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This is the first genuine etymological dictionary of Old Chinese written in any language. As such, it constitutes a milestone in research on the evolution of the Sinitic language group. Whereas previous studies have emphasized the structure of the Chinese characters, this pathbreaking dictionary places primary emphasis on the sounds and meanings of Sinitic roots. Based on more than three decades of intensive investigation in primary and secondary sources, this completely new dictionary places Old Chinese squarely within the Sino-Tibetan language family (including close consideration of numerous Tiberto-Burman languages), while paying due regard to other language families such as Austroasiatic, Miao-Yao (Hmong-Mien), and Kam-Tai. Designed for use by nonspecialists and specialists alike, the dictionary is highly accessible, being arranged in alphabetical order and possessed of numerous innovative lexicographical features. Each entry offers one or more possible etymologies as well as reconstructed pronunciations and other relevant data. Words that are morphologically related are grouped together into "word families" that attempt to make explicit the derivational or other etymological processes that relate them. The dictionary is preceded by a substantive and significant introduction that outlines the author’s views on the linguistic position of Chinese within Asia and details the phonological and morphological properties, to the degree they are known, of the earliest stages of the Chinese language and its ancestor. This introduction, because it both summarizes and synthesizes earlier work and makes several original contributions, functions as a useful reference work all on its own.
How does one write an experimental ABC, an impossible theory that would deal with a series of phenomena, concepts, places, sensations, persons, and moods? A para-philosophy? Returning to a once-abandoned project of fragmented thoughts where the author’s voice moves from the serious to the pathetic, to the absurd, to the cynical, Simon Critchley’s ABC of Impossibility finds new life in the form of this small encyclopedic and aphoristic text where the reader bears witness to the slow emergence of an attempt at a poetic ontology. ABC of Impossibility is a unique undertaking that reexamines the poetic site of the fragment as thought. Following a heritage of fragmented, aphoristic thinkers including Pascal, Nietzsche, Kierkegaard, and Pessoa, Critchley revitalizes a para-philosophical thinking that can only be uttered by way of another. As he declares in the opening pages, “In writing this, I promise to tell the truth, but not to be myself.”
Abdilatif Abdalla: Poet in Politics �celebrates the work of Abdilatif Abdalla, one of Kenya�s most well-known poets and a committed political activist. It includes commentary essays on aspects of Abdilatif Abdalla�s work and life, through inter-weaving perspectives on poetry and politics, language and history; with contributions by East African writers and scholars of Swahili literature, including Ngugi wa Thiong�o, Said Khamis, Ken Walibora, Ahmed Rajab, Mohamed Bakari, and Sheikh Abdilahi Nassir, among others. Abdalla became famous in 1973, with the publication of Sauti ya Dhiki (Voice of Agony), a collection of poems written secretly in prison during three years of solitary confinement (1969-72). He was convicted of circulating pamphlets against Jomo Kenyatta�s KANU government, criticizing it as �dictatorial� and calling for political resistance in the pamphlet, 'Kenya: Twendapi?' (Kenya: where are we heading?). His poetry epitomizes the ongoing currency of classic Swahili form and language, while his work overall, including translations and editorships, exemplifies a two-way mediation between �traditional� and �modern� perspectives. It makes old and new voices of Swahili poetry and African literature accessible to a wider readership in East Africa, and beyond. Abdalla has lived in exile since 1973, in Tanzania, London, and subsequently, until now, in Germany. Nevertheless, Swahili literature and Kenyan politics have remained central to his life.
In this concise study, Nicole Brenez argues for Abel Ferrara's place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara's oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such as Bad Lieutenant express this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).
A Twelfth-Century Philosopher in His Context and Ours
Abelard in Four Dimensions: A Twelfth-Century Philosopher in His Context and Ours by John Marenbon, one of the leading scholars of medieval philosophy and a specialist on Abelard's thought, originated from a set of lectures in the distinguished Conway Lectures in Medieval Studies series and provides new interpretations of central areas of Peter Abelard's philosophy and its influence. The four dimensions of Abelard to which the title refers are that of the past (Abelard's predecessors), present (his works in context), future (the influence of his thinking up to the seventeenth century), and the present-day philosophical culture in which Abelard's works are still discussed and his arguments debated. For readers new to Abelard, this book provides an introduction to his life and works along with discussion of his central ideas in semantics, ethics, metaphysics, and philosophy of religion. For specialists, the book contains new arguments about the authenticity and chronology of his logical work, fresh evidence about Abelard’s relations with Anselm and Hugh of St. Victor, a new understanding of how he combines the necessity of divine action with human freedom, and reinterpretations of important passages in which he discusses semantics and metaphysics. For all historians of philosophy, it sets out and illustrates a new methodological approach, which can be used for any thinker in any period and will help to overcome the divisions between "historians" based in philosophy departments and scholars with historical or philological training.
In the years leading up to his recent passing, Alabama poet Jake Adam York set out on a journey to elegize the 126 martyrs of the civil rights movement, murdered in the years between 1954 and 1968. Abide is the stunning follow-up to York’s earlier volumes, a memorial in verse for those fallen. From Birmingham to Okemah, Memphis to Houston, York’s poems both mourn and inspire in their quest for justice, ownership, and understanding.
Within are anthems to John Earl Reese, a sixteen-year-old shot by Klansmen through the window of a café in Mayflower, Texas, where he was dancing in 1955; to victims lynched on the Oklahoma prairies; to the four children who perished in the Birmingham church bombing of 1963; and to families who saw the white hoods of the Klan illuminated by burning crosses. Juxtaposed with these horrors are more loving images of the South: the aroma of greens simmering on the stove, “tornado-strong” houses built by loved ones long gone, and the power of rivers “dark as roux.”
Throughout these lush narratives, York resurrects the ghosts of Orpheus, Sun Ra, Howlin’ Wolf, Thelonious Monk, Woody Guthrie, and more, summoning blues, jazz, hip-hop, and folk musicians for performances of their “liberation music” that give special meaning to the tales of the dead.
In the same moment that Abide memorializes the fallen, it also raises the ethical questions faced by York during this, his life’s work: What does it mean to elegize? What does it mean to elegize martyrs? What does it mean to disturb the symmetries of the South’s racial politics or its racial poetics?
A bittersweet elegy for the poet himself, Abide is as subtle and inviting as the whisper of a record sleeve, the gasp of the record needle, beckoning us to heed our history.
On Peace, Place, and Postcoloniality