This is a collection of scripts from Catherine Tate's sketch show, which features an eclectic collection of comedy creations. From Cockney Nan to the rather outspoken schoolgirl, Lauren, Tate's characters are all the more funny because they remind us of people in everyday life.
A vivid, 'well-tempered' exploration of the foundations of psycholinguistics, combining theoretical ideas with lyrical examples to explain high-level ideas in a lively, accessible way.
Quoting is all around us. But do we really know what it means? How do people actually quote today, and how did our present systems come about? This book brings together a down-to-earth account of contemporary quoting with an examination of the comparative and historical background that lies behind it and the characteristic way that quoting links past and present, the far and the near.Drawing from anthropology, cultural history, folklore, cultural studies, sociolinguistics, literary studies and the ethnography of speaking, Ruth Finnegan 's fascinating study sets our present conventions into crosscultural and historical perspective. She traces the curious history of quotation marks, examines the long tradition of quotation collections with their remarkable recycling across the centuries, and explores the uses of quotation in literary, visual and oral traditions. The book tracks the changing defi nitions and control of quoting over the millennia and in doing so throws new light on ideas such as imitation, allusion, authorship, originality and plagiarism .
Volume II in the Evolution of Gestalt series, Relational Child, Relational Brain continues the development of the paradigm shift that places human development in a field that is deeply complex and fundamentally one of interconnection, taking us away from the limiting view of us as separate individuals. It builds on the foundation of contemporary views of relational neurodevelopment and the profound influence of relationship on brain growth. It shows how, particularly in the first two years of life, but continuing across the whole of childhood and adolescence into early adulthood, the relational field is the context of child development. The focus then broadens out to examine the intersubjective influence of community, culture, and social and physical support. Backed by neurobiological and related research, it offers many examples of relational Gestalt practice with children, adolescents, and their families, with stories of loss, trauma, isolation, and other adversities. Not just an invaluable resource for child and adolescent therapists, Relational Child, Relational Brain goes beyond the Esalen Study Conference from which it emerged and is a further invitation and challenge to apply relational Gestalt practice as a coherent and effective way forward in the troubled world of today.
Dibley is a village in need of a new vicar and Geraldine Granger is that woman - a babe with heaving bosoms. Meet the parishoners and fall in love with Dibley as the scripts of the television programme are published here in a prayer-book format.
Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences is a comprehensive guide to the theory and practice of captioning and subtitling, a discipline that has evolved quickly in recent years. This guide is of a practical nature and contains examples and exercises at the end of each chapter. Some of the tasks stimulate reflection on the practice and reception, while others focus on particular captioning and SDH areas, such as paralinguistic features, music and sound effects. The requirements of d/Deaf and hard of hearing audiences are analysed in detail and are accompanied by linguistic and technical considerations. These considerations, though shared with generic subtitling parameters, are discussed specifically with d/Deaf and hard of hearing audiences in mind. The reader will become familiar with the characteristics of d/Deaf and hard of hearing audiences, and the diversity – including cultural and linguistic differences – within this group of people. Based on first-hand experience in the field, the book also provides a step-by-step guide to making live performances accessible to d/Deaf and hard of hearing audiences. As well as exploring all linguistic and technical matters related to the creation of captions, aspects related to the overall set up of the captioned performance are discussed. The guide will be valuable reading to students of audiovisual translation at undergraduate and postgraduate level, to professional subtitlers and captioners, and to any organisation or venue that engages with d/Deaf and hard of hearing people.
'I lost my virginity to a twenty-five year-old man. And on a schoolnight, too.' Sex with an Older Man Parents who don't understand Politics in the playground Blowjobs behind the bike-sheds Skinning up in the schoolyard It's what happens when you reach a Certain Age. Just the hormones kicking in. We've all been there . . . haven't we? A CERTAIN AGE - the reality behind the problem pages. It's what Just 17 never told you about growing up.
Sad single teachers get together. Drink tequila, get very pissed and reveal secrets and then stagger home at four in the morning, with some dim light in your brain saying "Shit. Year seven first lesson."' David Eldridge's Under the Blue Sky premiered at the Royal Court Jerwood Theatre Upstairs, London, in September 2000. Methuen's Royal Court Writers Series was launched in 1981 to celebrate 25 years of the English Stage Company and 21 years since the publication of the first Methuen Modern Play. Published to coincide with specific productions in the Jerwood Theatre Downstairs and the Jerwood Theatre Upstairs, the series fulfils the dual role of programme and playscript.
Literary ombudsman John Crace never met an important book he didn't like to deconstruct. From Salman Rushdie to John Grisham, Crace retells the big books in just 500 bitingly satirical words, pointing his pen at the clunky plots, stylistic tics and pretensions of Big Ideas, as he turns publishers' golden dream books into dross.
Are standards of English alright - or should that be all right? To knowingly split an infinitive or not to? And what about ending a sentence with preposition, or for that matter beginning one with 'and'? We learn language by instinct, but good English, the pedants tell us, requires rules. Yet, as Oliver Kamm demonstrates, many of the purists' prohibitions are bogus and can be cheerfully disregarded. ACCIDENCE WILL HAPPEN is an authoritative and deeply reassuring guide to grammar, style and the linguistic conundrums we all face. 'A unique and indispensable guide to usage' STEVEN PINKER 'An immensely intelligent and playful polemic, cheeky and erudite by turns...certainly gets the blood pumping, so do read it' THE TIMES 'A superb book' INDEPENDENT