It is designed for libraries, institutions and individuals who need or prefer the information in ebook format. All the hand signs were approved by American sign language experts. The signs are shown in large illustrations from two view points in order to facilitate understanding, as well as grouped together in a comprehensive chart. BONUS: The book contains a link to a set of unique printable ASL alphabet charts for your personal use.Lassal's work for Fingeralphabet.org has earned her a nomination for The German Prize for Civic Engagement 2013.

    It shows, through basic vocabularies, family resemblances of languages—Teutonic, Romance, Greek—helpful tricks of translation, key combinations of roots and phonetic patterns. It presents by common-sense methods the most helpful approach to the mastery of many languages; it condenses vocabulary to a minimum of essential words; it simplifies grammar in an entirely new way; and it teaches a languages as it is actually used in everyday life.But this book is more than a guide to foreign languages; it goes deep into the roots of all knowledge as it explores the history of speech. It lights up the dim pathways of prehistory and unfolds the story of the slow growth of human expression from the most primitive signs and sounds to the elaborate variations of the highest cultures. Without language no knowledge would be possible; here we see how language is at once the source and the reservoir of all we know.

    This new primer by N. Clayton Croy offers a succinct, single-volume introduction to Biblical Greek that has already been tested in classrooms around the country.Taking a primarily deductive approach to teaching Biblical Greek, this volume assumes that students will have no prior knowledge in Greek. Divided into 32 separate lessons, each containing a generous number of exercises, the text leads students from the Greek alphabet to a working understanding of the language of the Bible.

    Perfect for those who want to pick up some new slang and those who want to translate it, Urban Dictionary is a gritty and witty look at our ever-changing language.Urbandictionary.com is a wildly successful site that encourages users to define the world with their own unique terms. In Urban Dictionary, site founder Aaron Peckham culls his more than 170,000 definitions for the funniest, and most provocative phrases that define the modern slang scene.Within urbandictionary.com's lively lexicon are:* business provocative--Attire used to provoke sexual attention in the workplace.* compunicate--To chat with someone in the same room via instant messenging service instead of in person.* dandruff--A person who "flakes out" and ditches their friends. * wingman--A guy who takes one for the team by hooking up with a hot girl's ugly friend so his own friend can hook up with the hot girl.Perfect for those who want to pick up some new slang and those who want to translate it, Urban Dictionary is a gritty and witty look at our ever-changing language.Urban Dictionary covers the language that encompasses the trials and tribulations that anyone under 30 encounters--and leaves everyone over 30 scratching their heads but wanting to know more.

    With this book, rational choice theory can be integrated into undergraduate courses throughout the discipline. Based on Professor Shepsle's popular course at Harvard, Analyzing Politics is not only an ideal text for courses in theory, methods, or introduction to political science, but also a handy supplement in courses of public policy, Congress, political parties, or any course that emphasizes rational choice analysis. Analyzing Politics provides the clear, thorough, and jargon-free introduction to rational choice theory never before available to undergraduates.

    Covering thinkers from Aristotle to Saussure and Chomsky, "Introducing Linguistics" reveals the rules and beauty that underlie language, our most human skill.

    Avoid Grammatical Minefields with this Entertaining GuideConfused about when to use "its" or "it's" or the correct spelling of "principal" and "principle"? My Grammar and I...or Should That Be me? is a refresher course for anyone who has ever been stumped by spelling confusion, dangling modifiers, split infinities, or for those who have no idea what these things even are.Clever, informative, and fun, this delightful little handbook offers practical and humorous guidance on how to avoid falling into language pitfalls.* Sentence Structure: Let's ponder the subject or object: Is it "I" or is it "me"?* Parts of Speech: "whose" or "who's"? "which" or "that"?* Punctuation: So where does that comma go, anyway?* Spelling and Confusables: There are times when the spelling "rules" confuse.* Elements of Style: You'll find there's lots more to know about grammar.* ...and for grammar know-it-alls, there are entertaining "Smart Aleck" tidbits throughout.

    He takes students from the days of the shogunate--the feudal overlordship of the Tokugawa family--through the modernizing revolution launched by midlevel samurai in the late nineteenth century; the adoption of Western hairstyles, clothing, and military organization; and the nation's first experiments with mass democracy after World War I. Gordon offers the finest synthesis to date of Japan's passage through militarism, World War II, the American occupation, and the subsequent economic rollercoaster. But the true ingenuity and value of Gordon's approach lies in his close attention to the non-elite layers of society. Here students will see the influence of outside ideas, products, and culture on home life, labor unions, political parties, gender relations, and popular entertainment. The book examines Japan's struggles to define the meaning of its modernization, from villages and urban neighborhoods, to factory floors and middle managers' offices, to the imperial court. Most importantly, it illuminates the interconnectedness of Japanese developments with world history, demonstrating how Japan's historical passage represents a variation of a process experienced by many nations and showing how the Japanese narrative forms one part of the interwoven fabric of modern history. With a sustained focus on setting modern Japan in a comparative and global context, The Modern History of Japan is ideal for undergraduate courses in modern Japanese history, Japanese politics, Japanese society, or Japanese culture.

    Its second edition, published in 1986, has confirmed that vocabulary is best taught by root, not rote. The importance of learning classical word roots is already acknowledged by vocabulary texts that devote chapters to them. Why a whole book based on this approach? Ayers' text exposes students to a wider range of roots, introduces new English words in context sentences, and reinforces vocabulary through exercises. It promotes more practice with roots so that students learn to use them as tools in their everyday encounters with new words. English Words is written from the standpoint of English; it neither attempts to teach students Latin or Greek nor expects a knowledge of classical languages on the part of instructors. Its success has been demonstrated at both the secondary and college levels, and it can be used effectively with students in remedial or accelerated programs. An Instructor's Manual (gratis with adoption) and a Workbook are also available.

    TOBIRA promotes language learning through the use of multimedia materials and establishes a support system via the Internet so that learners outside Japan have access to a Japanese language environment.Chapter 1: The Geography of JapanChapter 2: Speech Styles in JapaneseChapter 3: Japanese TechnologyChapter 4: Sports in JapantChapter 5: Japanese FoodChapter 6: The Japanese and ReligionChapter 7: Japanese Pop CultureChapter 8: Japanese Traditional Performing ArtsChapter 9: Education in JapanChapter 10: Japan's Convenience StoresChapter 11: The History of JapanChapter 12: Traditional Japanese CraftsChapter 13: The Japanese and NatureChapter 14: Japanese PoliticsChapter 15: The Future of Your Country and the World

    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

    Through memorable visuals and honest talk, John Ruszkiewicz shows students how to write in any situation — wherever they are in their writing process.With everything you need to teach composition, the Guide lays out focused advice for writing common genres, while the Reference covers the range of writing and research skills that students need as they work across genres and disciplines. An intuitive, visual cross-referencing system and a modular chapter organization that’s simple to follow make it even easier for students to work back and forth between chapters and stay focused on their own writing.

    This modern section has been overhauled to reflect the diversity of American writing since 1945. A section on 19th-century women's writing is included.

    Senator S. I. Hayakawa discusses the role of language in human life, the many functions of language, and how language—sometimes without our knowing—shapes our thinking in this engaging and highly respected book. Provocative and erudite, it examines the relationship between language and racial and religious prejudice; the nature and dangers of advertising from a linguistic point of view; and, in an additional chapter called “The Empty Eye,” the content, form, and hidden message of television, from situation comedies to news coverage to political advertising.

    Over 80,000 words and phrases are provided for those at all levels of language skill, from travellers to business professionals.