In this funny, evocative, personal book, Gareth takes us on a journey of musical discovery that explains and entertains in equal measure. Over the course of three series of the Bafta award-winning The Choir, Gareth has unearthed a passion for classical music in schoolchildren, reluctant teenage boys, and even a whole town. With his infectious enthusiasm and gift for explanation, Gareth's very personal narrative takes you by the hand and leads you through a world of eccentric composers, flamboyant conductors, troubled geniuses and all the colourful personalities that make up the story of Classical Music. It will also provide a foundation of classical music understanding and give the reader the tools to appreciate a whole new world of music. So whether you want to expand your horizons, spend time with the great composers, introduce an almost infinite variety into your iPod playlist, or are just curious about what you might be missing out on, Music for The People will leave you entertained, informed and completely inspired.

    Even before its usage to mean a female canine, bitch didn’t refer to gender at all—it originated as a gender-neutral word meaning genitalia. A perfectly innocuous word devolving into a female insult is the case for tons more terms, including hussy, which simply meant “housewife,” or slut, which meant “untidy” and was also used to describe men. These words are just a few among history’s many English slurs hurled at women. Amanda Montell, feminist linguist and staff features editor at online beauty and health magazine Byrdie.com, deconstructs language—from insults and cursing to grammar and pronunciation patterns—to reveal the ways it has been used for centuries to keep women form gaining equality. Ever wonder why so many people are annoyed when women use the word “like” as a filler? Or why certain gender neutral terms stick and others don’t? Or even how linguists have historically discussed women’s speech patterns? Wordslut is no stuffy academic study; Montell’s irresistible humor shines through, making linguistics not only approachable but both downright hilarious and profound.

    Written with the non-specialist in mind, its user-friendly style and layout, delightful original passages, and exotic scripts, will continue to fascinate the reader. This new edition has been thoroughly revised to include more languages, more countries, and up-to-date data on populations.Features include: *information on nearly 600 languages*individual descriptions of 200 languages, with sample passages and English translations*concise notes on where each language is spoken, its history, alphabet and pronunciation*coverage of every country in the world, its main language and speaker numbers*an introduction to language families

     Beginning with ALONE and closing with WORK, each chapter is a meditation on meaning and context, an invitation to shift and broaden our perspectives on the inevitable vicissitudes of life: pain and joy, honesty and anger, confession and vulnerability, the experience of feeling besieged and the desire to run away from it all. Through this lens, procrastination may be a necessary ripening; hiding an act of freedom; and shyness the appropriate confusion and helplessness that accompanies the first stage of revelation. CONSOLATIONS invites readers into a poetic and thoughtful consideration of words whose meaning and interpretation influence the paths we choose and the way we traverse them throughout our lives.

    This celebrated account of the decipherment of Linear B in the 1950s by Michael Ventris was written by his close collaborator in the momentuous discovery. In revealing the secrets of Linear B it offers a valuable survey of late pre-Hellenic archaeology, uncovering fascinating details of the religious and economic history of an ancient civilization.

    This crafty revision of English vocabulary posits that Platypus should signify “to give your cat pigtails;” that Flemish should mean “rather like snot;” and that Celtic is in fact a prison for fleas. With nearly 600 new definitions, this side-splitting resource pushes the boundaries of the English language to riotous new limits.

    Collins includes the Latin of Jerome's Bible, of canon law, of the liturgy and papal bulls, of scholastic philosophers, and of the Ambrosian hymns, providing a survey of texts from the fourth century through the Middle Ages.An "Answer Key" to this edition is now available. Please see An Answer Key to A Primer of Ecclesiastical Latin, prepared by John Dunlap.

    Encuentra fotos de sus padres, de la calle donde jugaba de niño, del colegio donde estudiaba, de la playa donde iba de vacaciones... También encuentra algunas fotos antiguas de María, la chica de la que una vez estuvo enamorado y que hace más de veinte años que no ha visto. Son fantasmas del pasado. Y los fantasmas del pasado a veces vuelven. Learn Spanish by Reading FANTASMAS DEL PASADO is a short story specially written for students with an intermediate level of Spanish. It will help you learn, revise and consolidate the vocabulary and grammar of level B1. Reading short stories like FANTASMAS DEL PASADO is one of the most effective and pleasant ways to learn a Foreign Language. By reading, you can learn vocabulary and grammar structures in context, without memorising lists of isolated words or studying endless grammar rules. Hablar del Pasado This story was originally released as a series of short videos for the online Spanish course HABLAR DEL PASADO. The main purpose of the videos, which feature live narration of the story, was to show the use of the past tenses in context. The story appeared in the course with the original title of Juan y María: una historia del pasado.

    They speak a secret “twin” tongue of their own as toddlers; as adults making their way in 1980s Manhattan, their verbal infatuation continues, but this love, which has always bound them together, begins instead to push them apart. Daphne, copy editor and grammar columnist, devotes herself to preserving the dignity and elegance of Standard English. Laurel, who gives up teaching kindergarten to write poetry, is drawn, instead, to the polymorphous, chameleon nature of the written and spoken word. Their fraying twin-ship finally shreds completely when the sisters go to war, absurdly but passionately, over custody of their most prized family heirloom: Merriam Webster’s New International Dictionary, Second Edition.Cathleen Schine has written a playful and joyful celebration of the interplay of language and life. A dazzling comedy of sisterly and linguistic manners, a revelation of the delights and stresses of intimacy, The Grammarians is the work of one of our great comic novelists at her very best.

    Updated to reflect current research and rewritten to further enhance the clarity of presentation, the fifth edition of this best-seller continues to take a linguistic-analysis approach as well and focus on the facts of language rather than theoretical approaches.

    *Includes Cagney's own quotes about his life and career. *Includes a bibliography for further reading. *Includes a table of contents. "You don't psych yourself up for these things, you do them...I'm acting for the audience, not for myself, and I do it as directly as I can." – James Cagney A lot of ink has been spilled covering the lives of history’s most influential figures, but how much of the forest is lost for the trees? In Charles River Editors’ American Legends series, readers can get caught up to speed on the lives of America’s most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. When the American Film Institute assembled its top 100 actors of all time at the close of the 20th century, one of the Top 10 was James Cagney, an actor whose acting and dancing talents spawned a stage and film career that spanned over 5 decades and once compelled Orson Welles to call him "maybe the greatest actor to ever appear in front of a camera." Indeed, his portrayal of “The Man Who Owns Broadway”, George M. Cohan, earned him an Academy Award in the musical Yankee Doodle Dandy, and as famed director Milos Forman once put it, "I think he's some kind of genius. His instinct, it's just unbelievable. I could just stay at home. One of the qualities of a brilliant actor is that things look better on the screen than the set. Jimmy has that quality." Ultimately, it was portraying tough guys and gangsters in the 1930s that turned Cagney into a massive Hollywood star, and they were the kind of roles he was literally born to play after growing up rough in Manhattan at the turn of the 20th century. In movies like The Public Enemy (which included the infamous “grapefruit scene”) and White Heat, Cagney convincingly played criminals that brought Warner to the forefront of Hollywood and the gangster genre. Cagney also helped pave the way for younger actors in the genre, like Humphrey Bogart, and he was so good that he found himself in danger of being typecast. While Cagney is no longer remembered as fondly or as well as Bogart, he was also crucial in helping establish the system in which actors worked as independent workers free from the constraints of studios. Refusing to be pushed around, Cagney was constantly involved in contract squabbles with Warner, and he often came out on top, bucking the conventional system that saw studios treat their stars as indentured servants who had to make several films a year. American Legends: The Life of James Cagney examines the life and career of one of Hollywood’s most iconic actors. Along with pictures of important people, places, and events, you will learn about Cagney like never before, in no time at all.

    

    Its survival has been an incredible journey, especially considering how often Jews have tried to kill it themselves. Underlying Neal Karlen's unique, brashly entertaining, yet thoroughly researched telling of the language's story is the notion that Yiddish is a mirror of Jewish history, thought, and practice—for better and worse.Karlen charts the beginning of Yiddish as a minor dialect in medieval Europe that helped peasant Jews live safely apart from the marauders of the First Crusades. Incorporating a large measure of antique German dialects, Yiddish also included little scraps of French, Italian, ancient Hebrew, Aramaic, the Slavic and Romance languages, and a dozen other tongues native to the places where Jews were briefly given shelter. One may speak a dozen languages, all of them Yiddish.By 1939, Yiddish flourished as the lingua franca of 13 million Jews. After the Holocaust, whatever remained of Yiddish, its worldview and vibrant culture, was almost stamped out—by Jews themselves. Yiddish was an old-world embarrassment for Americans anxious to assimilate. In Israel, young, proud Zionists suppressed Yiddish as the symbol of the weak and frightened ghetto-bound Jew—and invented modern Hebrew.Today, a new generation has zealously sought to explore the language and to embrace its soul. This renaissance has spread to millions of non-Jews who now know the subtle difference between a shlemiel and a shlimazel; hundreds of Yiddish words dot the most recent editions of the Oxford English Dictionary.The Story of Yiddish is a delightful tale of a people, their place in the world, and the fascinating language that held them together.

    Chapters focus on the supernatural elements of the work, as well as the author´s treatment of the physical self.

    With more than 23,500 copies sold, this witty, accessible, and engaging book has become the new classic reference work praised by professional copyeditors as well as the general public looking for clear advice on how to write more effectively. In 1999, Choice magazine named it an Outstanding Academic Book and the American Library Association dubbed it an Outstanding Reference Source. With thousands of succinct entries, longer essays on key issues and problematic areas, and up-to-the-minute judgments on everything from trendy words to the debate over personal pronouns, GMAU is approachable yet authoritative. Since the book first appeared in 1998, Bryan Garner has diligently continued tracking how we use our language. The second edition includes hundreds of new entries ranging from Dubya to weaponize (coined in 1984 but used extensively since 9/11) to foot-and-mouth, plethora (a highfalutin equivalent of too many), Slang, Standard English, and Dialects. It also updates hundreds of existing entries. Meanwhile, Garner has written a major essay on the great grammar debate between descriptivists and prescriptivists. Painstakingly researched with copious citations from books and newspapers and newsmagazines, this new edition furthers Garner's mission to help everyone become a better writer, and to enjoy it in the process.