Patravi Scubatec. for Those Who Explore the Depths
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Representations of Rural England in Contemporary Folk Song
Representations of Rural England in Contemporary Folk Song Heather Skinner Institute of Place Management, UK [email protected] Purpose: This paper explores aural representations of the countryside and English rurality through the contemporary cultural product of folk song. Methodology: A textual analysis was undertaken of the sleeve notes and lyrics of Steve Knightley, songwriter and founder member of the folk/roots band Show of Hands. Findings: The concept of the rural idyll is thoroughly debunked in the majority of these lyrics. Many songs make specific reference to place, and these, in the main, focus on the historical and contemporary hardships of living in rural England, in many cases also making explicit reference to the historical or contemporary social issues deemed by the lyricist to be at the root of the problems faced by people living in English rural communities. Research limitations: This article analyses data obtained in lyrics of only one songwriter within only one music genre, but the artist is one of the most respected within the contemporary folk genre, and Show of Hands have won a number of prestigious nationally recognised folk awards. Originality/value: The extant literature contains little concerning aural representations of place identities through song. The contribution this paper makes is therefore in presenting a conceptual framework that shows how folk song, as a contemporary cultural product contributes to the construction and communication of rural place identities. Keywords: Country life; Show -
Chapter Sampler
Chapter Sampler Renée Ahdieh Max Brooks The Beautiful Devolution Page 2 Page 25 Kat Cho Holly Jackson Wicked Fox A Good Girl’s Guide to Murder Page 37 Page 68 Zack Jordan Natalie Mae The Last Human The Kinder Poison Page 92 Page 119 Silvia Moreno-Garcia Erin Morgenstern Mexican Gothic The Starless Sea Page 148 Page 174 Naomi Novik Stephanie Perkins A Deadly Education There’s Someone Inside Page 188 Your House Page 234 Tochi Onyebuchi Emily Skrutskie War Girls Bonds of Brass Page 258 Page 281 Sabaa Tahir Charles Yu An Ember in the Ashes Interior Chinatown Page 311 Page 360 The Beautiful Renée Ahdieh Click here to learn more about this book! RENé E AHDIEH G. P. PUTNAM’S SONS G. P. Putnam’s Sons an imprint of Penguin Random House LLC, New York Copyright © 2019 by Renée Ahdieh. Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech, and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning, or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to continue to publish books for every reader. G. P. Putnam’s Sons is a registered trademark of Penguin Random House LLC. Visit us online at penguinrandomhouse.com Library of Congress Cataloging-in-Publication Data is available upon request. Printed in the United States of America. ISBN 9781524738174 1 3 5 7 9 10 8 6 4 2 Design by Theresa Evangelista. Text set in Warnock Pro. -
When Cultures Collide: LEADING ACROSS CULTURES
When Cultures Collide: LEADING ACROSS CULTURES Richard D. Lewis Nicholas Brealey International 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page i # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page ii page # blind folio 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page iii ✦ When Cultures Collide ✦ LEADING ACROSS CULTURES # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page iv page # blind folio 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page v ✦ When Cultures Collide ✦ LEADING ACROSS CULTURES A Major New Edition of the Global Guide Richard D. Lewis # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page vi First published in hardback by Nicholas Brealey Publishing in 1996. This revised edition first published in 2006. 100 City Hall Plaza, Suite 501 3-5 Spafield Street, Clerkenwell Boston, MA 02108, USA London, EC1R 4QB, UK Information: 617-523-3801 Tel: +44-(0)-207-239-0360 Fax: 617-523-3708 Fax: +44-(0)-207-239-0370 www.nicholasbrealey.com www.nbrealey-books.com © 2006, 1999, 1996 by Richard D. Lewis All rights reserved. No part of this publication may be reproduced in any manner whatsoever without written permission from the publisher, except in the case of brief quotations embodied in critical articles or reviews. Printed in Finland by WS Bookwell. 10 09 08 07 06 12345 ISBN-13: 978-1-904838-02-9 ISBN-10: 1-904838-02-2 Library of Congress Cataloging-in-Publication Data Lewis, Richard D. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
The Social Significance of New England Idiomatic Phrases
The Social Significance of New England Idiomatic Phrases BY ARTHUR H. COLE I. HE Pennsylvania German with his sing-song, the T southern damsel with her delightful drawl, and Eliza Doolittle are not the only folk who have been noteworthy for their manner of speech. So also has the New Eng- lander—and the most striking element in his mode of communication is more than a peculiar manner of managing his vocal cords. It is the garnering and the persistent use of a really extraordinary assemblage of similes and meta- phors—perhaps as extraordinary an assemblage as any nation or region of the world has displayed, except perhaps the Chinese whose whole language might be thought of as consisting of nothing but similes ! The British people, from whom the original New Englanders took their descent as well as many choice idiomatic phrases, may have remained the latter's chief rival in this practice, but I believe the citizenry of the newer country to have proceeded to origi- nate many sprightly phrases of their own and to have added these to the scores or hundreds which they brought over from the mother country through many decades. The tracing of origins of all such phrases quite properly stimulates the zeal of the folklorist or antiquarian. Roughly I would myself estimate that something like a third of the total mass could easily be tracked to the Bible, Shakespeare, other English writers, medieval life, and similar non- 22 AMERICAN ANTIQUARIAN SOCIETY [April, American sources ; a third, or something like that proportion, seem to bear the indicia of local origin; and the remainder might have derived from either source. -
For Usage Questions
@GramTime News@: Alphabetical index of usage questions (the whole list) **************************************************** A vs. an before h as in historical Abbreviations 1 - article or no article: the EU vs. EU Abbreviations 2 - periods or no periods: the E.U. vs. the EU Abbreviations 3 - plurals of CD etc. A couple years vs. a couple of years Acquit on vs. acquit of Abstract adjectives used as heads of noun phrases Adverbs in -wise Adverbs with and without -ly: dig deep vs. dig deeply Adverbs with and without -ly 2:slow vs. slowly etc. Advice used as a countable noun AD 70 vs. 70 AD Agreement 1:That don't impress me much Agreement 2 (attraction errors): The key to the cabinets were broken Almost and nearly Amazed/surprised at vs. amazed/surprised by Among vs. amongst Angry at vs. angry with vs. angry about vs. angry over Anyways, anywheres, everywheres, nowheres and somewheres Apart from A police Apologizing in English Arabian vs. Arabic vs. Arab As happy as vs. so happy as in affirmative and negative clauses Asian vs. Asiatic Aside vs. to the side vs. to one side after verbs like brush, leave, put etc. At the beginning/end vs. in the beginning/end At the end of the day At the receiving end vs. on the receiving end At X level vs. on X level Australian spelling Awesome Bandwagon - jump on the etc. Beat about the bush vs. beat around the bush Because of, due to, on account of, owing to and thanks to Become amazed, surprised etc. Behave vs. behave oneself Be/stay home vs. -
THE MICK 49 DJ MARK SPLATTER ~ a Maniac on Tour March 2009
THE MICK 49 DJ MARK SPLATTER ~ a maniac on tour March 2009 GIANT PAW Furballs For All with the UK’s most perverse talent THE RABIES THE DROWNING ~ where Punk meets Goth, SEASON but keep them away from wa- ~ a glorious rebirth! ter THE BROTHERHOOD ROME BURNS OF PAGANS ~ deceptive change, perceptive consistency ~ a truly wild return! EDITORIAL VOMIT The progress creeps forward, although it’s been annoyingly slow, vivacious, and Giant Paw, quite rightly our cover stars, are unlike any which is all down to circumstance. I have spent the best part of the other band around, which is always worth celebrating. last month promoting my new book, and that will continue on and off for the next few months, but at least I only just missed the deadline And be prepared people, as I am just finishing of the proof stages of with this issue. Unfortunately I am still locked into an old routine the first of the self-published books I am preparing. Gothic Interviews whereby I arrange the questions and just launch them at a group of Volumes 1 – 3 are all but ready and will be promoted here next month. bands in the same few days which sets them a ludicrous deadline Three massive Gothic Images books will also be coming out, as will themselves. This time around this hasn’t really worked in that Scarlet be my own Author’s Editions of my first four books, of which Gothic Leaves, Deathcamp Project and La Peste Negra simply didn’t have Rock now has over 300 added pages of photos (none of which will time to get things done in time, which is quite understandable, so appear in the other books, as I am dividing my images up carefully so they’re in next month. -
WHY ENGLISH IDIOMATIC EXPRESSIONS and APPLIED LINGUISTICS by Dan Jances Our English Language Is Contradictory. That's Why We
WHY ENGLISH IDIOMATIC EXPRESSIONS AND APPLIED LINGUISTICS By Dan Jances Our English language is contradictory. That's why we can turn lights off and on, but not out and in. That's why we can open up the floor, climb the walls, raise the roof, pick up the house, and bring down the house. Your house can burn up or down, and you fill in a form by filling out a form, in which you add up a column by adding them down, and your alarm clock goes off by going on, and you first chop a tree down and then chop it up. An idiom is a phrase where the words together have a meaning that is different from the dictionary definitions of the individual words, which can make idioms hard for ESL students and learners to understand. English is one of the most difficult languages to master on its own; however, it is more difficult when it comes to expressions, just as in any other language. Applied linguistics which is the interdisciplinary field of study that investigates identifies and offers solutions to language real life problems, academic fields and linguistics education has to do with English idiomatic expressions at the very same moment the speaker looks for ways to express himself. Words in English can be used in more ways than normally expected. Adding in words that sound similar, are spelled alike yet pronounced differently, and the varied meanings and uses for words that change frequently make it even worse. It's like trying to learn the rules, but the rules change constantly. -
Rurality, Folk Music and 'Show of Hands'
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Science and Engineering School of Geography, Earth and Environmental Sciences 2009-04-01 'Country life'? Rurality, folk music and 'Show of Hands' Yarwood, R http://hdl.handle.net/10026.1/3247 10.1016/j.jrurstud.2008.10.003 Journal of Rural Studies All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. ‘Country Life’? Rurality, Folk Music and ‘Show of Hands’ Richard Yarwood and Clive Charlton School of Geography University of Plymouth Drake Circus Plymouth PL4 8AA www.plymouth.ac.uk/geography This is a draft, pre-print version of the paper that was later published as: Yarwood, R and Charlton, C (2009) „Country life‟? Rurality, folk music and „Show of Hands‟ Journal of Rural Studies 25, 194-206 1 ‘Country Life’? Rurality, Folk Music and ‘Show of Hands’ Abstract This paper examines the contribution of folk music to understanding the dynamic, fluid and multi-experiential nature of the countryside. Drawing from literature on the geographies of music, it examines the work of „Show of Hands‟, a contemporary folk band from Devon in England. Three areas are studied. First, the paper examines the musical style of Show of Hands in order to explore how hybridised, yet distinctive, styles of music emerge in particular places. -
LUCKY JIM First Published in Great Britain in 1954
Kingsley Amis LUCKY JIM First published in Great Britain in 1954 Oh, lucky Jim, How I envy him. Oh, lucky Jim, How I envy him. Old song I 'THEY made a silly mistake, though,' the Professor of History said, and his smile, as Dixon watched, gradually sank beneath the surface of his features at the memory. 'After the interval we did a little piece by Dowland,' he went on; 'for recorder and keyboard, you know. I played the recorder, of course, and young Johns…' He paused, and his trunk grew rigid as he walked; it was as if some entirely different man, some impostor who couldn't copy his voice, had momentarily taken his place; then he went on again: '… young Johns played the piano. Versatile lad, that; the oboe's his instrument, really. Well anyway, the reporter chap must have got the story wrong, or not been listening, or something. Anyway, there it was in the Post as large as life: Dowland, yes, they'd got him right; Messrs Welch and Johns, yes; but what do you think they said then?' Dixon shook his head. 'I don't know, Professor,' he said in sober veracity. No other professor in Great Britain, he thought, set such store by being called Professor. 'Flute and piano.' 'Oh?' 'Flute and piano; not recorder and piano.' Welch laughed briefly. 'Now a recorder, you know, isn't like a flute, though it's the flute's immediate ancestor, of course. To begin with, it's played, that's the recorder, what they call a bec, that's to say you blow into a shaped mouthpiece like that of an oboe or a clarinet, you see. -
Interview with Arne Skage Interview with LUCY Piper Lawrence Lebo's
MAY 2021 Issue #410 interview with Arne SKAGe interview with LUCY PiPer LAwrenCe Lebo’S CoLUMn: teenY tUCKer reviewS viDeoS CONTACT:email: [email protected] Web: www.bluesinthesouth.com Twitter: IN THE MEAN TIME, DON’T GO TO GIGS IF YOU ARE NOT SURE THEY ARE COMPLETELY SAFE , MAINTAIN SOCIAL DISTANCE AND REMEMBER: CORONA VIRUS DOES NOT CIRCULATE PEOPLE CIRCULATE IT Paul Oscher (April 5, 1950 – April 18, 2021) Oscher was born in Brooklyn, New York, United States. He was married to Pulitzer Prize-winning playwright Suzan-Lori Parks from 2001 to 2011. He first began playing harmonica at the age of 12. His career as a musician began at the age of 15 when he played for the musician Little Jimmy Mae. Oscher played harmonica as a member of the Muddy Waters Blues Band from 1967 until 1972. He was the first Caucasian musician in Muddy's band and lived in Muddy's house on Chicago's South Side and shared the basement with the blues pianist Otis Spann. Oscher recorded with Muddy for Chess Records and in 1976 he toured Europe with Louisiana Red. They both appeared at the WDR-TV music show Rockpalast. In 1999, he played with Big Bill Morganfield on his debut album, “Rising Son”. In 2003 Oscher was featured on harmonica, guitar and vocals on Hubert Sumlin's album “About Them Shoes”, along with Keith Richards, Eric Clapton and Levon Helm. In 2006, Oscher collaborated with Mos Def and recorded the song ‘BedStuy Parade and Funeral March’ on Mos Def's album “The New Danger”.