This work introduces renowned linguistics scholar Anatoly Liberman's comprehensive dictionary and bibliography of the etymology of English words. The English etymological dictionaries published in the past claim to have solved the mysteries of word origins even when those origins have been widely disputed. An Analytic Dictionary of English Etymology "by contrast, discusses all of the existing derivations of English words and proposes the best one. In the inaugural volume, Liberman addresses fifty-five words traditionally dismissed as being of unknown etymology. Some of the entries are among the most commonly used words in English, including man, boy, girl, bird, brain, understand, key, ever, " and yet." Others are slang: mooch, nudge, pimp, filch, gawk, " and skedaddle." Many, such as beacon, oat, hemlock, ivy," and toad," have existed for centuries, whereas some have appeared more recently, for example, slang, kitty-corner, " and Jeep." They are all united by their etymological obscurity. This unique resource book discusses the main problems in the methodology of etymological research and contains indexes of subjects, names, and all of the root words. Each entry is a full-fledged article, shedding light for the first time on the source of some of the most widely disputed word origins in the English language. "Anatoly Liberman is one of the leading scholars in the field of English etymology. Undoubtedly his work will be an indispensable tool for the ongoing revision of the etymological component of the entries in the Oxford English Dictionary."" --Bernhard Diensberg, OED" consultant, French etymologies Anatoly Liberman is professor of Germanic philology at the University of Minnesota. He has published many works, including 16 books, most recently Word Origins . . . and How We Know Them: Etymology for Everyone."

In analyzing the nonfiction works of writers such as John Wilson, J. S. Mill, De Quincy, Ruskin, Arnold, Pater, and Wilde, Jason Camlot provides an important context for the nineteenth-century critic's changing ideas about style, rhetoric, and technologies of communication. In particular, Camlot contributes to our understanding of how new print media affected the Romantic and Victorian critic's sense of self, as he elaborates the ways nineteenth-century critics used their own essays on rhetoric and stylistics to speculate about the changing conditions for the production and reception of ideas and the formulation of authorial character. Camlot argues that the early 1830s mark the moment when a previously coherent tradition of pragmatic rhetoric was fragmented and redistributed into the diverse, localized sites of an emerging periodicals market. Publishing venues for writers multiplied at midcentury, establishing a new stylistic norm for criticism-one that affirmed style as the manifestation of English discipline and objectivity. The figure of the professional critic soon subsumed the authority of the polyglot intellectual, and the later decades of the nineteenth century brought about a debate on aesthetics and criticism that set ideals of Saxon-rooted 'virile' style against more culturally inclusive theories of expression.