Somewhere Nowhere

Early in the twenty-first century, homelessness remains a pressing social issue in the United Kingdom. Yet, the needs and experiences of people who are, or have been, homeless are often ignored or misunderstood. This book depicts the real life stories of five people experiencing homelessness and describes, in their own words, the life events that preceded their homeless episodes and the challenges they face in moving forward with their lives.

Shortlisted for the PQ Best Publication Award in Performance Design & Scenography 2023 In this book practitioner and researcher Louise Ann Wilson examines the expanding field of socially engaged scenography and promotes the development of scenography as a distinctive type of applied art and performance practice that seeks tangible, therapeutic, and transformative real-world outcomes. It is what Christopher Baugh calls 'scenography with purpose'. Using case studies drawn from the body of site-specific walking-performances she has created in the UK since 2011, Wilson demonstrates how she uses scenography to emplace challenging, marginalizing or 'missing' life-events into rural landscapes – creating a site of transformation – in which participants can reflect upon, re-image and re-imagine their relationship to their circumstances. Her work has addressed terminal illness and bereavement, infertility and childlessness by circumstance, and (im)mobility and memory. These works have been created on mountains, in caves, along coastlines and over beaches. Each case-study is supported by evidential material demonstrating the effects and outcomes of the performance being discussed. The book reveals Wilson's creative methodology, her application of three distinct strands of transdisciplinary research into the site/landscape, the subject/life-event, and with the people/participants affected by it. She explains the 7 'scenographic' principles she has developed, and which apply theories and aesthetics relating to land/scape art and walking and performance practices from Early Romanticism to the present day. They are underpinned by the concept of the feminine 'material' sublime, and informed by the attentive, autotopographic, therapeutic and highly scenographic use of walking and landscape found in the work of Dorothy Wordsworth and her female contemporaries. Case studies include Fissure (2011), Ghost Bird (2012), The Gathering (2014), Warnscale (2015), Mulliontide (2016), Dorothy's Room (2018) and Women's Walks to Remember: 'With memory I was there' (2018-2019).

This volume is a collection of 13 chapters, each devoted to a particular issue that is crucial to our understanding of the way learners acquire, learn, and use an L2 sound system. In addition, it spans both theory and application in L2 phonology. The book is divided into three parts, with each section unified by broad thematic content: Part I, “Theoretical Issues and Frameworks in L2 Phonology,” lays the groundwork for examining L2 phonological acquisition. Part II, “Second Language Speech Perception and Production,” examines these two aspects of L2 speech in more detail. Finally, Part III, “Technology, Training, and Curriculum,” bridges the gap between theory and practice. Each chapter examines theoretical frameworks, major research findings (both classic and recent), methodological issues and choices for conducting research in a particular area of L2 phonology, and major implications of the research findings for more general models of language acquisition and/or pedagogy.

A billionaire stock investor with a dragon-sized ego finds himself in an outrageous pickle when an eccentric entrepreneur approaches him to invest in his company which makes a revolutionary new product–NOTHING. While the billionaire dismisses him with 1 lakh rupees to seek psychiatric help, the entrepreneur instead uses the money to start manufacturing NOTHING, assigning him a stake in the company as a sign of gratefulness. Caught in a precarious situation, the billionaire must now debate the validity of the stake he has unintentionally picked up in the company as it becomes more and more valuable each day with everyone from politicians to filmstars to aam aadmis parading the power of Nothing. Things escalate into a circus when another company sues for what they believe is a blatant patent plagiarism of their original idea. Rambunctious, packed with tons of sarcasm, spoofs, and sketches, How to Become a Billionaire by Selling Nothing looks at the inherent madness of human nature and the ridiculous lengths people go to while doing business.

Hipness has been an indelible part of America's intellectual and cultural landscape since the 1940s. But the question What is hip? remains a kind of cultural koan, equally intriguing and elusive. In Dig, Phil Ford argues that while hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, music has consistently been the primary means of resistance, the royal road to hip. Hipness suggests a particular kind of alienation from society--alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. From the vantage of hipness, the dominant culture constitutes a system bent on excluding creativity, self-awareness, and self-expression. The hipster's project is thus to define himself against this system, to resist being stamped in its uniform, squarish mold. Ford explores radio shows, films, novels, poems, essays, jokes, and political manifestos, but argues that music more than any other form of expression has shaped the alienated hipster's identity. Indeed, for many avant-garde subcultures music is their raison d'être. Hip intellectuals conceived of sound itself as a way of challenging meaning--that which is cognitive and abstract, timeless and placeless--with experience--that which is embodied, concrete and anchored in place and time. Through Charlie Parker's "Ornithology," Ken Nordine's "Sound Museum," Bob Dylan's "Ballad of a Thin Man," and a range of other illuminating examples, Ford shows why and how music came to be at the center of hipness. Shedding new light on an enigmatic concept, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century. Publication of this book was supported by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.