Hist Whist

Now children can claim for their very own the puddle-wonderful (mudluscious) world where buds know better than books don't grow, where little itchy mousies with scuttling eyes rustle and run and hidehidehide, and the ree ray rye roh rowster shouts rawrOO. Cummings's poetry more than that of any other major American poet keeps faith with childhood. These twenty poems were selected by him and published privately in 1962. Hist Whist combines the original twenty poemes enfantins with the first appearance of the beautiful and evocative line drawings of the young California artist David Calsada. His sensitive pen has captured the spirit of Cummings's poems in its detailed rendering of a world that only poets and children can see.

Presents with illustrations the celebrated author's poem of scary, ghostly things.

The volume contributes to historical pragmatics an important chapter on what has so far not been paid adequate attention to, i.e. historical metapragmatics. More particularly, the collected papers apply a meta-communicative approach to historical texts by focusing on lexis that either directly or metaphorically identifies or characterizes entire forms of communication or single acts and act sequences or minor units. Within the context of their use, such lexical expressions, in fact, provide a key for disclosing historical forms of communication; taken out of context, they build the meta-communicative lexicon. The articles follow three principal distinctions in that they investigate the meta-communicative profile of genres, meta-communicative lexical sets and meta-communicative ethics and ideologies. They cover a broad spectrum of text types that span the entire history of the English language from Anglo-Saxon chronicles to computer-mediated communication.

The need to ‘rethink’ and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book’s contributions into: • Why Dance History? – the ideas, issues and key conversations that underpin any study of the history of theatrical dance. • Researching and Writing – discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making – from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.

This book examines the most salient and misunderstood aspect of twentieth-century poetry, free verse. Although the form is generally approached as if it were one indissoluble lump, it is actually a group of differing poetic genres proceeding from much different assumptions. Separate chapters on T.S. Eliot, Wallace Stevens, H.D., and William Carlos Williams elucidate many of these assumptions and procedures, while other chapters address more general theoretical questions and trace the continuity of Modern poetics in contemporary poetry. Taking a historical and aesthetic approach, this study demonstrates that many of the forms considered to have been invented in the Modern period actually extend underappreciated traditions. Not only does this book examine the classical influence on Modern poetry, it also features discussions of the poetics of John Milton, Abraham Cowley, Matthew Arnold, and a host of lesser-known poets. Throughout it is an investigation of the prosodic issues that free verse foregrounds, particularly those focusing on the reader's part in interpreting poetic rhythm.

Henry Bradley's revised and enlarged edition of 'Stratmann's Middle-English Dictionary' containing words used by English writers from the 12th to the 15th century was originally published in 1891. It has been reprinted many times.