This volume, first published in 1988, represents in its papers the wide-ranging yet coherent linguistic interests of the late Barbara Strang (1925-1982). For her, the history of English and its current state were two sides of the same coin, and the principle theme of this collection is that neither one may be properly understood without invoking the other. It is a ‘real-data’ collection, in that its contributors share the view that the facts of language, patiently gathered, recorded and collated, must govern the theory within which they are described, and not vice versa. This philosophy may be seen to operate in all the contributions, and to result in a truly three-dimensional picture of English: data; distribution (temporal, geographical, situational and social); and description. This book will be of interest to students of English language and linguistics.
This volume, first published in 1988, represents in its papers the wide-ranging yet coherent linguistic interests of the late Barbara Strang (1925-1982). For her, the history of English and its current state were two sides of the same coin, and the principle theme of this collection is that neither one may be properly understood without invoking the other. It is a 'real-data' collection, in that its contributors share the view that the facts of language, patiently gathered, recorded and collated, must govern the theory within which they are described, and not vice versa. This philosophy may be seen to operate in all the contributions, and to result in a truly three-dimensional picture of English: data; distribution (temporal, geographical, situational and social); and description. This book will be of interest to students of English language and linguistics.
This volume, first published in 1988, represents in its papers the wide-ranging yet coherent linguistic interests of the late Barbara Strang (1925-1982). For her, the history of English and its current state were two sides of the same coin, and the principle theme of this collection is that neither one may be properly understood without invoking the other. It is a ‘real-data’ collection, in that its contributors share the view that the facts of language, patiently gathered, recorded and collated, must govern the theory within which they are described, and not vice versa. This philosophy may be seen to operate in all the contributions, and to result in a truly three-dimensional picture of English: data; distribution (temporal, geographical, situational and social); and description. This book will be of interest to students of English language and linguistics.
Why do we say "I am reading a catalog" instead of "I read a catalog"? Why do we say "do" at all? Is the way we speak a reflection of our cultural values? Delving into these provocative topics and more, author McWhorter distills hundreds of years of lore i
Winner, CCCC Outstanding Book Award Until recently, American composition scholars have studied writing instruction mainly within the borders of their own nation, rarely considering English composition in the global context in which writing in English is increasingly taught. Writing in the Devil’s Tongue challenges this anachronistic approach by examining the history of English composition instruction in an East Asian country. Author Xiaoye You offers scholars a chance to observe how a nation changed from monolingual writing practices to bilingual writing instruction in a school setting. You makes extensive use of archival sources to help trace bilingual writing instruction in China back to 1862, when English was first taught in government schools. Treating the Chinese pursuit of modernity as the overarching theme, he explores how the entry of Anglo-American rhetoric and composition challenged and altered the traditional monolithic practice of teaching Chinese writing in the Confucian spirit. The author focuses on four aspects of this history: the Chinese negotiation with Anglo-American rhetoric, their search for innovative approaches to instruction, students’ situated use of English writing, and local scholarship in English composition. Unlike previous composition histories, which have tended to focus on institutional, disciplinary, and pedagogical issues, Writing in the Devil’s Tongue brings students back to center stage by featuring several passages written by them in each chapter. These passages not only showcase rhetorical and linguistic features of their writings but also serve as representative anecdotes that reveal the complex ways in which students, responding to their situations, performed multivalent, intercultural discourses. In addition, You moves out of the classroom and into the historical, cultural, and political contexts that shaped both Chinese writing and composing practices and the pedagogies that were adopted to teach English to Chinese in China. Teachers, students, and scholars reading this book will learn a great deal about the political and cultural impact that teaching English composition has had in China and about the ways in which Chinese writing and composition continues to be shaped by rich and diverse cultural traditions and political discourses. In showcasing the Chinese struggle with teaching and practicing bilingual composition, Writing in the Devil’s Tongue alerts American writing scholars and teachers to an outdated English monolingual mentality and urges them to modify their rhetorical assumptions, pedagogical approaches, and writing practices in the age of globalization.
"The Vulgar Tongue tells the full story of English language slang, from its origins in early British beggar books to its spread in American and Australian culture in the eighteenth century"--
When God Lost Her Tongue explores historical consciousness as captured through the Black feminist imagination that re-centers the perspectives of Black women in the African Diaspora, and revisits how Black women’s transatlantic histories are re-imagined and politicized in our contemporary moment. Connecting select historical case studies – from the Caribbean, the African continent, North America, and Europe – while also examining the retelling of these histories in the work of present-day writers and artists, Janell Hobson utilizes a Black feminist lens to rescue the narratives of African-descended women, which have been marginalized, erased, forgotten, and/or mis-remembered. African goddesses crossing the Atlantic with captive Africans. Women leaders igniting the Haitian Revolution. Unnamed Black women in European paintings. African women on different sides of the "door of no return" during the era of the transatlantic slave trade. Even ubiquitous "Black queens" heralded and signified in a Beyoncé music video or a Janelle Monáe lyric. And then there are those whose names we will never forget, like the iconic Harriet Tubman. This critical interdisciplinary intervention will be key reading for students and researchers studying African American women, Black feminisms, feminist methodologies, Africana studies, and women and gender studies.
“Peasants tell tales,” one prominent cultural historian tells us (Robert Darnton). Scholars must then determine and analyze what it is they are saying and whether or not to incorporate such tellings into their histories and ethnographies. Challenging the dominant culturalist approach associated with Clifford Geertz and Marshall Sahlins among others, this book presents a critical rethinking of the philosophical anthropologies found in specific histories and ethnographies and thereby bridges the current gap between approaches to studies of peasant society and popular culture. In challenging the methodology and theoretical frameworks currently used by social scientists interested in aspects of popular culture, the author suggests a common discursive ground can be found in an historical anthropology that recognizes how myths, fairytales and histories speak to a universal need for imagining oneself in different timescapes and for linking one’s local world with a “known” larger world.
