A pioneering, interdisciplinary study of how transnational novelists and critics use music as a critical device to structure narrative and to model ethical relations.

Within the recent explosion of creative nonfiction, a new type of form is quietly emerging, what Brenda Miller calls "hermit crab essays." The Shell Game is an anthology of these intriguing essays that borrow their structures from ordinary, everyday sources: a recipe, a crossword puzzle, a Craig's List ad. Like their zoological namesake, these essays do not simply wear their borrowed "shells" but inhabit them so perfectly that the borrowed structures are wholly integral rather than contrived, both shaping the work and illuminating and exemplifying its subject. The Shell Game contains a carefully chosen selection of beautifully written, thought-provoking hybrid essays tackling a broad range of subjects, including the secrets of the human genome, the intractable pain of growing up black in America, and the gorgeous glow residing at the edges of the autism spectrum. Surprising, delightful, and lyric, these essays are destined to become classics of this new and increasingly popular hybrid form.

The rich variety of the English vocabulary reflects the vast number of words it has taken from other languages. These range from Latin, Greek, Scandinavian, Celtic, French, Italian, Spanish, and Russian to, among others, Hebrew, Maori, Malay, Chinese, Hindi, Japanese, andYiddish. Philip Durkin's full and accessible history reveals how, when, and why. He shows how to discover the origins of loanwords, when and why they were adopted, and what happens to them once they have been. The long documented history of English includes contact with languages in a variety of contexts, including: the dissemination of Christian culture in Latin in Anglo-Saxon England, and the interactions of French, Latin, Scandinavian, Celtic, and English during the Middle Ages; exposure to languages throughout the world during the colonial era; and the effects of using English as an international language of science. Philip Durkin describes these and other historical inputs, introducing the approaches each requires, from the comparative method for the earliest period to documentary and corpus research in the modern. The discussion is illustrated at every point with examples taken from a variety of different sources. The framework Dr Durkin develops can be used to explore lexical borrowing in any language. This outstanding book is for everyone interested in English etymology and in loanwords more generally. It will appeal to a wide general public and at the same time offers a valuable reference for scholars and students of the history of English.

We gratefully acknowledge the financial support of COST (European Cooperation in Science and Technology), funded by the Horizon 2020 Framework Programme of the European Union. Current grammatical knowledge about particular sign languages is fragmentary and of varying reliability, and it appears scattered in scientific publications where the description is often intertwined with the analysis. In general, comprehensive grammars are a rarity. The SignGram Blueprint is an innovative tool for the grammar writer: a full-fledged guide to describing all components of the grammars of sign languages in a thorough and systematic way, and with the highest scientific standards. The work builds on the existing knowledge in Descriptive Linguistics, but also on the insights from Theoretical Linguistics. It consists of two main parts running in parallel: the Checklist with all the grammatical features and phenomena the grammar writer can address, and the accompanying Manual with the relevant background information (definitions, methodological caveats, representative examples, tests, pointers to elicitation materials and bibliographical references). The areas covered are Phonology, Morphology, Lexicon, Syntax and Meaning. The Manual is endowed with hyperlinks that connect information across the work and with a pop-up glossary. The SignGram Blueprint will be a landmark for the description of sign language grammars in terms of quality and quantity.

By integrating novel developments in both contact linguistics and morphological theory, this volume pursues the topic of borrowed morphology by recourse to sophisticated theoretical and methodological accounts. The authors address fundamental issues, such as the alleged universal dispreference for morphological borrowing and its effects on morphosyntactic complexity, and corroborate their analyses with strong cross-linguistic evidence.

"In Borrowed Design, Steven Heller and Julie Lasky offer a critical assessment of the use and abuse of what designers employ or ""borrow"" to creatae their works. Contemporary designers often engage historical styles for their own objectives without fully understanding a style's original context of purpose. Borrowed Design is an invaluable source for any student or professional in graphic or fine arts who intends to establish personal guidelines regarding the appropriate use of history in their work."