This book investigates the cognitive roots of pronunciation in children and adults and the emergence of accent with adults when learning a second language (L2). Subsequently, any teaching of L2 pronunciation to adults should be premised on a multisensory and multicognitive approach covering a wide selection of teaching and learning strategies consistent with the cognitive roots.

Peruvian novelist, poet, and anthropologist José María Arguedas (1911–1969) was a highly conflicted figure. As a mestizo, both European and Quechua blood ran through his veins and into his cosmology and writing. Arguedas’s Marxist influences and ethnographic work placed him in direct contact with the subalterns he would champion in his stories. His exposés of the conflicts between Indians and creoles, and workers and elites were severely criticized by his contemporaries, who sought homogeneity in the nation-building project of Peru.In Rethinking Community from Peru, Irina Alexandra Feldman examines the deep political connotations and current relevance of Arguedas’s fiction to the Andean region. Looking principally to his most ambitious and controversial work, All the Bloods, Feldman analyzes Arguedas’s conceptions of community, political subjectivity, sovereignty, juridical norm, popular actions, and revolutionary change. She deconstructs his particular use of language, a mix of Quechua and Spanish, as a vehicle to express the political dualities in the Andes. As Feldman shows, Arguedas’s characters become ideological speakers and the narrator’s voice is often absent, allowing for multiple viewpoints and a powerful realism. Feldman examines Arguedas’s other novels to augment her theorizations, and grounds her analysis in a dialogue with political philosophers Walter Benjamin, Jean-Luc Nancy, Carl Schmitt, Jacques Derrida, Ernesto Laclau, and Álvaro García-Linera, among others.In the current political climate, Feldman views the promise of Arguedas’s vision in light of Evo Morales’s election and the Bolivian plurality project recognizing indigenous autonomy. She juxtaposes the Bolivian situation with that of Peru, where comparatively limited progress has been made towards constitutional recognition of the indigenous groups. As Feldman demonstrates, the prophetic relevance of Arguedas’s constructs lie in their recognition of the sovereignty of all ethnic groups and their coexistence in the modern democratic nation-state, in a system of heterogeneity through autonomy—not homogeneity through suppression. Tragically for Arguedas, it was a philosophy he could not reconcile with the politics of his day, or from his position within Peruvian society.

Appalachia is no stranger to loss. The region suffers regular ecological devastation wrought by strip mining, fracking, and deforestation as well as personal tragedy brought on by enduring poverty and drug addiction. In Driving with the Dead, Appalachian poet, teacher, and artist Jane Hicks weaves an earnest and impassioned elegy for an imperiled yet doggedly optimistic people and place. Exploring the roles that war, environment, culture, and violence play in Appalachian society, the hard-hitting collection is visceral and unflinchingly honest, mourning a land and people devastated by economic hardship, farm foreclosures, and mountaintop removal.With empathy and a voice of experience, Hicks offers readers a poignant collection of poems that addresses themes of grief and death while also illustrating the beauty, grace, and resilience of the Appalachian people. Invoking personal memories, she explores how the loss of physical landscape has also devastated the region's psychological landscape.Graphic, bold, and heartfelt, Driving with the Dead is an honest and compelling call to arms. Hicks laments the irreplaceable treasures that we have lost but also offers wisdom for healing and reconciliation.

Best-sellers are the books that sell well, are read by large numbers of people, and are widely talked about in the media and among readers. Yet there has been little research on the creation, reception, and cultural and social significance of best-sellers. Recognising that popular narratives play an important role in the lives of millions of readers, this book looks closely at the literature so many people read. As global market phenomena, situated in between the power spheres of producers and consumers, best-sellers also highlight the interdependency of culture, market, and the individual. This volume addresses such diverse questions as the creation of hype, the role and the meaning of the author in the present-day media landscape, changes in the book trade, historical perspectives on best-selling literature, and the relationship between best-sellers and literary research.

As a collection of politically engaged poetry for the 21st century, Nude Descending and Empire develops the lyrical voice of a citizen-poet speaking to the urgency of our contemporary moment, especially its ecological crisis. This is a book that brings all the supposed sensitivity of poetry into contact with the world we actually live in—with all its crises, madness, and modernity—and insists that we feel it all. A reader will recognize many of the urgent political issues of our time, yet will find them re-inhabited and transformed here by the imaginative power of poetry. Our great ecological crisis is cast as the fulfillment of a long history of violence, domination, lies, and alienation—in one word, empire—and the book suggests that a livable future requires that we wholly inhabit our body-heart-mind and discover a new paradigm.

Rosser’s poems have always given a squinty sideways glance at cultural foibles and assumptions. Her distinctive brand of cheery skepticism implies that the genuine pursuit of truth is a virtue that renders tolerable the intolerable. These poems achieve a lyricism that gives free reign to the lush energies of language while remaining transparent enough to communicate something precise, fresh, and unsettling. A driving force behind the poems in Mimi’s Trapeze is Rosser’s profound curiosity about all forms and conditions of life. Without distorting fact or motive, her speakers seek to navigate the mazes of our messy quotidian infelicities, ranging from imperfect love to squashing turtles on the road—from the history of artistic misrepresentations of women to global warming—attempting to calibrate the beautifully complex balance between desire and responsibility. This collection dwells more on mortality and the lamentable state of the planet (and the spiritual unsoundness of its denizens) than her previous work. Another new vein can be traced in several poems that seek to distill a state like adolescence into a single word (“Dyahe”), reduce vast movements and disciplines into epigrammatic nutshells (Miniature Histories of the World”), or isolate a condition like grief in an element as simple as salt (“After the Service, the Widow Considers the Etymology of Salary”). In Mimi’s Trapeze, her fourth book, Rosser takes a lighthearted view of dark subjects (see “Final Invitation”), and a dark view of light ones (“Intro to Happiness”). She has refined her vision, reaffirming her belief that poetry is the most direct and effective way for humans to alleviate their loneliness.

In Lucky Bones, Peter Meinke moves fluidly through free and formal shapes, taking the reader on a tour through America in the 21st century: family, politics, love, war and peace, old age and death are looked at in ways that are surprising, clear, and warm-hearted. Lit by flashes of anger and laughter as he surveys his territory from the vantage point of old age, the poems are, in the end, both sane and profound, set to Meinke’s own music. Consisting of over sixty new poems, the book begins with a house-shaped poem about a family in a beloved old home, and then moves out into the world with poems about a fire-bug, drive-by shootings, and the often violent human condition before circling back to the home and a final epitaph. A clear-eyed feeling of loss permeates Lucky Bones, but not despair: in the midst of conflict, Meinke’s world is full of wonder, and wonderful people.

David Roderick's second book, The Americans, pledges its allegiance to dirt. And to laptops. And to swimming pools, the Kennedys, a flower in a lapel, plastic stars hanging from the ceiling of a child's room, churning locusts, a jar of blood, a gleam of sun on the wing of a plane. His poems swarm with life. They also ask an unanswerable question: What does it mean to be an American? Restless against the borders we build—between countries, between each other—Roderick roams from place to place in order to dig into the messy, political, idealistic and ultimately inexplicable idea of American-ness. His rangy, inquisitive lyrics stitch together a patchwork flag, which he stakes alongside all the noise of our construction, our obsessive building and making, while he imagines the fate of a nation built on desire.Winner of the 2014 Julie Suk Award for the best poetry book published by an independent press.

This book concentrates on the conversation between Socrates and Gorgias which takes place in the first part of Plato's Gorgias. Scholars have tended to concentrate on the following two conversations held by Socrates with Polus and, especially, with Callicles. This first, relatively short, conversation is usually taken to be a kind of preface coming before Plato's 'real' philosophy. The present study challenges this assumption, arguing that the conversation between Socrates and Gorgias actually anticipates the message of the whole dialogue, which concerns the essence of rhetoric and its implications.

The American Shore: Meditations on a Tale of Science Fiction by Thomas M. Disch—"Angouleme" was first published in 1978 to the intense interest of science fiction readers and the growing community of SF scholars. Recalling Nabokov's commentary on Pushkin's Eugene Onegin, Roland Barthes' commentary on Balzac's Sarazine, and Grabinier's reading of The Heart of Hamlet, this book-length essay helped prove the genre worthy of serious investigation. The American Shore is the third in a series of influential critical works by Samuel R. Delany, beginning with The Jewel-Hinged Jaw and Starboard Wine, first published in the late seventies and reissued over the last five years by Wesleyan University Press, which helped win Delany a Pilgrim Award for Science Fiction Scholarship from the Science Fiction Research Association of America. This edition includes the author's corrected text as well as a new introduction by Delany scholar Matthew Cheney.

Selections from the Syriac romance about the evils of Julian the Apostate, made into a reading for students with complete glossary.

Self and Other explores the complex dynamic between the individual and the collectivity, narrative and identity that define the short fiction of Yūsuf al-Shārūnī, pioneer of Arab literary modernism. With a range of translated extracts, Kate V.M. Daniels offers English-speaking readers an invaluable introduction to one of Egypt's greatest short story-writers.

"So wise were our elders!" Thus exclaims Mariano Chicunque, himself an elder, expressing in a single phrase the thrust of the mythic narrative tradition he simultaneously presents and represents in his storytelling.A remarkable body of mythology is documented for the first time in this volume. John Homes McDowell's study revolves around thirty-two mythic narratives of the Kamsá Indians who live in the Sibundoy Valley of the Colombian Andes, collected by the author from several renowned Kamsá storytellers. Each myth is given in the native language with parallel English translations that seek to capture the flavor of the original performances. Textual annotation and commentary assess the grounding of the myths in the language and culture of the Kamsá indigenous community.Introductory chapters describe the process of transcription and translation and highlight important characteristics of the collection. McDowell stresses the collaborative nature of the enterprise, which benefits from the shared vision of the ethnographer and of indigenous consultants who were involved in every step of the process. The narratives are portrayed as a residual mythology in transit toward folktale but still evocative of a traditional cosmos. The myths are much more than inert "literary" objects, and under McDowell's scrupulous analysis they emerge as a storehouse of narrative potential whose performances still have meaning in Kamsá society and culture today."So Wise Were Our Elders" is a companion volume to McDowell's Sayings of the Ancestors: The Spiritual Life of the Subundoy Indians (1989).

Spain's Golden Age, the seventeenth century, left the world one great legacy, the flower of its dramatic genius -- the comedia. The work of the Golden Age playwrights represents the largest combined body of dramatic literature from a single historical period, comparable in magnitude to classical tragedy and comedy, to Elizabethan drama, and to French neoclassical theater.A History of Spanish Golden Age Drama is the first up-to-date survey of the history of the comedia, with special emphasis on critical approaches developed during the past ten years. A history of the comedia necessarily focuses on the work of Lope de Vega and Calderon de la Barca, but Ziomek also gives full credit to the host of lesser dramatists who followed in the paths blazed by Lope and Calderon, and whose individual contributions to particular genres added to the richness of Spanish theater. He also examines the profound influence of the comedia on the literature of other cultures.

In this provocative study Rose Zimbardo examines a crucial revolution in aesthetics that took place in the late seventeenth century and that to this day dominates our response to literature. Although artists of that time continued to follow the precept "imitate nature," that nature no longer corresponds to the earlier understanding of the term. What had been in essence an allegorical mode came to be a literal one. Focusing on the drama of the period as an exemplary form, Zimbardo shows how it moved from depicting a metaphysical reality of idea to portraying an inner reality of individual experience. But drama is constrained in expressing the inner experience since its medium is limited to human action. The novel arose to replace drama as the popular literary form, Zimbardo argues, because it could better and more freely convey man's inner world and thereby imitate the "new" nature.The study concluded that the changes which took place in drama during this period and which led to the invention of the novel resulted not from any "change of heart" or sensibility but from a fundamental change in the understanding of the nature which art was thought to imitate. Neither the drama of the 1690s nor the early novel, Zimbardo finds, was in the least "sentimental."A Mirror to Nature brings a new critical perspective to bear on literary developments at the end of the seventeenth century -- one that must be considered by critics and historians of the period.

Although The Tin Drum has often been called one of the great novels of the 20th century, most critics have been baffled in attempting to draw its apparent chaos into a single literary framework. Here is the full-length study to penetrate the brilliance of Gunter Grass's style and uncover the novel's mythopoetic core. In A Mythic Journey: Gunter Grass's Tin Drum, author Edward Diller convincingly demonstrates the still valid relationship between modern and classical literary criticism. By reading The Tin Drum as both modern myth and historical epic, he provides a profound and sensitive interpretation of one of the masterpieces of 20th century literature.