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Ways of Scope Taking (Studies in Linguistics and Philosophy #65)
by A. SzabolcsiThe present volume is as much a book co-authored by all the contributors as it is an edited collection of their papers. Most of the contributors have been involved in regular discussions over the past years, often inspiring the questions, or some aspects of the proposals, in each other's papers or actually collaborating on co-authored papers. ! For this reason, the contributions make related assumptions and explore highly related issues. The organization of the volume reflects this unity of aims and interests. It starts out with an overview of some of the shared formal background, and the chapters are arranged in a sequence that is intended to invite the reader to proceed from one directly to the next. Nevertheless, there has been no attempt to eliminate individual differences in either assumptions or choice of topic. All the chapters are entirely self-contained, so the reader will find it equally possible to read any of them in isolation. Two members of the UCLA community do not appear in this volume but have been an important source of inspiration for this project: Ed Keenan and Feng-hsi Liu. Many of Keenan's works have drawn attention to the empirically diverse behavior of natural language determiners and developed theoretical tools for studying them. Liu's 1990 dissertation examined the abilities of a representative sample of noun phrases to participate in scopal dependencies and branching, coming up with provocative generalizations and pointing out their significance for then-standard theories in powerful terms.
The Ways of the Word: Episodes in Verbal Attention
by Garrett StewartIn The Ways of the Word, Garrett Stewart steps aside from theory to focus on the sheer pleasure of attentive reading and the excitement of recognizing the play of syllables and words upon which the best literary writing is founded. Emerging out of teaching creative writing and a broader effort to convene writers and critics, Stewart's "episodes in verbal attention" track the means to meaning through the byways of literary wording.Through close engagement with literary passages and poetic instances whose imaginative demands are their own reward, Stewart gathers exhibits from dozens of authors: from Dickinson, Dickens, and DeLillo to Whitman, Woolf, and Colson Whitehead. In the process, idiom, tense, etymology, and other elements of expressive language and its phonetic wordplay are estranged and heard anew. The Ways of the Word fluidly and intuitively reveals a verbal alchemy that is as riveting as it is elusive and mysterious.
Ways of the World: Theater and Cosmopolitanism in the Restoration and Beyond
by Laura J. RosenthalWays of the World explores cosmopolitanism as it emerged during the Restoration and the role theater played in both memorializing and satirizing its implications and consequences. Rooted in the Stuart ambition to raise the status of England through two crucial investments—global traffic, including the slave trade, and cultural sophistication—this intensified global orientation led to the creation of global mercantile networks and to the rise of an urban British elite who drank Ethiopian coffee out of Asian porcelain at Ottoman-inspired coffeehouses. Restoration drama exposed cosmopolitanism's most embarrassing and troubling aspects, with such writers as Joseph Addison, Aphra Behn, John Dryden, and William Wycherley dramatizing the emotional and ethical dilemmas that imperial and commercial expansion brought to light.Altering standard narratives about Restoration drama, Laura J. Rosenthal shows how the reinvention of theater in this period—including technical innovations and the introduction of female performers—helped make possible performances that held the actions of the nation up for scrutiny, simultaneously indulging and ridiculing the violence and exploitation being perpetuated. In doing so, Ways of the World reveals an otherwise elusive consistency between Restoration genres (comedy, tragedy, heroic plays, and tragicomedy), disrupts conventional understandings of the rise and reception of early capitalism, and offers a fresh perspective on theatrical culture in the context of the shifting political realities of seventeenth- and eighteenth-century Britain.
Wayward Contracts: The Crisis of Political Obligation in England, 1640-1674
by Victoria KahnWhy did the language of contract become the dominant metaphor for the relationship between subject and sovereign in mid-seventeenth-century England? In Wayward Contracts, Victoria Kahn takes issue with the usual explanation for the emergence of contract theory in terms of the origins of liberalism, with its notions of autonomy, liberty, and equality before the law. Drawing on literature as well as political theory, state trials as well as religious debates, Kahn argues that the sudden prominence of contract theory was part of the linguistic turn of early modern culture, when government was imagined in terms of the poetic power to bring new artifacts into existence. But this new power also brought in its wake a tremendous anxiety about the contingency of obligation and the instability of the passions that induce individuals to consent to a sovereign power. In this wide-ranging analysis of the cultural significance of contract theory, the lover and the slave, the tyrant and the regicide, the fool and the liar emerge as some of the central, if wayward, protagonists of the new theory of political obligation. The result is must reading for students and scholars of early modern literature and early modern political theory, as well as historians of political thought and of liberalism.
Wayward Contracts: The Crisis of Political Obligation in England, 1640-1674
by Victoria KahnWhy did the language of contract become the dominant metaphor for the relationship between subject and sovereign in mid-seventeenth-century England? In Wayward Contracts, Victoria Kahn takes issue with the usual explanation for the emergence of contract theory in terms of the origins of liberalism, with its notions of autonomy, liberty, and equality before the law. Drawing on literature as well as political theory, state trials as well as religious debates, Kahn argues that the sudden prominence of contract theory was part of the linguistic turn of early modern culture, when government was imagined in terms of the poetic power to bring new artifacts into existence. But this new power also brought in its wake a tremendous anxiety about the contingency of obligation and the instability of the passions that induce individuals to consent to a sovereign power. In this wide-ranging analysis of the cultural significance of contract theory, the lover and the slave, the tyrant and the regicide, the fool and the liar emerge as some of the central, if wayward, protagonists of the new theory of political obligation. The result is must reading for students and scholars of early modern literature and early modern political theory, as well as historians of political thought and of liberalism.
We Are Not One People: Secession and Separatism in American Politics Since 1776
by Michael J. Lee R. Jarrod AtchisonE pluribus unum was suggested for the national seal in 1776, but national oneness has been haunted by its opposite ever since. We Are Not One People demonstrates how the persistence of separatist movements in American history reveals as much about the nation's politics as it does the would-be separatists. Each chapter explores how great swaths of Americans of every ideological stripe, in good times and bad, in and beyond the South, have disputed the nation's oneness and stressed its divisibility. Trumpeted in American myths, mottos, movies, and songs, separatism is omnipresent in American political culture. Separatist rhetoric has shaped Americans' experience of what it means to be an American, and we can learn much about the durable appeal and enduring fragility of the United States from those who tried to leave it. As one Vermont separatist quips, leaving is as American "as apple pie." We Are Not One People is a bold, pathbreaking, and far-reaching account of disunionists from 1776 to the present who wanted, as phrased in the Declaration of Independence, "to dissolve the political bands" connecting them to other Americans.
We Are Not One People: Secession and Separatism in American Politics Since 1776
by Michael J. Lee R. Jarrod AtchisonE pluribus unum was suggested for the national seal in 1776, but national oneness has been haunted by its opposite ever since. We Are Not One People demonstrates how the persistence of separatist movements in American history reveals as much about the nation's politics as it does the would-be separatists. Each chapter explores how great swaths of Americans of every ideological stripe, in good times and bad, in and beyond the South, have disputed the nation's oneness and stressed its divisibility. Trumpeted in American myths, mottos, movies, and songs, separatism is omnipresent in American political culture. Separatist rhetoric has shaped Americans' experience of what it means to be an American, and we can learn much about the durable appeal and enduring fragility of the United States from those who tried to leave it. As one Vermont separatist quips, leaving is as American "as apple pie." We Are Not One People is a bold, pathbreaking, and far-reaching account of disunionists from 1776 to the present who wanted, as phrased in the Declaration of Independence, "to dissolve the political bands" connecting them to other Americans.
We are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884 - 1915 (Modern Classics)
by Jackie Sibblies Drury“Impressively navigates the tricky boundaries that separate art and life, the haunted present and the haunting historical past..” New York TimesA group of actors gather to tell the little-known story of the first genocide of the twentieth century. As the full force of a horrific past crashes into the good intentions of the present, what seemed a far-away place and time is suddenly all too close to home. Just whose story are they telling?Pulitzer Prize award-winning playwright Jackie Sibblies Drury collides the political with the personal in a play that is irreverently funny and seriously brave.We Are Proud To Present . . . premiered off-Broadway at Soho Rep in 2012. This new Modern Classics edition features an introduction by Leonor Faber-Jonker.
We are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884 - 1915 (Modern Classics)
by Jackie Sibblies Drury“Impressively navigates the tricky boundaries that separate art and life, the haunted present and the haunting historical past..” New York TimesA group of actors gather to tell the little-known story of the first genocide of the twentieth century. As the full force of a horrific past crashes into the good intentions of the present, what seemed a far-away place and time is suddenly all too close to home. Just whose story are they telling?Pulitzer Prize award-winning playwright Jackie Sibblies Drury collides the political with the personal in a play that is irreverently funny and seriously brave.We Are Proud To Present . . . premiered off-Broadway at Soho Rep in 2012. This new Modern Classics edition features an introduction by Leonor Faber-Jonker.
We Can Cook: Phase 3 Set 2 (Big Cat Phonics For Little Wandle Letters And Sounds Revised Ser.)
by Sophia Payne Sayada Ramdial Collins Big Cat
We Can Do This!: Student Mentor Texts That Teach and Inspire
by Janiel WagstaffIn We Can Do This! writing expert and Stella Writes author Janiel Wagstaff pairs examples of student writing with writing lessons. Student writing samples are extremely powerful tools for boosting the growth of young writers and the student samples provided in this book serve as mentor texts and the basis for each lesson. The samples are mentors that are doable for students: they highlight skills, strategies, craft moves, and traits within the reach of their intended audience. As teachers and students study the examples, they will think, I can do that! Additionally, samples that reflect the most common errors or trouble spots are included, enabling teachers to explicitly teach to these points.
We Can Do This!: Student Mentor Texts That Teach and Inspire
by Janiel WagstaffIn We Can Do This! writing expert and Stella Writes author Janiel Wagstaff pairs examples of student writing with writing lessons. Student writing samples are extremely powerful tools for boosting the growth of young writers and the student samples provided in this book serve as mentor texts and the basis for each lesson. The samples are mentors that are doable for students: they highlight skills, strategies, craft moves, and traits within the reach of their intended audience. As teachers and students study the examples, they will think, I can do that! Additionally, samples that reflect the most common errors or trouble spots are included, enabling teachers to explicitly teach to these points.
We Can Take It!
by Mark Connelly`We Can Take It!' shows that the British remember the war in a peculiar way, thanks to a mix of particular images and evidence. Our memory has been shaped by material which is completely removed from historical reality. These images (including complete inventions) have combined to make a new history. The vision is mostly cosy and suits the way in which the Britons conceive of themselves: dogged, good humoured, occasionally bumbling, unified and enjoying diversity. In fact Britons load their memory towards the early part of the war (Dunkirk, Blitz, Battle of Britain) rather than when we were successful in the air or against Italy and Germany with invasions. This suits our love of being the underdog, fighting against the odds, and being in a crisis. Conversely, the periods of the war during which Britain was in the ascendant are, perversely, far more hazy in the public memory.
We Can Take It!
by Mark Connelly`We Can Take It!' shows that the British remember the war in a peculiar way, thanks to a mix of particular images and evidence. Our memory has been shaped by material which is completely removed from historical reality. These images (including complete inventions) have combined to make a new history. The vision is mostly cosy and suits the way in which the Britons conceive of themselves: dogged, good humoured, occasionally bumbling, unified and enjoying diversity. In fact Britons load their memory towards the early part of the war (Dunkirk, Blitz, Battle of Britain) rather than when we were successful in the air or against Italy and Germany with invasions. This suits our love of being the underdog, fighting against the odds, and being in a crisis. Conversely, the periods of the war during which Britain was in the ascendant are, perversely, far more hazy in the public memory.
We Chose to Speak of War and Strife: The World of the Foreign Correspondent
by John SimpsonIn corners of the globe where fault-lines seethe into bloodshed and civil war, foreign correspondents have, for hundreds of years, been engaged in uncovering the latest news and – despite obstacles bureaucratic, political, violent – reporting it by whatever means available. It's a working life that is difficult, exciting and undeniably glamorous. We Chose to Speak of War and Strife brings us pivotal moments in our history – from the Crimean War to Vietnam; the siege of Sarajevo to the fall of Baghdad – through the eyes of those who risked life and limb to witness them first hand, and the astonishing tales of what it took to report them. These stories celebrate an endangered tradition. Where once despatches were trusted to the hands of a willing sea-captain, telegraph operator or stranger in an airport queue prepared to spirit a can of undeveloped film back to London, today the digital realm has transformed the relaying of the news – even if the work of gathering it in the field has changed little.Weaving the tales of the greats of yesterday and today, such as Martha Gellhorn, Ernest Hemingway, Don McCullin and Marie Colvin, with extraordinary accounts from his own lifetime on the frontlines, this is a deeply personal book from a master of the profession, the most distinguished foreign correspondent of our time.
We Contain Multitudes
by Sarah HenstraAristotle and Dante Discover the Secrets of the Universe meets I'll Give You the Sun in an exhilarating and emotional novel about the growing relationship between two teenage boys, told through the letters they write to one another. Jonathan Hopkirk and Adam "Kurl" Kurlansky are partnered in English class, writing letters to one another in a weekly pen pal assignment. With each letter, the two begin to develop a friendship that eventually grows into love. But with homophobia, bullying, and devastating family secrets, Jonathan and Kurl struggle to overcome their conflicts and hold onto their relationship...and each other.This rare and special novel celebrates love and life with engaging characters and stunning language, making it perfect for fans of Jandy Nelson, Nina LaCour, and David Levithan.
We Don't Become Refugees by Choice: Mia Truskier, Survival, and Activism from Occupied Poland to California, 1920-2014 (Palgrave Studies in Oral History)
by Teresa A. MeadeThis book traces the life of Maria Mia Truskier, who fled the Nazis as a young Polish Jew in early 1940 and once safely resettled in the United States, became an activist for other refugees, earning renown in the Bay Area as “the oldest refugee” of the East Bay Sanctuary Covenant. Mia worked for decades assisting those fleeing from war, violence and hardship, mainly from Central America and Haiti. Based on extensive interviews with Truskier before she passed away, as well as memorabilia from her own lifetime, including coded letters, newspaper clippings, and old photographs, this book results in a complex and multi-layered oral history. As Mia drew on memories of her life in Europe and World War II, she was situating and constructing those memories while re-reading and discovering these artifacts alongside the author of this book, and ultimately relating the ways that she and her family years later sought to make a difference for other refugees, drawing a connection between two major eras of human displacement: the end of World War II and today.
We Find Ourselves in Other People’s Stories: On Narrative Collapse and a Lifetime Search for Story
by Amy E. RobillardWe Find Ourselves in Other People’s Stories: On Narrative Collapse and a Lifetime Search for Story is a collection of five essays that dissolves the boundary between personal writing and academic writing, a longstanding binary construct in the discipline of composition and writing studies, in order to examine the rhetorical effects of narrative collapse on the stories we tell about ourselves and others. Taken together, the essays theorize the relationships between language and violence, between narrative and dementia, between genre and certainty, and between writing and life.
We Find Ourselves in Other People’s Stories: On Narrative Collapse and a Lifetime Search for Story
by Amy E. RobillardWe Find Ourselves in Other People’s Stories: On Narrative Collapse and a Lifetime Search for Story is a collection of five essays that dissolves the boundary between personal writing and academic writing, a longstanding binary construct in the discipline of composition and writing studies, in order to examine the rhetorical effects of narrative collapse on the stories we tell about ourselves and others. Taken together, the essays theorize the relationships between language and violence, between narrative and dementia, between genre and certainty, and between writing and life.
We Have Some Notes…: The Insider’s Guide to Notes, Script Editing and Development
by Venetia HawkesFrom the early stages of script writing to the final cut, We Have Some Notes… provides a detailed overview of the script editing and development process, emphasising the impact of critical feedback, or 'notes', in the creation of successful films and television shows.Through interviews with leading industry practitioners, including Lynne Ramsay, Russell T Davies, Sally Wainwright, Edgar Wright, Lone Scherfig, Ben Wheatley and Simon Beaufoy, Venetia Hawkes explores the writer, director and note-giver relationship. The interviewees discuss the most productive and harmonious ways to give and receive feedback, and the role notes play in a fruitful creative process. Respected 'note-givers', such as Tessa Ross, Eva Yates and Pippa Harris, provide advice on nurturing successful development relationships. Inter-chapter sections pose key questions, such as "What's one thing never to do if you're giving notes?" and "How do you deal with rejection or critical notes?" Providing illuminating, practical guidance on ways of working successfully with notes, for both writers and directors.With its wealth of first-hand reflections, expert advice, and historical context, We Have Some Notes… is a vital read for students, industry professionals, and anyone interested in the making of acclaimed films and television series.
We Have Some Notes…: The Insider’s Guide to Notes, Script Editing and Development
by Venetia HawkesFrom the early stages of script writing to the final cut, We Have Some Notes… provides a detailed overview of the script editing and development process, emphasising the impact of critical feedback, or 'notes', in the creation of successful films and television shows.Through interviews with leading industry practitioners, including Lynne Ramsay, Russell T Davies, Sally Wainwright, Edgar Wright, Lone Scherfig, Ben Wheatley and Simon Beaufoy, Venetia Hawkes explores the writer, director and note-giver relationship. The interviewees discuss the most productive and harmonious ways to give and receive feedback, and the role notes play in a fruitful creative process. Respected 'note-givers', such as Tessa Ross, Eva Yates and Pippa Harris, provide advice on nurturing successful development relationships. Inter-chapter sections pose key questions, such as "What's one thing never to do if you're giving notes?" and "How do you deal with rejection or critical notes?" Providing illuminating, practical guidance on ways of working successfully with notes, for both writers and directors.With its wealth of first-hand reflections, expert advice, and historical context, We Have Some Notes… is a vital read for students, industry professionals, and anyone interested in the making of acclaimed films and television series.
We Heal from Memory: Sexton, Corde, Anzaldua, and the Poetry of Witness
by C. SteeleThrough an examination of the poetry of Anne Sexton, Audre Lorde, and Gloria Anzaldúa, We Heal From Memory paints a vivid picture of how our culture carries a history of traumatic violence - child sexual abuse, the ownership and enforcement of women's sexuality under slavery, the transmission of violence through generations, and the destruction of non-white cultures and their histories through colonization. According to Cassie Premo Steele, the poetry of Sexton, Lorde, and Anzaldúa allows us to witness and to heal from such disparate traumatic events.
We Only Talk Feminist Here: Feminist Academics, Voice and Agency in the Neoliberal University
by Briony Lipton Elizabeth MackinlayThis book explores what it means to ‘only talk feminist here’ in the contemporary neoliberal university. How do feminist academics effect change? How are feminist voices sounded, heard, received, silenced, and masked? We Only Talk Feminist Here offers insight into the complexities, contradictions, and possibilities of ‘talking feminist’; of writing as speaking, problematising notions of voice and agency, of speaking into the silences and the ways in which we fight for and flee to feminist spaces, and of talking back. This book presents new possibilities for framing ‘talking feminist’ differently, by exploring what we say, when we say it, how we say it, and what it means when we do any of these things in terms of our multiple and shifting feminist subjectivities. We Only Talk Feminist Here draws upon interviews and conversations with feminist academics in Australia to demonstrate the performative and discursive moves feminist academics make in order to be heard and effect change to the gendered status quo in Australian higher education.
We Only Talk Feminist Here: Feminist Academics, Voice and Agency in the Neoliberal University (PDF)
by Briony Lipton Elizabeth MackinlayThis book explores what it means to ‘only talk feminist here’ in the contemporary neoliberal university. How do feminist academics effect change? How are feminist voices sounded, heard, received, silenced, and masked? We Only Talk Feminist Here offers insight into the complexities, contradictions, and possibilities of ‘talking feminist’; of writing as speaking, problematising notions of voice and agency, of speaking into the silences and the ways in which we fight for and flee to feminist spaces, and of talking back. This book presents new possibilities for framing ‘talking feminist’ differently, by exploring what we say, when we say it, how we say it, and what it means when we do any of these things in terms of our multiple and shifting feminist subjectivities. We Only Talk Feminist Here draws upon interviews and conversations with feminist academics in Australia to demonstrate the performative and discursive moves feminist academics make in order to be heard and effect change to the gendered status quo in Australian higher education.
We Shall Fight on the Beaches: The Speeches That Inspired History
by Jacob F. FieldPrefaced by brief historical and biographical introductions, the examples in this book show how words can be used to inspire, to comfort, to move, or to enthuse even the most seemingly hard-bitten of listeners. From rallying cries such as Garibaldi's 'To arms, then, all of you!' and Chou En-lai's 'We must hold aloft the great red banner' to sombre statements such as Sheikh Mujibur Rahman's 'This time the struggle is for our freedom', each extract gives us an insight into the hardships of war and the fight for courage. Spanning over two millennia and with speeches from across the globe, We Shall Fight on the Beaches is a book to inspire and inflame the reader.