Instead, she looks closely at some of the people who lived and worked in that fascinating era of European history.

    Clear and entertaining explanations are given for words such as multi-accentuality, postmodernism, and hypertext. The dictionary also provides extensive coverage of traditional drama, rhetoric, literary history, and textual criticism. This edition includes useful advice on further reading for particularly complex terms, as well as helpful pronunciation guides on over 200 terms. Fully updated to include terms that have become prominent in literature in the last few years, from cyberpunk to antanaclasis, the Second Edition is ingeniously designed to tackle the less obvious terms that students and general readers will encounter.

    Drout submerses listeners in poetry's past, present, and future, addressing such poets as Milton, Wordsworth, Shelley, and Keats, and explaining in simple terms what poetry is while following its development through the centuries.

    He won spectacular military victories (most notably at Brunanburh), forged unprecedented political connections across Europe, and succeeded in creating the first unified kingdom of the English. To claim for him the title of "first English monarch" is no exaggeration.In this nuanced portrait of Æthelstan, Sarah Foot offers the first full account of the king ever written. She traces his life through the various spheres in which he lived and worked, beginning with the intimate context of his family, then extending outward to his unusual multiethnic royal court, the Church and his kingdom, the wars he conducted, and finally his death and legacy. Foot describes a sophisticated man who was not only a great military leader but also a worthy king. He governed brilliantly, developed creative ways to project his image as a ruler, and devised strategic marriage treaties and gift exchanges to cement alliances with the leading royal and ducal houses of Europe. Æthelstan's legacy, seen in the new light of this masterful biography, is inextricably connected to the very forging of England and early English identity.

    This is her trenchant report from the city where she spent the next four winters working in humanitarian aid. Investigating the city's prison for women, retraining Kabul's long-silenced English teachers, Jones enters the lives of everyday women and men and reveals through small events some big disjunctions: between the new Afghan "democracy" and the still-entrenched warlords, between American promises and performance, between what's boasted of and what is. At once angry, profound, and starkly beautiful, Kabul in Winter brings alive the people and day-to-day life of a place whose future depends upon our own.

    The introduction file provides an overview of the subfield of linguistics to be studied, as well as the specific topics to be discussed. To make the book more interesting and to help students better understand the content, this new edition is enriched with visual illustrations such as cartoons, drawings, real life pictures, and schematic representation of examples, in addition to the figures and charts in the past editions. New exercises and suggested further readings are added in many chapters. Answers to the exercises are available at the back of the book and on-line for teachers and students.

    The chapters are arranged chronologically, covering all major periods of English literature from Old English to the post-war era, including the medieval period, the Renaissance, Shakespeare, the seventeenth and eighteenth centuries, Romanticism, the Victorians, Modernism, and Postmodernism. In addition to a detailed discussion of all major figures and their works, Andrew Sanders examines throughout the relationship between the literary landscape and wider contemporary social, political, and intellectual developments.

    The book explores the unique tactics required to win battles with the technology available, and demonstrates how little has changed in some respects of the art of war.The book is divided into five chapters covering the main elements of medieval warfare: infantry, cavalry, generalship, siege warfare, and naval combat. Each chapter features four major battles to demonstrate the strengths, pitfalls, and characteristics of the style of warfare.Using specially-commisioned color and black-and-white artwork to illustrate the battles, equipment, and tactics of the era, Fighting Techniques of the Medieval World shows in detail the methods by which armies, including Norman, Crusader, and Mongol forces, prevailed over their foes, and why other armies were less successful. The book is an essential companion for any reader interested in warfare in the medieval age.

    It assumes no prior knowledge of linguistic theory and little of elementary grammar. It will suit students coming to syntactic theory for the first time either as graduates or undergraduates. It will also be useful forthose in fields such as computational science, artificial intelligence, or cognitive psychology who need a sound knowledge of current syntactic theory.

    The risk is there because, as W. B. Yeats has put it, education is not about filling a bucket but about lighting a fire. It is there because education is not an interaction between machines, but an encounter between human beings. It is there because students are not to be seen as objects to be molded and disciplined, but as subjects of action and responsibility. Biesta's book opposes the risk aversion that characterizes many contemporary educational policies and practices and makes a strong argument for giving risk a central place in our educational endeavours. The book is organized around a critical discussion of seven key educational concepts: creativity, communication, teaching, learning, emancipation, democracy, and virtuosity.

    The boy bore disturbing signs of torture, and a story soon spread that it was a ritual murder, performed by Jews in imitation of the Crucifixion as a mockery of Christianity. The outline of William's tale swiftly gained currency far beyond Norwich, and the idea that Jews engaged in ritual murder became firmly rooted in the European imagination. Emily Rose's engaging book delves into the story of William's murder and the notorious trial that followed to uncover the origin of the ritual murder accusation--known as the "blood libel"--in western Europe in the Middle Ages. Focusing on the specific historical context-the 12th--century reform of the Church, the position of Jews in England, and the Second Crusade--and suspensefully unraveling the facts of the case, Rose makes a powerful argument for why the Norwich Jews (and particularly one Jewish banker) were accused of killing the youth, and how the malevolent blood libel accusation managed to take hold. She also considers four "copycat" cases, in which Jews were similarly blamed for the death of young Christians, and traces the adaptations of the story over time. In the centuries after its appearance, the ritual murder accusation provoked instances of torture, death and expulsion of thousands of Jews and the extermination of hundreds of communities. Although no charge of ritual murder has withstood historical scrutiny, the concept of the blood libel is so emotionally charged and deeply rooted in cultural memory that it endures even today. Rose's groundbreaking work, driven by fascinating characters, a gripping narrative, and impressive scholarship, provides clear answers as to why the blood libel emerged when it did and how it was able to gain such widespread acceptance, laying the foundations for enduring anti-Semitic myths that continue to the present.

    When the apprentices of a Paris printing shop in the 1730's held a series of mock trials and then hanged all the cats they could lay their hands on, why did they find it so hilariously funny that they choked with laughter when they reenacted it in pantomime some twenty times? Why in the 18th century version of "Little Red Riding Hood" did the wolf eat the child at the end? What did the anonymous townsman of Montpelier have in mind when he kept an exhaustive dossier on all the activities of his native city? These are some of the provocative questions Robert Darnton attempts to answer in this dazzling series of essays that probe the ways of thought in what we like to call "The Age of Enlightenment."

    The second edition features many additional terms, both traditional and recent, with a greater array of examples that make it an even more useful and informative reference than before.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    The first six chapters, originally published in the 1960s, made a groundbreaking contribution to linguistic theory. This edition complements them with an additional chapter and a new preface, bringing Chomsky's influential approach into the twenty-first century. Chapters 1-6 present Chomsky's early work on the nature and acquisition of language as a genetically endowed, biological system (Universal Grammar), through the rules and principles of which we acquire an internalized knowledge (I-language). Over the past fifty years, this framework has sparked an explosion of inquiry into a wide range of languages, and has yielded some major theoretical questions. The final chapter revisits the key issues, reviewing the 'biolinguistic' approach that has guided Chomsky's work from its origins to the present day, and raising some novel and exciting challenges for the study of language and mind.