The mother sings to her sleeping baby: "I'll love you forever / I'll love you for always / As long as I'm living / My baby you'll be." She still sings the same song when her baby has turned into a fractious 2-year-old, a slovenly 9-year-old, and then a raucous teen. So far so ordinary--but this is one persistent lady. When her son grows up and leaves home, she takes to driving across town with a ladder on the car roof, climbing through her grown son's window, and rocking the sleeping man in the same way. Then, inevitably, the day comes when she's too old and sick to hold him, and the roles are at last reversed.
English is the "second language" of A la recherche du temps perdu. Although much has been written about Proust's debt to English literature, especially Ruskin, Daniel Karlin is the first critic to focus on his knowledge of the language itself--on vocabulary, idiom, and etymology. He uncovers an "English world" in Proust's work, a world whose social comedy and artistic values reveal surprising connections to some of the novel's central preoccupations with sexuality and art.
The English Language in Canada: Status, History and Comparative Analysis
The English Language in Canada examines the current status, history and principal features of Canadian English, focusing on the 'standard' variety heard across the country today.
The Cambridge History of the English Language, Vol. 5: English in Britain and Overseas: Origins and Development
Added by: zryciuch_83 | Karma: 392.34 | Black Hole | 23 January 2011
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The Cambridge History of the English Language, Vol. 5: English in Britain and Overseas: Origins and Development
Volume 5 of The Cambridge History of the English Language looks at the dialects of England since 1776, the historical development of English in the former Celtic-speaking countries of Scotland, Wales and Ireland, and at varieties of English in Australia, New Zealand, South Africa, the Caribbean and South Asia. This unique volume will be welcomed by all those interested in the spread of English around the world.
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No, David! Parents will be quick to jump to the conclusion that there can be nothing appealing in a tale of an ugly kid who breaks things. And certainly--from that adult perspective--there's something off-putting about the illustrations of David, with his potato head, feral eyes, and a maniacal grin that exposes ferociously pointed teeth. But 3- and 4-year-olds see things differently, and will find his relentless badness both funny and liberating. "No, David," wails the off-stage mother, as David reaches for the cookie jar. "No! No! No!" as he makes a swamp out of the bathroom.
