By treating writing as an independent mode of communication, based on the use of spatial relations to connect events separated in time, the author shows how other forms of writing obey the same principles.In Signs of Writing Roy Harris re-examines basic questions about writing that have long been obscured by the traditional assumption that writing is merely a visual substitute for speech.By treating writing as an independent mode of communication, based on the use of spatial relations to connect events separated in time, the author shows how musical, mathematical and other forms of writing obey the same principles as verbal writing. These principles, he argues, apply to texts of all kinds: a sonnet, a symphonic score, a signature on a cheque and a supermarket label. Moreover, they apply throughout the history of writing, from hieroglyphics to hypertext.This is the first book to provide a new general theory of writing in over forty years. Signs of Writing will be essential reading for anyone interested in language and communication.

Bierman considers how the Fatimid rulers used public writing to present their own ideology to different members of society in Cairo in the 10th to 12th centuries and the ways in which it was received.

This book zeroes in on hidden writing and alternative systems of graphic notation, exploring writings that deflect attention from language.

Nineteenth-century periodicals frequently compared themselves to the imperial powers then dissecting the globe, and this interest in imperialism can be seen in the exotic motifs that surfaced in works by such late Romantic authors as John Keats, Charles Lamb, James Hogg, Letitia Landon, and Lord Byron. Karen Fang explores the collaboration of these authors with periodical magazines to show how an interdependent relationship between these visual themes and rhetorical style enabled these authors to model their writing on the imperial project. Fang argues that in the decades after Waterloo late Romantic authors used imperial culture to capitalize on the contemporary explosion of periodical magazines. This proliferation of "post-Napoleonic" writing—often referencing exotic locales—both revises longstanding notions about literary orientalism and reveals a remarkable synthesis of Romantic idealism with contemporary cultural materialism that heretofore has not been explored. Indeed, in interlocking case studies that span the reach of British conquest, ranging from Greece, China, and Egypt to Italy and Tahiti, Fang challenges a major convention of periodical publication. While periodicals are usually thought to be defined by time, this account of the geographic attention exerted by late Romantic authors shows them to be equally concerned with space. With its exploration of magazines and imperialism as a context for Romantic writing, culture, and aesthetics, this book will appeal not only to scholars of book history and reading cultures but also to those of nineteenth-century British writing and history.

Jane, a superstitious fangirl, takes an anonymous babysitting job to avoid an unpaid internship with her college-obsessed mom. The only problem? She's babysitting the siblings of her childhood friend and new crush, Teo. Teo doesn't dislike Jane, but his best friend Ravi hates her, and is determined to keep them apart. So Teo's pretty sure his plans for a peaceful summer are shot. His only hope is that his intermittent search for his birth father will finally pan out and he'll find a new, less awkward home. Meanwhile, at Jane's house, her sister Margo wants to come out as bisexual, but she's terrified of how her parents will react. In a summer filled with secrets and questions, even Jane's Magic 8 ball can't give them clear answers, but Signs Point to Yes.