - late 1930s) that James Knowlson dubbed them his "Joyce years." But Surrealism and Surrealists rivaled Joyce for Beckett’s early and continuing attention, if not affection, so that Raymond Federman called 1929-45 Beckett’s "surrealist period."
