Users will be inspired by the breadth and sweep of Meyerhoff's treatment.' William Labov, University of Pennsylvania, USA'Miriam Meyerhoff s entertaining volume revels in the diversity that is the cornerstone of sociolinguistics she takes us to every continent to provide contemporary, refreshing and engaging examples of the key concepts of the discipline, and does so in a well-paced and readable style. The book is authoritative yet open-minded, innovative yet touches all the bases that need to be touched. Most of all, it embodies a passion for sociolinguistics that I hope many readers will embrace.' David Britain, University of Essex, UKThis key text provides a solid, up-to-date appreciation of the interdisciplinary nature of the field. It covers foundation issues, recent advances and current debates presenting familiar or classic data in new ways, and supplementing the familiar with fresh examples from a wide range of languages and social settings. It clearly explains the patterns and systems that underlie language variation in use, as well as the ways in which alternations between different language varieties index personal style, social power and national identity.Individual chapters cover:social dialects and individual style language attitudes politeness multilingualism and language choice real time and apparent time change in language social class, social networks and communities of practice gender language and dialect contact.Each chapter includes exercises that enable readers to engage critically with the text, break out boxes making connections between sociolinguistics and linguistic or social theory, and brief, lively add-ons guaranteed to make the book a memorable and enjoyable read. With a full glossary of terms and suggestions for further reading, this text gives students all the tools they need for an excellent command of sociolinguistics."

    Useful and fun to read, this French phrase book is the ideal way for travelers to communicate easily and naturally.

    certainly has, and after forty years of making a living using words in every medium, print or electronic, except greeting cards, he still can't get over his ABCs. In Alphabet Juice, he celebrates the electricity, the juju, the sonic and kinetic energies, of letters and their combinations. Blount does not prescribe proper English. The franchise he claims is "over the counter."Three and a half centuries ago, Thomas Blount produced Blount's Glossographia, the first dictionary to explore derivations of English words. This Blount's Glossographia takes that pursuit to other levels, from Proto-Indo-European roots to your epiglottis. It rejects the standard linguistic notion that the connection between words and their meanings is "arbitrary." Even the word arbitrary is shown to be no more arbitrary, at its root, than go-to guy or crackerjack. From sources as venerable as the OED (in which Blount finds an inconsistency, at whisk) and as fresh as Urbandictionary.com (to which Blount has contributed the number-one definition of alligator arm), and especially from the author's own wide-ranging experience, Alphabet Juice derives an organic take on language that is unlike, and more fun than, any other.

    Relates German grammatical terms to corresponding terms in English, covering verb conjugation, objects, modifiers, pronouns, prepositions, conjunctions, and gender.

    Extensive examples are drawn from scriptural passages. An Hebrew-English glossary

    Rousseau's essay is important to semiotics and critical theory, as it plays a central role in Jacques Derrida's book Of Grammatology, and both essays are valuable historical and philosophical documents.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

     For those of you who can’t just slip away from life, travel to France and immerse yourself in the language in order to learn it, this is your solution! Reading and listening to native-spoken French stories is the next best thing. You have at your fingertips the written word AND an accompanying audio recording that allows you to: Gain a greater vocabulary that you can use immediately, every day. You will add 1,500+ French words and expressions to your repertoire through the encounter of descriptive sentences and casual conversations woven throughout the stories. Sharpen your comprehension of the spoken word by listening to a native French speaker. Learn how to pronounce French words properly by comparing the written word to the audio recording. Familiarize yourself with a wide range of grammar structures and put them to use today. Avoid the monotonous task of memorizing grammar rules. How awesome is that?! How this book will improve your French language skills: Each story is recorded in two different ways: A slow version helps beginners improve their pronunciation, and a normal, natural speed for intermediate and advanced learners trains your ears to understand what is being said. You receive 4 hours of MP3 audio recording! There is no need for a dictionary. Each story is broken down with a French and English glossary that introduces you to the words and phrases you might not understand. This comes in handy because there is no need for the irritating process of flipping pages, continually searching for definitions or translations. A vocabulary recap at the end of each chapter allows you to review what you have read and listened to so you don’t forget the essential words and expressions taught throughout the lesson. The book contains 15 stories with the following themes: Family, Months, Days, Numbers, Weather, Introduce yourself, House, Nature, Clothing, Shopping, Visiting/Tourism, Weekend Activities, Daily Routine, Describe yourself, Food, Cooking, Jobs and Occupation, At the Train Station. All stories are written using vocabulary that you could easily use in your day-to-day conversations. With this book and accompanying audio you can start improving your French today!

    If you wouldlike to purchase both the physical text and MyProgrammingLab search for ISBN-10: 0132989999/ISBN-13: 9780132989992. That packageincludes ISBN-10: 0132855836/ISBN-13: 9780132855839 and ISBN-10: 0132891557/ISBN-13: 9780132891554. MyProgrammingLab should only be purchased when required by an instructor. In "Starting Out with Java: From Control Structures through Objects", Gaddis covers procedural programming control structures and methods before introducing object-oriented programming. As with all Gaddis texts, clear and easy-to-read code listings, concise and practical real-world examples, and an abundance of exercises appear in every chapter. "

    As useful as it is fascinating, it's a book any new or aspiring Japanese language scholar will visit over and over. In clear, large-sized entries, A Guide to Remembering Japanese Characters details each of the General Use Characters In clear, large-sized entires, A Guide to Remembering Japanese Characters details each of the General Use Characters—the 1,945 characters prescribed by the Japanese Ministry of Education for everyday use. Both Japanese readings and English meanings are given, along with stroke-count and stroke-order, examples of usage, and suggestions for memorizing. The components of each character are detailed. The Japanese kanji are graded according to Ministry of Education guidelines, allowing the student to prioritize them and track progress. It will appeal to students seeking to learn kanji as well as Japanese language enthusiasts who want to know the history and etymology of Japanese kanji. This book includes:Origins and meanings of over 2,000 characters.Beautifly hand–drawn kanji.Additional compound characters for each featured character.valuable suggestions and mnemonic devices for memorizing characters.All the standard characters official designed for common use.Comprehensive and clear, A Guide to Remembering Japanese Characters makes Japanese writing accessible to everyone wishing to learn Japanese.

    Who hasn't searched for the right word to describe a colleague's maschalephidrosis (runaway armpit perspiration) or a boss's pleonexia (insane greed)? And what better way is there to insult the scombroid landlord (resembling a mackerel) or that tumbrel of a brother-in-law (a person who is drunk to the point of vomiting) than by calling him by his rightful name? A compact compendium of ingenious words for anyone who's been tongue-tied, flabbergasted, or dumbfounded, Depraved and Insulting English supplies the appropriate vocabulary for any occasion. Word lovers, chronic insulters, berayers, bescumbers, and bespewers need fear no more—finding the correct word to wow your friends or silence your enemies just got a whole lot easier.

    College Writing Skills With Reading features John Langan's clear writing style and his wide range of writing assignments and activities that effectively reinforce the four essentials of good writing: unity, support, coherence, and sentence skills. This alternate version provides 25 entertaining and informative essays by professional writers.

    GET D!RTYNext time you’re traveling or just chattin’ in German with your friends, drop the textbook formality and bust out with expressions they never teach you in school, including:•Cool slang•Funny insults•Explicit sex terms•Raw swear wordsDirty German teaches the casual expressions heard every day on the streets of Germany:•What's up?Wie geht's?•I'm smashed.Ich bin total angeschickert.•Fuckin' Munich fans.Scheiß München Fans.•That shit reeks.Das riecht aber übel.•I wanna shag ass.Ich will abhauen.•What a complete asshole.Was für ein Arschloch.•Dude, you're built like Arnold!Mensch, du bist der Arnie!

    The spellbinding world of Hiromi Kawakami; the hair-raising horror of Otsuichi; the haunting, poignant prose of Banana Yoshimoto; even the poetic word-play of Yoko Tawada whatever a readers taste, he or she is sure to find something of interest and value in this book, suitable for students at the intermediate level and above. As in real Japanese novels, the text on each page runs from top to bottom and from right to left. Each double-page spread features translations of all the difficult passages. In the back of the book, moreover, is a built-in Japanese-English learners dictionary and a notes section covering issues of nuance, usage, grammar and culture that come up in each story. Best of all, the books comes with a free audio CD containing narrations of the stories, performed by a professional voice actress.

    All necessary corrections have been made, and the book retains the form which has long made it the most complete and valuable work of its kind. In this descriptive grammar the author offers a treatment of Greek syntax which is exceptionally rich as well subtle and varied.