The Cambridge Advanced Learner's Dictionary is the ideal dictionary for advanced EFL/ESL learners. Easy to use and with a great CD-ROM - the perfect learner's dictionary for exam success. First published as the Cambridge International Dictionary of English, this new edition has been completely updated and redesigned. - References to over 170,000 words, phrases and examples explained in clear and natural English - All the important new words that have come into the language (e.g. dirty bomb, lairy, 9/11, clickable) - Over 200 'Common Learner Error' notes, based on the Cambridge Learner Corpus from Cambridge ESOL exams Plus, on the CD-ROM: - SMART thesaurus - lets you find all the words with the same meaning - QUICKfind - automatically looks up words while you are working on-screen - SUPERwrite - tools for advanced writing, giving help with grammar and collocation - Hear and practise all the words.
In this wide-ranging book that moves from Greek drama to modern poetry, David Brown explores the ways in which the poetry and drama of the past were rooted in religious questions. He posits that their creative potential needs to be rediscovered to bring present-day worship and experience of God alive.
A book that produces sensory experiences while bringing the concept of experience itself into relief as a subject of criticism and an object of contemplation. Experience offers a reading experience like no other. A heat-sensitive cover by Olafur Eliasson reveals words, colors, and a drawing when touched by human hands. Endpapers designed by Carsten Höller are printed in ink containing carefully calibrated quantities of the synthesized human pheromones estratetraenol and androstadienone, evoking the suggestibility of human desire. The margins and edges of the book are designed by Tauba Auerbach in complementary colors that create a dynamically shifting effect when the book is shifted or closed. When the book is opened, bookmarks cascade from the center, emerging from spider web prints by Tomás Saraceno. Experience produces experience while bringing the concept itself into relief as an object of contemplation. The sensory experience of the book as a physical object resonates with the intellectual experience of the book as a container of ideas. Experience convenes a conversation with artists, musicians, philosophers, anthropologists, historians, and neuroscientists, each of whom explores aspects of sensorial and cultural realms of experience. The texts include new essays written for this volume and classic texts by such figures as William James and Michel Foucault. The first publication from MIT's Center for Art, Science, & Technology, Experience approaches its subject through multiple modes. Publication design by Kimberly Varella with Becca Lofchie, Content Object Design Studio. Cover concept by Olafur Eliasson in collaboration with Kimberly Varella (Content Object). Contributors Tauba Auerbach, Bevil Conway, John Dewey, Olafur Eliasson, Michel Foucault, Adam Frank, Vittorio Gallese, Renée Green, Stefan Helmreich, Carsten Höller, Edmund Husserl, William James, Caroline A. Jones, Douglas Kahn, Brian Kane, Leah Kelly, Bruno Latour, Alvin Lucier, David Mather, Mara Mills, Alva Noë, Jacques Rancière, Michael Rossi, Tomás Saraceno, Natasha Schüll, Joan W.Scott, Tino Sehgal, Alma Steingart, Josh Tenenbaum, Rebecca Uchill
"This book focuses on how literate artisans began to write about their discoveries starting around 1400: in other words, it explores the origins of technical writing. Artisans and artists began to publish handbooks, guides, treatises, tip sheets, graphs and recipe books rather than simply pass along their knowledge in the workshop. And they tried to articulate what the new knowledge meant. The popularity of these texts coincided with the founding of a "new philosophy" that sought to investigate nature in a new way. Smith shows how this moment began in the unceasing trials of the craft workshop, and ended in the experimentation of the natural scientific laboratory. These epistemological developments have continued to the present day and still inform how we think about scientific knowledge"--
Carl W. Ernst devoted his academic life to translating Islam, linguistically and culturally, typically within the intellectual context of religious studies. His work has focussed on how Islamic concepts have travelled across time and space and his influence on Islamic studies and religious studies is far-reaching. This volume features contributions from long-standing colleagues, scholars whose own work has built on Ernst's contributions, and former students. It looks at themes in Islamic studies which Ernst has addressed and expands on his major contributions.Essays in this volume touch nearly every major element in Islamic studies - from the Qur'an to Sufism, Islamophobia to South Asian Islam, historical and contemporary praxis, music and more. This collection demonstrates one core tenant of Ernst's work, specifically the argument that Islam is not rooted in one place, time or language, but is a vast network, routed though myriad places, times and languages.
Without words, apps would be an unusable jumble of shapes and icons, while voice interfaces and chatbots wouldn't even exist. Words make software human–centered, and require just as much thought as the branding and code. This book will show you how to give your users clarity, test your words, and collaborate with your team. You'll see that writing is designing.
The study of word meanings promises important insights into the nature of the human mind by revealing what people find to be most cognitively significant in their experience. However, as we learn more about the semantics of various languages, we are faced with an interesting problem. Different languages seem to be telling us different stories about the mind. For example, important distinctions made in one language are not necessarily made in others. What are we to make of these cross-linguistic differences? How do they arise? Are they created by purely linguistic processes operating over the course of language evolution? Or do they reflect fundamental differences in thought? In this sea of differences, are there any semantic universals? Which categories might be given by the genes, which by culture, and which by language? And what might the cross-linguistic similarities and differences contribute to our understanding of conceptual and linguistic development? The kinds of mapping principles, structures, and processes that link language and non-linguistic knowledge must accommodate not just one language but the rich diversity that has been uncovered.The integration of knowledge and methodologies necessary for real progress in answering these questions has happened only recently, as experimental approaches have been applied to the cross-linguistic study of word meaning. In Words and the Mind, Barbara Malt and Phillip Wolff present evidence from the leading researchers who are carrying out this empirical work on topics as diverse as spatial relations, events, emotion terms, motion events, objects, body-part terms, causation, color categories, and relational categories. By bringing them together, Malt and Wolff highlight some of the most exciting cross-linguistic and cross-cultural work on the language-thought interface, from a broad array of fields including linguistics, anthropology, cognitive and developmental psychology, and cognitive neuropsychology. Their results provide some answers to these questions and new perspectives on the issues surrounding them.
The author of the bestselling You Are Not Alone, which sold 125,000 copies, now offers a new book which provides comfort, help, and inspiration to readers coping with divorce. Thorne provides specific advice, coping skills, and practical solutions as well as national and local resources for additional assistance.
NEW YORK TIMES BESTSELLER “It’s undeniably thrilling to find words for our strangest feelings…Koenig casts light into lonely corners of human experience…An enchanting book. “ —The Washington Post A truly original book in every sense of the word, The Dictionary of Obscure Sorrows poetically defines emotions that we all feel but don’t have the words to express—until now. Have you ever wondered about the lives of each person you pass on the street, realizing that everyone is the main character in their own story, each living a life as vivid and complex as your own? That feeling has a name: “sonder.” Or maybe you’ve watched a thunderstorm roll in and felt a primal hunger for disaster, hoping it would shake up your life. That’s called “lachesism.” Or you were looking through old photos and felt a pang of nostalgia for a time you’ve never actually experienced. That’s “anemoia.” If you’ve never heard of these terms before, that’s because they didn’t exist until John Koenig set out to fill the gaps in our language of emotion. The Dictionary of Obscure Sorrows “creates beautiful new words that we need but do not yet have,” says John Green, bestselling author of The Fault in Our Stars. By turns poignant, relatable, and mind-bending, the definitions include whimsical etymologies drawn from languages around the world, interspersed with otherworldly collages and lyrical essays that explore forgotten corners of the human condition—from “astrophe,” the longing to explore beyond the planet Earth, to “zenosyne,” the sense that time keeps getting faster. The Dictionary of Obscure Sorrows is for anyone who enjoys a shift in perspective, pondering the ineffable feelings that make up our lives. With a gorgeous package and beautiful illustrations throughout, this is the perfect gift for creatives, word nerds, and human beings everywhere.