This historical dictionary contains an English translation of the Frahang-I Oim-evak, an antique Avestan and Middle Persian dictionary. A collaboration between Martin Haug and Destur Hoshengji Jamaspji, this rare glossary provides the Pahlavi translations for almost 900 Avestan words. Avestan is an Eastern Old Iranian language used by the Zoroastrian Avesta. It represents one of the earliest known Iranian languages. This dictionary was one of the earliest attempts to present the material to a western readership. Still considered a historic entry-point into the language, Haug’s glossary has become a rare find. Gorgias Press is pleased to bring it back into circulation as a part of our Historical Dictionary series.

A treat for the scholar of under-represented languages and the history of Mongolia, this monumental work on the Old Turkic inscriptions of Mongolia remains the classic exploration of the field. Originally published in three volumes, this two volume set contains all of the original material. Radloff’s analysis of the the Orkhon Valley monuments includes presentations in the original Old Turkic, or Orkhom-Yenisey script. These monuments represent the earliest known Turkish language. The inscriptions derive from obelisks dated to the eighth century A.D. and they relate the legendary origins of the Turks, long before the sole association with Anatolia. Related are the period of cultural achievements, the troubles encountered with the Chinese, and their eventual liberation.

A treat for the scholar of under-represented languages and the history of Mongolia, this monumental work on the Old Turkic inscriptions of Mongolia remains the classic exploration of the field. Originally published in three volumes, this two volume set contains all of the original material. Radloff’s analysis of the the Orkhon Valley monuments includes presentations in the original Old Turkic, or Orkhom-Yenisey script. These monuments represent the earliest known Turkish language. The inscriptions derive from obelisks dated to the eighth century A.D. and they relate the legendary origins of the Turks, long before the sole association with Anatolia. Related are the period of cultural achievements, the troubles encountered with the Chinese, and their eventual liberation.

More of a grammatical tool than an actual grammar, this Arabic publication of ten ancient treatises on Arabic philology is a useful tool for the student of Arabic who already knows the basics of the language. Each piece begins with a description of the manuscript and what is known of the author and is accompanied by footnotes and an index.

Based on years of personal experience in India, Joseph Peet’s grammar of Malayalam was the first attempt by a western scholar to document the language. Set out like a classical grammar of the period, Peet begins with an introduction to the language and the orthography. The parts of speech are each treated, followed by an account of the syntax. One of the official languages of India, Malayalam is spoken by about 37 million individuals, mostly in the state of Kerala in the southern part of the nation. For the historian interested in the history of the study of Malayalam, this grammar is a special find.

A winning combination of two historical grammars, this volume includes both Kautzsch’s edition of Gesenius’ Hebrew Grammar and Davidson’s Hebrew Syntax. Together these classic Hebrew resources will be of interest to serious students of Hebrew grammar and those interested in the history of grammatical studies of the language.

Through theoretical, philosophical, cultural, political, and historical analysis, Horacio Legras views the myriad factors that have both formed and stifled the integration of peripheral experiences into Latin American literature. Despite these barriers, Legras reveals a handful of contemporary authors who have attempted in earnest to present marginalized voices to the Western world. His deep and insightful analysis of key works by novelists Juan Jos\u00e9 Saer (The Witness), Nellie Campobello (Cartucho), Roa Bastos (Son of Man), and Jose Mar\u00eda Arguedas (The Fox from Up Above and the Fox from Down Below), among others, provides a theoretical basis for understanding the plight of the author, the peripheral voice and the confines of the literary medium. What emerges is an intricate discussion of the clash and subjugation of cultures and the tragedy of a lost worldview.

The theatrical endeavours that took place in Iceland during 1860 to 1920, gradually brought about a consciousness of ability and quality which was a prerequisite for professionalism. In the evolution of a theatre or theatrical phenomena in any country, the step from amateurish endeavours to professional art is crucial. Indeed, the social and artistic consequences of such a step are of the utmost significance for a country's culture in general. The signs of this development can be noticed in totally different criteria ranging from playwriting and repertory to the art of playing. The eventual transition into professionalism can form the ultimate goal both for those directly involved and for all theatre lovers in any given society. The borderline between amateur and professional theatre is nonetheless a thin one. One grows out of the other. Indeed amateur theatre provides the roots for a living professional theatre, which in turn offers both model and stimulation to those who follow. The role of the amateur theatre in this regard is often underestimated. These and other issues are discussed in this fascinating book by Iceland's leading expert on the theatre.

This book is about attribute mathematics, in which nothing ever gets bigger or smaller. More specifically, it is about some of what attribute mathematics can do toward the full digitalization of thought and language. The matter is relevant not only directly to linguistics and philosophy but also indirectly to electrical engineering and neuroscience. The twenty-first century will be that of the brain. Human existence will gradually be turned inside out as tools such as genetics and Boolean algebra allow us to see ourselves function on the smallest scale while it is happening.

At what stage in J.R.

The JCSSS is an annual refereed journal containing the transcripts of public lectures presented at the Canadian Society for Syriac Studies Inc. It focuses on the literature, art, and archaeology of Syriac Christianity from the 2nd century to modern times. Contributors include Lucas Van Rompay, Craig E. Morrison, Cor-bishop David Royel, Mary T. Hansbury, Narmen Muhamad Amen Ali, and Khalid Dinno.

In this edition of Cheikho’s literary survey of Arabic literature of the nineteenth century, the reader will find the Arabic original of Cheikho’s fine text. Difficult to locate outside the Middle East, Gorgias Press is now bringing this uncommon find to Arabists in the western world.

Based on the journal writings of Art Rooney Jr., with input from other family members, colleagues, and friends, The Chief is a one-man play that faithfully reenacts the larger-than-life persona of Pittsburgh icon Art Rooney, owner of one of the most successful football franchises of all time. Playwrights Gene Collier and Rob Zellers recreate the words, deeds, and essence of this paragon of Pittsburgh sports as he reminisces, in his gruff but affable style, about his tough upbringing on Pittsburgh's North Side and the family, friends, politicians, and outlandish adventures that shaped his life. He also recounts the colorful history of the Pittsburgh Steelers, from the foibles and frustrations of the early days to the great Super Bowl runs of the 1970s, and offers insights on the characters of many of his beloved players. Reproduced in print for the first time, the work is complemented by photographs of Rooney, his family, and members of the Steelers, along with scenes from the standout performance of actor Tom Atkins, who has embodied the role since the play's inception.

The literary influence of alchemy and hermeticism in the work of most medieval and early modern authors has been overlooked. Stanton Linden now provides the first comprehensive examination of this influence on English literature from the late Middle Ages through the sixteenth and seventeenth centuries.Drawing extensively on alchemical allusions as well as on the practical and theoretical background of the art and its pictorial tradition, Linden demonstrates the pervasiveness of interest in alchemy during this three-hundred-year period. Most writers -- including Langland, Gower, Barclay, Eramus, Sidney, Greene, Lyly, and Shakespeare -- were familiar with alchemy, and references to it appear in a wide range of genres. Yet the purposes it served in literature from Chaucer through Jonson were narrowly satirical.In literature of the seventeenth century, especially in the poetry of Donne, Herbert, Vaughan, and Milton, the functions of alchemy changed. Focusing on Bacon, Donne, Herbert, Vaughan, and Milton -- in addition to Jonson and Butler -- Linden demonstrates the emergence of new attitudes and innovative themes, motifs, images, and ideas.The use of alchemy to suggest spiritual growth and change, purification, regeneration, and millenarian ideas reflected important new emphases in alchemical, medical, and occultist writing. This new tradition did not continue, however, and Butler's return to satire was contextualized in the antagonism of the Royal Society and religious Latitudinarians to philosophical enthusiasm and the occult. Butler, like Shadwell and Swift, expanded the range of satirical victims to include experimental scientists as well as occult charlatans. The literary uses of alchemy thus reveal the changing intellectual milieus of three centuries.

In Stalinist Russia, the idealized Soviet man projected an image of strength, virility, and unyielding drive in his desire to build a powerful socialist state. In monuments, posters, and other tools of cultural production, he became the demigod of Communist ideology. But beneath the surface of this fantasy, between the lines of texts and in film, lurked another figure: the wounded body of the heroic invalid, the second version of Stalin's New Man. In How the Soviet Man Was Unmade, Lilya Kaganovsky exposes the paradox behind the myth of the indestructible Stalinist-era male. In her analysis of social-realist literature and cinema, she examines the recurring theme of the mutilated male body, which appears with startling frequency. Kaganovsky views this representation as a thinly veiled statement about the emasculated male condition during the Stalinist era. Because the communist state was \u201cfull of heroes,\u201d a man could only truly distinguish himself and attain hero status through bodily sacrifice-yet in his wounding, he was forever reminded that he would be limited in what he could achieve, and was expected to remain in a state of continued subservience to Stalin and the party.Kaganovsky provides an insightful reevaluation of classic works of the period, including the novels of Nikolai Ostrovskii (How Steel Was Tempered) and Boris Polevoi (A Story About a Real Man), and films such as Ivan Pyr'ev's The Party Card, Eduard Pentslin's The Fighter Pilots, and Mikhail Chiaureli's The Fall of Berlin, among others. The symbolism of wounding and dismemberment in these works acts as a fissure in the facade of Stalinist cultural production through which we can view the consequences of historic and political trauma.

The book investigates the qatal//yiqtol (yiqtol//qatal) verbal sequence, previously known as ‘tense shifting’, as found in couplets of the Hebrew Psalter, attempting an innovatory explanation by means of M.A.K. Halliday’s Systemic Theory. This study argues that qatal and yiqtol verbal forms, when part of the qatal//yiqtol verbal sequence in Psalms' poetic couplets, can be used primarily for aesthetic reasons, with no individual reference to time or aspect. Arguably, the Systemic Functional Grammar analysis of lexicogrammar can provide a comprehensive interpretation of form and function and an integrated approach to phonetics, morphology and syntax.