Celebrating the 125th anniversary of its original publication, this expanded and updated edition of a classic reference features a new, simplified organization.

    Davidson's remarkable Planet Word.'The way you speak is who you are and the tones of your voice and the tricks of your emailing and tweeting and letter-writing, can be recognised unmistakably in the minds of those who know and love you.'Stephen FryFrom feral children to fairy-tale princesses, secrets codes, invented languages - even a language that was eaten! - Planet Word uncovers everything you didn't know you needed to know about how language evolves. Learn the tricks to political propaganda, why we can talk but animals can't, discover 3,000-year-old clay tablets that discussed beer and impotence and test yourself at textese - do you know your RMEs from your LOLs? Meet the 105-year-old man who invented modern-day Chinese and all but eradicated illiteracy, and find out why language caused the go-light in Japan to be blue. From the dusty scrolls of the past to the unknown digital future, and with (heart) the first graphic to enter the OED, are we already well on our way to a language without words?In a round-the-world trip of a lifetime, discover all this and more as J. P. Davidson travels across our gloriously, endlessly intriguing multilingual Planet Word.John Paul Davidson is a film and television director and producer. After studying at Bristol University and completing his doctoral field work in The University of Malysia, he joined the BBC's Travel and Exploration Unit as their resident anthropologist.Stephen Fry's film, stage, radio and television credits are numerous and wide-ranging. He has written, produced, directed, acted in or presented productions as varied as Wilde, Blackadder, Jeeves and Wooster, A Bit of Fry and Laurie, Fry's English Delight and QI. After writing many successful books, his recent memoir The Fry Chronicles was a number one bestseller.

    It's an occasionally ribald, frequently witty and unerringly erudite guided tour of the secret labyrinth that lurks beneath the English language, taking in monks and monkeys, film buffs and buffaloes, and explaining precisely what the Rolling Stones have to do with gardening.

    More frolicsome than Fowler's Modern Usage, lighter than the Oxford English Dictionary, and brimming with the strong opinions and razor-sharp wit that made Amis so popular--and so controversial--The King's English is a must for fans and language purists.

    In Righting the Mother Tongue, the author of A Left-Hand Turn Around the World brings us the tangled story of English Spelling, from Olde English to email. Utterly captivating, deliciously edifying, and extremely witty, Righting the Mother Tongue is a treat for the language lover—a book that belongs in every personal library, right next to Eats, Shoots, and Leaves, and the works of Bill Bryson and Simon Winchester.

    Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

    This deeper content - the metahistorical element - indicates what an appropriate historical explanation might be.In pursuing his thesis, White provides a book that will be of interest to philosophers as well as historians. He explicates the styles of such historians as Michelet, Ranke, Tocueville, and Borchardt and of such philosophers of history as Hegel, Marx, Nietzsche, and Croce.

    Acclaimed writer Charles Schaar Murray's Boogie Man is the authorized and authoritative biography of this musician whose extraordinary career spanned over fifty years and included over one-hundred albums and five Grammy Awards. Murray was given unparalleled access to Hooker, and lets him tell his own story in his own words, from life in the Deep South to San Francisco, from the 1948 blues anthem "Boogie Chillen" to the Grammy-winning album The Healer nearly a half-century later. Boogie Man is far more than merely a brilliant biography of one man; it also gives the story of the music that inspired him. "When I die," Hooker said, they'll bury the blues with me. But the blues will never die." Here is the book that does him and his music full justice.

    And much of the material presented here was used in that course. The title should serve well to convey the gist of these various pieces. For all of them are explicitly concerned with the attempt to define and track down the implications of the term "symbolic action," and to show how the marvels of literature and language look when considered form that point of view.

    Written in a clear and informative style, the dictionary describes the Indo-European origins of English and includes many new words and coinages adopted each year.

    During the last twelve years, half of the Man Booker awards went to novels written in non-standard English. What would once have been derogatorily termed "dialect literature" has come into its own in a language known variously as slang, creole, patois, pidgin, or, in the words of Nigerian novelist Ken Saro-Wiwa, "rotten English."The first anthology of its kind, "Rotten English" celebrates vernacular literature from around the English-speaking world, from Robert Burns, Mark Twain, and Zora Neale Hurston to Papua New Guinea's John Kasaipwalova and Tobago's Marlene Nourbese Philip. With concise introductions that explain the context and aesthetics of the vernacular tradition, Rotten English pays tribute to the changes English has undergone as it has become a global language.Contents:"Raal right singin'": vernacular poetry. Colonization in reverse" and Bans O'killing by Louise BennettWings of a dove by Kamau BrathwaiteAuld lang syne, Highland Mary, and "Bonnie Lesley" by Robert BurnsA negro love song and When Malindy sings by Paul Laurence DunbarMother to son and Po' boy blues by Langston HughesInglan is a bitch by Linton Kwesi JohnsonWukhand by Paul Keens-DouglasTommy by Rudyard KiplingUnrelated incidents-no.3 by Tom LeonardComin back ower the border by Mary McCabeQuashie to Buccra by Claude McKayDis poem by MutabarukaQuestions! Questions! by M. NourbeSe Philipno more love poems #1 by Ntozake Shange"So like I say ... ": vernacular short stories. Po' Sandy by Charles ChestnuttThe brief wondrous life of Oscar Wao by Junot DiazLetters from Whetu by Patricia GraceSpunk and Story in Harlem slang by Zora Neale HurstonBetel nut is bad magic for airplanes by John KasaipwalovaJoebell and America by Earl LovelaceThe ghost of Firozsha Baag by Rohinton MistryThe celebrated jumping frog of Calaveras County and A True story, repeated word for word as I heard it by Mark TwainA soft touch and Granny's old junk by Irvine WelshOnly the dead know Brooklyn by Thomas Wolfe. "I wanna say I am somebody": selections from vernacular novels. from True history of the Kelly Gang by Peter Careyfrom The snapper by Roddy Doylefrom Once there were warriors by Alan DuffAn overture to the commencement of a very rigid journey by Jonathan Safran Foerfrom Beasts of no nation by Uzodinma IwealaBaywatch and de preacher from Tide running by Oonya KempadooFace, from Rolling the R's by R. Zamora Linmarkfrom Londonstani by Gautam Malkanifrom No mate for the magpie by Frances Molloyfrom Push by Sapphirefrom Sozaboy: a novel in rotten English by Ken Saro-Wiwafrom The housing lark by Sam Selvon. "A new English": essays on vernacular literature. The African writer and the English. language by Chinua AchebeHow to tame a wild tongue by Gloria AnzalduaIf Black English isn't a language, then tell me what is? by James Baldwinfrom History of the voice: the development of nation language in Anglophone Caribbean poetry by Kamau Brathwaitefrom Minute on Indian education by Thomas MacaulayAfrican speech ... English words by Gabriel OkaraThe absence of writing or How I almost became a spy by M. NourbeSe PhilipMother tongue by Amy Tan

    . . not only a poetics of reading . . . but a much more difficult achievement, an erotics of reading . . . . Like filings which gather to form a figure in a magnetic field, the parts and pieces here do come together, determined to affirm the pleasure we must take in our reading as against the indifference of (mere) knowledge." --Richard Howard

    Discover the secrets behind the words in our everyday lexicon with this delightful, informative survey of English, from its Germanic origins to the rise of globalization and cyber-communications. Professor Curzan approaches words like an archaeologist, digging below the surface to uncover the story of words, from the humble "she" to such SAT words as "conflagration" and "pedimanous." In these 36 fascinating lectures, you'll discover the history of the dictionary and how words make it into a reference book like the Oxford English Dictionary; survey the borrowed words that make up the English lexicon; find out how words are born and how they die; expand your vocabulary by studying Greek and Latin "word webs"; and revel in new terms, such as "musquirt," "adorkable," and "struggle bus." English is an omnivorous language and has borrowed heavily from the many languages it has come into contact with, from Celtic and Old Norse in the Middle Ages to the dozens of world languages in the truly global 20th and 21st centuries. You'll be surprised to learn that the impulse to conserve "pure English" is nothing new. In fact, if English purists during the Renaissance had their way, we would now be using Old English compounds such as "flesh-strings" for "muscles" and "bone-lock" for "joint." You may not come away using terms like "whatevs" or "multislacking" in casual conversation, but you'll love studying the linguistic system that gives us such irreverent - and fun - slang, from "boy toy" to "cankles."

    Previously known as Gone Fishin', this book has brought Jay Rubin more feedback than any of his literary translations or scholarly tomes, "even if," he says, "you discount the hate mail from spin-casters and the stray gill-netter."To convey his conviction that "the Japanese language is not vague," Rubin has dared to explain how some of the most challenging Japanese grammatical forms work in terms of everyday English. Reached recently at a recuperative center in the hills north of Kyoto, Rubin declared, "I'm still pretty sure that Japanese is not vague. Or at least, it's not as vague as it used to be. Probably."The notorious "subjectless sentence" of Japanese comes under close scrutiny in Part One. A sentence can't be a sentence without a subject, so even in cases where the subject seems to be lost or hiding, the author provides the tools to help you find it. Some attention is paid as well to the rest of the sentence, known technically to grammarians as "the rest of the sentence."Part Two tackles a number of expressions that have baffled students of Japanese over the decades, and concludes with Rubin's patented technique of analyzing upside-down Japanese sentences right-side up, which, he claims, is "far more restful" than the traditional way, inside-out."The scholar," according to the great Japanese novelist Soseki Natsume, is "one who specializes in making the comprehensible incomprehensible." Despite his best scholarly efforts, Rubin seems to have done just the opposite.Previously published in the Power Japanese series under the same title and originally as Gone Fishin' in the same series.

    Piercing the fog of mysticism and sentimentality that engulfs art, the essays in The Romantic Manifesto explain why, since time immemorial, man has created and consumed works of art.Ayn Rand argues that objective standards in art are possible because art is not a subjective luxury, but rather a critical need of human life—not a material need, but a need of man’s rational mind, the faculty on which his material survival depends.Ayn Rand explains the indispensable function of art in man’s life (ch. 1), the objective source of man’s deeply personal, emotional response to art (ch. 2), and how an artist’s fundamental, often unstated view of man and of the world shapes his creations (ch. 3).Turning to her own field of artistic creation, Rand elaborates (ch. 5) on her distinctive theory of literature and identifies principles by which to judge an artwork objectively. “What is Romanticism?” (ch. 6) sheds new light on the nature and philosophy of the school of literature under which Rand classified her own work. Later essays explain how contemporary art reveals the debased intellectual state of our culture (ch. 7, 8 and 9).In the final essay Rand articulates the goal of her own fiction writing as “the projection of an ideal man, as an end in itself”—and explains that she originated her philosophy as a means to this end.Table of ContentsIntroductionThe Psycho-Epistemology of ArtPhilosophy and Sense of LifeArt and Sense of LifeArt and CognitionBasic Principles of LiteratureWhat Is Romanticism?The Esthetic Vacuum of Our AgeBootleg RomanticismArt and Moral TreasonIntroduction to Ninety-ThreeThe Goal of My WritingThe Simplest Thing in the WorldIndex