This brief Syriac grammar for students, along with a prolegomena showing how Syriac fits in among other Aramaic dialects, includes the standard grammatical items. The paradigms are unique for including Jewish Aramaic forms side by side with the Syriac.

Cowper, having reasoned that English students of Syriac deserve an affordable and complete, yet not too cumbersome and detailed, guide to the language, here offers an abridged and edited English version of Hoffmann’s grammar, originally published in Latin in 1827.

Soleil cou coupé (Solar Throat Slashed) is Aimé Césaire's most explosive collection of poetry. Animistically dense, charged with eroticism and blasphemy, and imbued with an African and Vodun spirituality, this book takes the French surrealist adventure to new heights and depths. A Césaire poem is an intersection at which metaphoric traceries create historically aware nexuses of thought and experience, jagged solidarity, apocalyptic surgery, and solar dynamite. The original 1948 French edition of Soleil cou coupé has a dense magico-religious frame of reference. In the late 1950s, Césaire was increasingly politically focused and seeking a wider audience, when he, in effect, gelded the 1948 text-eliminating 31 of the 72 poems, and editing another 29. Until now, only the revised 1961 edition, called Cadastre, has been translated. The revised text lacks the radical originality of Soleil cou coupé. This Wesleyan edition presents all the original poems en face with the new English translations. Includes an introduction by A. James Arnold and notes by Clayton Eshleman.

In the spring of 1968, the English faculty at the University of Wisconsin-Madison (UW) voted to remedialize the first semester of its required freshman composition course, English 101. The following year, it eliminated outright the second semester course, English 102. For the next quarter-century, UW had no real campus-wide writing requirement, putting it out of step with its peer institutions and preventing it from fully joining the \u201ccomposition revolution\u201d of the 1970s. In From Form to Meaning, David Fleming chronicles these events, situating them against the backdrop of late 1960s student radicalism and within the wider changes taking place in U.S. higher education at the time. Fleming begins with the founding of UW in 1848. He examines the rhetorical education provided in the universityÆs first half-century, the birth of a required, two semester composition course in 1898, faculty experimentation with that course in the 1920s and 1930s, and the rise of a massive \u201ccurrent-traditional\u201d writing program, staffed primarily by graduate teaching assistants (TAs), after World War II. He then reveals how, starting around 1965, tensions between faculty and TAs concerning English 101-102 began to mount. By 1969, as the TAs were trying to take over the committee that supervised the course, the English faculty simply abandoned its long-standing commitment to freshman writing. In telling the story of compositionÆs demise at UW, Fleming shows how contributing factors—the growing reliance on TAs; the questioning of traditional curricula by young instructors and their students; the disinterest of faculty in teaching and administering general education courses—were part of a larger shift affecting universities nationally. He also connects the events of this period to the long, embattled history of freshman composition in the United States. And he offers his own thoughts on the qualities of the course that have allowed it to survive and regenerate for over 125 years.

The beauty and difficulty of Jack Spicer's poetry continues to resonate with contemporary audiences nearly fifty years after his death. After Spicer brings together work by ten eminent literary scholars to provide a long overdue exploration of Spicer's legacy even as it continues to unfold. As editor John Emil Vincent notes, it is Spicer's "boundary crashing"-in his poetry, poetics, and politics-that makes his work so powerful and relevant today. After Spicer extends the conversation between poet and reader that Spicer considered essential to the composition and survival of poems. Incisive essays by Maria Damon, Norman Finkelstein, Kelly Holt, Catherine Imbriglio, Kevin Killian, Michael Snediker, Anita Sokolsky, and Keith and Rosmarie Waldrop, provide an overview of Spicer's oeuvre-his poetry, letters, plays, and his only novel-and explore his work in relation to queer theory, audience, religion, the lyric, and seriality. These essays give us crucial insights into Spicer's transition from a regional cult figure to a canonical postmodern poet.

George Philipps presents the Syriac text and English translation for three ancient texts pertaining to Syriac grammar, orthography and pronunciation.

Robert D. Wilson’s grammar of Syriac includes many excerpts from Syriac literature to help explain grammatical concepts in real syntactical context.

This volume is a ‘phrase book’ for speakers of French and Arabic to learn common words and phrases in modern conversational Syriac.

This volume is an inductive approach to Syriac grammar that focuses on learning through readiing.

Argument by the Norris Professor of Divinity at Cambridge that the spelling of the Syriac version of the Gospels should not be taken as authority for the original Aramaic names.

The book is designed for students who wish to learn the principles of Latin phonetics as well as for more advanced students who wish to review or reevaluate these principles in the light of further philological and linguistic evidence. The body of the book comprises an extensive discussion of the various historical changes that went into the making of Latin, analyzing the development of the vocalic and consonantal systems in light of literary and epigraphical sources.

To many academics, composition still represents typewritten texts on 8.5\u201d x 11\u201d pages that follow rote argumentative guidelines. In Toward a Composition Made Whole, Jody Shipka views composition as an act of communication that can be expressed through any number of media and as a path to meaning-making. Her study offers an in-depth examination of multimodality via the processes, values, structures, and semiotic practices people employ everyday to compose and communicate their thoughts. Shipka counters current associations that equate multimodality only with computer, digitized, or screen-mediated texts, which are often self-limiting. She stretches the boundaries of composition to include a hybridization of aural, visual, and written forms. Shipka analyzes the work of current scholars in multimodality and combines this with recent writing theory to create her own teaching framework. Among her methods, Shipka employs process-oriented reflection and a statement of goals and choices to prepare students to compose using various media in ways that spur their rhetorical and material awareness. They are encouraged to produce unusual text forms while also learning to understand the composition process as a whole. Shipka presents several case studies of students working in multimodal composition and explains the strategies, tools, and spaces they employ. She then offers methods to critically assess multimodal writing projects. Toward a Composition Made Whole challenges theorists and compositionists to further investigate communication practices and broaden the scope of writing to include all composing methods. While Shipka views writing as crucial to discourse, she challenges us to always consider the various purposes that writing serves.

This study affords an entirely new view of the nature of modern popular entertainment. American vaudeville is here regarded as the carefully elaborated ritual serving the different and paradoxical myth of the new urban folk. It demonstrates that the compulsive myth-making faculty in man is not limited to primitive ethnic groups or to serious art, that vaudeville cannot be dismissed as meaningless and irrelevant simply because it fits neither the criteria of formal criticsm or the familiar patterns of anthropological study. Using the methods for criticism developed by Susanne K. Langer and others, the author evaluates American vaudeville as a symbolic manifestation of basic values shared by the American people during the period 1885-1930. By examining vaudeville as folk ritual, the book reveals the unconscious symbolism basic to vaudeville-in its humor, magic, animal acts, music, and playlets, and also in the performers and the managers -- which gave form to the dominant American myth of success. This striking view of the new mass man as a folk and of his mythology rooted in the very empirical science devoted to dispelling myth has implications for the serious study of all forms of mass entertainment in America. The book is illustrated with a number of striking photographs.

The works of Walt Whitman have been described as masculine, feminine, postcolonial, homoerotic, urban, organic, unique, and democratic, yet arguments about the extent to which Whitman could or should be considered a political poet have yet to be fully confronted. Some scholars disregard Whitman's understanding of democracy, insisting on separating his personal works from his political works.A Political Companion to Walt Whitman is the first full-length exploration of Whitman's works through the lens of political theory. Editor John E. Seery and a collection of prominent theorists and philosophers uncover the political awareness of Whitman's poetry and prose, analyzing his faith in the potential of individuals, his call for a revolution in literature and political culture, and his belief in the possibility of combining heroic individualism with democratic justice. A Political Companion to Walt Whitman reaches beyond literature into political theory, revealing the ideology behind Whitman's call for the emergence of American poets of democracy.

This book presents a look at the effects of the Aramaic language as it appears in Lebanon and Syria.

Author Ephraam Barsom deliberates on the logistics of translation versus transliteration of Syriac into Arabic. This is a great read for anyone interested in the translation of Syriac into Arabic.