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Encyclopedia of Language and Linguistics
The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International ...
National Union Catalog
Includes entries for maps and atlases.
The Cambridge History of the Romance Languages: Volume 1, Structures
This Cambridge history is the definitive guide to the comparative history of the Romance languages. Volume I is organized around the two key recurrent themes of persistence (structural inheritance and continuity from Latin) and innovation (structural change and loss in Romance).
The Sounds of Spanish with Audio CD
Accompanying CD contains ... "[all] the sounds described in this book."--Page 4 of cover.
A Brief History of the Spanish Language
“As in the first edition, Pharies debunks—in an engaging manner—a number of ‘linguistic myths’ about Spanish orthography, pronunciation, and grammar.” —Choice Since its publication in 2007, A Brief History of the Spanish Language has become the leading introduction to the history of one of the world’s most widely spoken languages. Moving from the language’s Latin roots to its present-day forms, this concise book offers readers insights into the origin and evolution of Spanish, the historical and cultural changes that shaped it, and its spread around the world. A Brief History of the Spanish Language focuses on the most important aspects of the development of the Spanish lan...
Variation and Change in Spanish
This book applies recent theoretical insights to trace the development of Castilian and Latin American Spanish from the Middle Ages onwards, through processes of repeated dialect mixing both within the Iberian Peninsula and in the New World. The author contends that it was this frequent mixing which caused Castilian to evolve more rapidly than other varieties of Hispano-Romance, and which rendered Spanish particularly subject to levelling of its linguistic irregularities and to simplification of its structures. These two processes continued as the language extended into and across the Americas. These processes are viewed in the context of the Hispano-Romance dialect continuum, which includes Galician, Portuguese and Catalan, as well as New World varieties. The book emphasises the subtlety and seamlessness of language variation, both geographical and social, and the impossibility of defining strict boundaries between varieties. Its conclusions will be relevant both to Hispanists and to historical sociolinguists more generally.
The Semiotic Sphere
Although semiotics has, in one guise or another, ftourished uninterruptedly since pre Socratic times in the West, and important semiotic themes have emerged and devel oped independently in both the Brahmanie and Buddhistic traditions, semiotics as an organized undertaking began to 100m only in the 1960s. Workshops materialized, with a perhaps surprising spontaneity, over much ofEurope-Eastern and Western and in North America. Thereafter, others quickly surfaced almost everywhere over the litera te globe. Different places strategically allied themselves with different lega eies, but all had a common thrust: to aim at a general theory of signs, by way of a description of different sign systems...
Sonidos Negros
How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, in the span between 1492 and 1933, the vanquished Moor became Black, and how this figure, enacted in terms of a minstrelized Gitano, paradoxically came to represent Spain itself. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Christian and non-Christian, White and Black worlds. This figure's subversive teetering undermines Spain's symbolic linkage of religion with race, a prime weapon of conquest. Flamenco's Sonidos Negros live in this precarious balance, amid the purposeful confusion and ruckus cloaking embodied resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization.
