From kittens to giraffes, readers will learn that there are as many different tongues as there are animals. A kid-friendly title that will really speak to a child's inquisitive side.
Which animal has a nose with two pointy horns? It is questions like these, coupled with beautiful photographs, which will invite young readers into the wonderful world of animals. These books provide the building blocks for readers to start asking questions of their own as they explore the world around them.
This goal allies her with poets from Spain's symbolist past, who acknowledge the insufficiency of language yet pursue elusive meaning. Canelo's poetry advances their struggle, since, through a method ecofeminist Carol Bigwood has called "nonlinguistic silent presencing," she is able to finesse an apparent fusion between nature and the word."--Jacket.
Sor Juana Inés de la Cruz (1651-1695) was the most significant literary figure of the colonial period in Spanish America.The autos sacramentales, or Eucharistic plays are some of her least studied, and most perplexing works. While one of them, El divino Narciso, has received substantial scholarly attention, the other two, El cetro de José and El mártir del Sacramento, San Hermenegildo, have been critically neglected in Sor Juana studies. This study presents a full-length analysis of all three plays, along with their loas, or the introductory pieces alongside which they were intended to be performed. Furthermore, the study seeks to place these works in their philosophical and cultural context by exploring their engagement both with orthodox Catholic sacramental theology, and the emergence of empiricism and the New Philosophy across the Hispanic world. The three sections of this book each present significant new readings of the three plays. The study of El divino Narciso employs a previously little-known source to illuminate its Christological readings, as well as Sor Juana's engagement with notions of wit and conceptism. The analysis of El cetro de José explores her presentation of different approaches to perception to emphasise the importance of both the material and the transcendent to a holistic understanding of the Sacraments. The final section, on San Hermenegildo, explores the influence on the play of the Christianised Stoicism of Justus Lipsius, and demonstrates how Sor Juana used the work to attempt her most ambitious reconciliation of an empirical approach to natural philosophy and the material world with a Neostoic approach to Christian morality and orthodox Catholic sacramental theology.
John A. Crow, a leading Hispanist, has culled the best translations available--by such poets as Richard Franshawe, Edward Fitzgerald, Percy Bysshe Shelley, Lord Byron, Henry Wadsworth Longfellow, William Cullen Bryant, Robert Southey, and many distinguished modern poets--of poems ranging from the eleventh century to the present to make this the most complete collection of both Spanish and Spanish American poetry in English translation. Represented here is work by such twentieth century poets as Gabriela Mistral, Octavio Paz, Federico García Lorca, César Vallejo, Pablo Neruda, Anotnio Machado, and Juan Ramón Jiménez, many of whom the editor has known personally. The inclusion of many contemporary poets whose verse has never before appeared in English makes this anthology a particularly valuable collection.
Recent years have seen intense debates between formal (generative) and functional linguists, particularly with respect to the relation between grammar and usage. This debate is directly relevant to diachronic linguistics, where one and the same phenomenon of language change can be explained from various theoretical perspectives. In this, a close look at the divergent and/or convergent evolution of a richly documented language family such as Romance promises to be useful. The basic problem for any approach to language change is what Eugenio Coseriu has termed the paradox of change: if synchronically, languages can be viewed as perfectly running systems, then there is no reason why they should change in the first place. And yet, as everyone knows, languages are changing constantly. In nine case studies, a number of renowned scholars of Romance linguistics address the explanation of grammatical change either within a broadly generative or a functional framework.
Mazzotta calls for a new approach: the necessity to study the Renaissance in terms of the ongoing conversation of the arts and sciences."--BOOK JACKET.