Feeling forgotten? This book tells a story of remembering those people who seem to have been forgotten. Written in lighthearted, easy-to-understand verses, this story describes how we can show love for each other by honoring those people who died from COVID-19, those soldiers who died in defending our country, and those people who are belittled because of their skin color.
Benjamin Smith Lyman (1835–1920) was an American geologist and mining engineer who worked for the Japanese government as a foreign expert in the 1870s. He is famous among linguists for an article about a set of Japanese morphophonemic alternations known as rendaku (sometimes translated as “sequential voicing”). Lyman published this article in 1894, several years after he returned to the United States, and it contains a version of what linguists today call Lyman’s Law. This book includes a brief biography of Lyman and explains how an amateur linguist was able to make such a lasting contribution to the field. It also reproduces Lyman’s 1894 article as well as his earlier article on the pronunciation system of Japanese, each followed by extensive commentary. In addition, it offers an English translation of a thorough critique of Lyman’s 1894 article, published in 1910 by the prominent Japanese linguist Ogura Shinpei. Lyman’s work on rendaku included much more than just Lyman’s Law, and the final chapter of this book assesses all his proposals from the standpoint of a modern researcher.
The real history behind the classic war movie and the men who plotted the daring escape from a Nazi POW camp. Between dusk and dawn on the night of March 24th–25th 1944, a small army of Allied soldiers crawled through tunnels in Germany in a covert operation the likes of which the Third Reich had never seen. The prison break from Stalag Luft III in eastern Germany was the largest of its kind in the Second World War. Seventy-nine Allied soldiers and airmen made it outside the wire—but only three made it outside Nazi Germany. Fifty were executed by the Gestapo. In this book Jonathan Vance tells the incredible story that was made famous by the 1963 film The Great Escape. It is a classic tale of prisoners and their wardens in a battle of wits and wills. The brilliantly conceived escape plan is overshadowed only by the colorful, daring (and sometimes very funny) crew who executed it—literally under the noses of German guards. From the men’s first days in Stalag Luft III and the forming of bonds among them, to the tunnel building, amazing escape, and eventual capture, Vance’s history is a vivid, compelling look at one of the greatest “exfiltration” missions of all time. “Shows the variety and depth of the men sent into harm’s way during World War II, something emphasized by the population of Stalag Luft III. Most of the Allied POWs were flyers, with all the technical, tactical and planning skills that profession requires. Such men are independent thinkers, craving open air and wide-open spaces, which meant that an obsession with escape was almost inevitable.” —John D. Gresham
The political novel, which enjoyed a steep yet short rise to international renown between the 1830s and the 1910s, is primarily concerned with the nation’s political future. It offers a characterization of the present, a blueprint of the future, and the image of the heroes needed to get there. With the standing it gained during its meteoric rise, the political novel helped elevate the novel altogether to become the leading literary genre of the twentieth century worldwide.Focusing on its adaptation in the Chinese context, Catherine Vance Yeh traces the genre from Disraeli’s England through Europe and the United States to East Asia. Her study goes beyond comparative approaches and nation-state- and language-centered histories of literature to examine the intrinsic connections among literary works. Through detailed studies, especially of the Chinese exemplars, Yeh explores the tensions characteristic of transcultural processes: the dynamics through which a particular, and seemingly local, literary genre goes global; the ways in which such a globalized literary genre maintains its core features while assuming local identity and interacting with local audiences and political authorities; and the relationship between the politics of form and the role of politics in literary innovation.
A Pedagogy of Observation argues that the fascination with learning about the past and new locations in panoramic form spread far from the traditional sites of popular entertainment and amusement. Although painted panoramas captivated audiences from Hamburg to Leipzig and Berlin to Vienna, relatively few people had direct access to this invention. Instead, most Germans in the early nineteenth century encountered panoramas for the first time through the written word. The panorama experience described inthis book centers on the emergence of a new type of visual language and self-fashioning in material culture adopted by Germans at the turn of the nineteenth century, one that took cues from the pedagogy of observing and interpreting space at panorama shows. By reading about what editors, newspaper correspondents, and writers referred to as “panoramas,” curious Germans learned about a new representational medium and a new way to organize and produce knowledge about the scenes on display, even if they had never seen these marvels in person. Like an audience member standing on a panorama platform at a show, reading about panoramas transported Germans to new worlds in the imagination, while maintaining a safe distance from the actual transformations being portrayed. A Pedagogy of Observation identifies how the German bourgeois intelligentsia created literature as panoramic stages both for self-representation and as a venue for critiquing modern life. These written panoramas, so to speak, helped German readers see before their eyes industrial transformations, urban development, scientific exploration, and new possibilities for social interactions. Through the immersive act of reading, Germans entered an experimental realm that fostered critical engagement with modern life before it was experienced firsthand. Surrounded on all sides by new perspectives into the world, these readers occupied the position of the characters that they read about in panoramic literature. From this vantage point, Germans apprehended changes to their immediate environment and prepared themselves for the ones still to come.
It’s the end of the term, and Nadia Hill hopes for a romance with her young literature professor, once she graduates. But there are obstacles. For starters, she’s attending college under an alias—made necessary because she’s the daughter of a high-ranking figure in organized crime, who vowed that Nadia would receive all A’s throughout her college career. Standing in the way of such perfection is Heath Alexander, a man of unimpeachable integrity, who is about to give Nadia a B+ in his literature course. Will he budge off his principles and award her the higher grade—especially if he is made to understand the dire consequences of not doing so? In this delightful and hilarious novel, matters are complicated further by several of the professor’s colleagues, who plot to deny him tenure; the Don’s loyal yet inept associate; and the Don’s irrepressible and crafty former lover.
She’s thirty-two, musically gifted, vivacious, and in love with Patrick Harrold, the voice teacher who hired her to play piano for his collection of off-kilter vocal students. Indeed, Samantha Eliot has long dreamed of devoting her life to music and song. But there’s a problem. She can’t speak, let alone sing. And she hasn’t been able to since a terrible accident took her voice at the age of seven. Truth be told, she has two additional problems. She’s never met—but is presently searching for—her birth mother. And the man she loves may, in fact, give up teaching voice, therefore no longer requiring her services. Can she rectify the second and third of these three problems, even though she must live with the first? Also featuring a collection of hilarious voice students with issues of their own, Samantha’s Silent Song speaks to those who have made an honest attempt, but failed, at fully realizing their dreams.
In this fascinating book, Catherine Yeh explores the Shanghai entertainment world at the close of the Qing dynasty. Established in the 1850s outside of the old walled city, the Shanghai Foreign Settlements were administered by Westerners and so were not subject to the strict authority of the Chinese government. At the center of the dynamic new culture that emerged was the courtesan, whose flamboyant public lifestyle and conspicuous consumption of modern goods set a style that was emulated by other women as they emerged from the "inner quarters" of traditional Chinese society. Many Chinese visitors and sojourners were drawn to the Foreign Settlements. Men of letters seeking a living outside of the government bureaucracy found work in the Settlements’ burgeoning print industry and formed the new class of urban intellectuals. Courtesans fled from oppressive treatment and the turmoil of uprisings elsewhere in China and found unprecedented freedom in Shanghai to redefine themselves and their profession. As the entertainment industry developed, publications sprang up to report on and promote it. Journalists and courtesans found that their interests increasingly coincided, and the Settlements became a cosmopolitan playground. Ritualized role-play based on novels such as Dream of the Red Chamber elevated the status of courtesan entertainment and led to culturally rich interactions between courtesans and their clients. As participants acted out the stories in public, they introduced modern notions of love and romance that were radically at odds with the traditional roles of men and women. Yet because social change arrived in the form of entertainment, it met with little resistance. Yeh shows how this fortuitous combination of people and circumstances, rather than official decisions or acts, created the first multicultural modern city in China. With illustrations from newspapers, novels, travel guides, and postcards, as well as contemporary written descriptions of life in foreign-driven, fast-paced, cutting-edge Shanghai, this study traces the mutual influences among courtesans, intellectuals, and the city itself in creating a modern, market-oriented leisure culture in China. Historians, literary specialists, art critics, and social scientists will welcome this captivating foray into the world of late nineteenth-century popular culture.
With welcoming views of the broad and expansive marsh, oak trees draped with moss, and a huge sky overhead, Hofwyl-Broadfield Plantation was home to five generations of one family. Located where the Altamaha River empties into the Atlantic Ocean near Brunswick, Hofwyl-Broadfield was the last of the coastal plantations to grow rice. Its story involves a love of the land--fertile yet sometimes unyielding, binding to it the people who owned it and those who worked it. It was this legacy that Ophelia Dent bequeathed to the State of Georgia at her death in 1973. Her hope was that future generations would enjoy the beauty of this special place and understand how each family found a way to bestow it upon the next. The Hofwyl-Broadfield Plantation State Historic Site, operated by the Georgia Department of Natural Resources, Parks, and Historic Sites Division, captures and tells the story of a special era.
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