Frame

Midcentury spaces made new: A-Frame homes from rustic to ultra-modern, mountain retreats to seaside getaways. The A-Frame home surged in popularity in the 1950s, and has captured the public’s imagination with its playfully modern, steep-sloping roofline ever since. The Modern A-Frame celebrates seventeen diverse accounts of these minimalists cabins reinvented for the twenty-first century. Nostalgic escapes, heritage homes, full-time simplicity, and artists at work categorize the A-frames whose engaging stories are shared. Whether fabricated from a 1960s kit or as a new build via retro inspiration, the variety of styles and homeowners in this photo-driven collection beautifully captures the romance of a classic structure, which beckons to travelers and homebuyers today, just as it did sixty years ago. Perfect for the architectural enthusiast, midcentury-minded designer, or armchair traveler. Ben Rahn has been photographing architecture and interiors for more than twenty years. He founded A-Frame Studio in 2003 out of a desire to combine his love of design with his keen photographic eye. His work has been recognized internationally and has appeared in publications such as Dwell, Wallpaper, Conde Naste Traveller, and more. He lives in Toronto, Canada.

While verb classes are a mainstay of linguistic research, the field lacks consensus on precisely what constitutes a verb class. This book presents a novel approach to verb classes, employing a bottom-up, corpus-based methodology and combining key insights from Frame Semantics, Construction Grammar, and Valency Grammar. On this approach, verb classes are formulated at varying granularity levels to adequately capture both the shared semantic and syntactic properties unifying verbs of a class and the idiosyncratic properties unique to individual verbs. In-depth analyses based on this approach shed light on the interrelations between verbs, frame-semantics, and constructions, and on the semantic richness and network organization of grammatical constructions. This approach is extended to a comparison of Change and Theft verbs, revealing unexpected lexical and syntactic differences across semantically distinct classes. Finally, a range of contrastive (German–English) analyses demonstrate how verb classes can inform the cross-linguistic comparison of verbs and constructions.

The Applied and Numerical Harmonic Analysis ( ANHA) book series aims to provide the engineering, mathematical, and scientific communities with significant developments in harmonic analysis, ranging from abstract har monic analysis to basic applications. The title of the series reflects the im portance of applications and numerical implementation, but richness and relevance of applications and implementation depend fundamentally on the structure and depth of theoretical underpinnings. Thus, from our point of view, the interleaving of theory and applications and their creative symbi otic evolution is axiomatic. Harmonic analysis is a wellspring of ideas and applicability that has flour ished, developed, and deepened over time within many disciplines and by means of creative cross-fertilization with diverse areas. The intricate and fundamental relationship between harmonic analysis and fields such as sig nal processing, partial differential equations (PDEs), and image processing is reflected in our state of the art ANHA series. Our vision of modern harmonic analysis includes mathematical areas such as wavelet theory, Banach algebras, classical Fourier analysis, time frequency analysis, and fractal geometry, as well as the diverse topics that impinge on them.

The camera’s movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures such as F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.

Frames of Protest is the only book available that brings together empirical research and theoretical essays by sociologists, political scientists, and media specialists that focus on social movement frames and framing practices. The major themes of the framing perspective are treated: evidence for the determining influence of collective action frames, their role in protest cycles, framing practices by the state and media, their relationship to political structures, frames versus ideologies as mobilizing factors, and methods of framing research. The collection offers a state-of-the-art view of this important perspective.

A key way to view Latina plays today is through the foundational frame of playwright and teacher, Maria Irene Fornes, who has transformed American theatre. Considering Fornes's legacy, Anne García-Romero shows how five award-winning playwrights continue to contest and complicate Latina theatre.

How do words mean? What is the nature of meaning? How can we grasp a word’s meaning? The frame-semantic approach developed in this book offers some well-founded answers to such long-standing, but still controversial issues. Following Charles Fillmore’s definition of frames as both organizers of experience and tools for understanding, the monograph attempts to examine one of the most important concepts of Cognitive Linguistics in more detail. The point of departure is Fillmore’s conception of “frames of understanding” – an approach to (cognitive) semantics that Fillmore developed from 1975 to 1985. The envisaged Understanding Semantics (“U-Semantics”) is a semantic theory sui generis whose significance for linguistic research cannot be overestimated. In addition to its crucial role in the development of the theoretical foundations of U-semantics, corpus-based frame semantics can be applied fruitfully in the investigation of knowledge-building processes in text and discourse.

Frames and constructions in metaphoric language shows how linguistic metaphor piggybacks on certain patterns of constructional meaning that have already been identified and studied in non-metaphoric language. Recognition of these shared semantic structures, and comparison of their roles in metaphoric and non-metaphoric constructions, make it possible to apply findings from Frame Semantics, Cognitive Grammar and Construction Grammar to understand how conceptual metaphor surfaces in language.