With a new Introduction by Said S. Samatar and an Afterword by the author

Name and Naming: Synchronic and Diachronic Perspectives aims to analyse names and the act of naming from an intercultural perspective, both synchronically and diachronically. The volume is divided into four main parts (Theory of Names, Anthroponomastics, Toponomastics, Names in Society), which are, in turn, organised into thematic chapters and subchapters. The book sets to offer a bird’s-eye view of names and naming; this synthesis is made possible, on the one hand, by the blending of synchronic and diachronic viewpoints in the investigation of language facts and, on the other, by the fruitful conjunction of modern and classic theories. The originality and the novelty of the subject lies in the multi-disciplinary approach, in which the field of onomastics merges with that of sociolinguistics, psycholinguistics, pragmatics, history, literature, stylistics, religion, etc. The thematic diversity also derives from the meeting, within the pages of this book, of specialists (35 linguists and literati) from 11 countries on three continents.

This book is a linguistic research study of trade names, especially names of firms (in the production and services sector), shops, eating/drinking houses and accommodation locations. It identifies and analyses the onomastic behaviour characteristic of the field of trades in contemporary Romanian public space, in addition to delineating a representative naming pattern for every subcategory of commercial onomastics investigated, according to three coordinates: (1) lexical and grammatical structure, (2) semantics (pointing out different levels of meaning), and (3) language preference. Methodologically, this book relies on the theoretical configuration provided by onomastics, functional, cognitive and generative grammar, semiotics (in the interpretation of trade names as iconic, indexical and symbolic signs), and pragmatics (observing that trade names underlie speech acts). Moreover, the study also refers to psycholinguistics, underlining the cognitive and affective mechanisms that are involved in the creation and use of trade names. The way in which commercial designations behave in society (especially how they contribute to the characterisation of a community both linguistically and culturally) is analysed using the tools of sociolinguistics. From the same point of view, the current context of trade names is also described, with reference to the influence of the English language and the American sociocultural mindset (as instruments of globalisation) on the Romanian language and culture, and particularly on the unprecedented development of commercial onomastics. The methodology employed in this book furthermore includes theoretical precepts specific to linguistic polyphony, emphasising the similarity between trade names and unconventional anthroponyms (particularly nicknames and virtual names). Postcolonial studies, and post-communist studies, as a branch of this field of research, also play a role here. Finally, the reference to translation studies is made in order to be able to define trade names as cultural mediators in contemporary Romanian public space.

Scandinavia's most famous painter, the Norwegian Edvard Munch (1863-1944), is probably best known for his painting The Scream, a universally recognized icon of terror and despair. (A version was stolen from the Munch Museum in Oslo, Norway, in August 2004, and has not yet been recovered.) But Munch considered himself a writer as well as a painter. Munch began painting as a teenager and, in his young adulthood, studied and worked in Paris and Berlin, where he evolved a highly personal style in paintings and works on paper. And in diaries that he kept for decades, he also experimented with reminiscence, fiction, prose portraits, philosophical speculations, and surrealism. Known as an artist who captured both the ecstasies and the hellish depths of the human condition, Munch conveys these emotions in his diaries but also reveals other facets of his personality in remarks and stories that are alternately droll, compassionate, romantic, and cerebral. This English translation of Edvard Munch's private diaries, the most extensive edition to appear in any language, captures the eloquent lyricism of the original Norwegian text. The journal entries in this volume span the period from the 1880s, when Munch was in his twenties, until the 1930s, reflecting the changes in his life and his work. The book is illustrated with fifteen of Munch's drawings, many of them rarely seen before. While these diaries have been excerpted before, no translation has captured the real passion and poetry of Munch's voice. This is a translation that lets Munch speak for himself and evokes the primal passion of his diaries. J. Gill Holland's exceptional work adds a whole new level to our understanding of the artist and the depth of his scream.

Ayla, the heroine first introduced in The Clan of the Cave Bear, is known and loved by millions of readers. Now, in The Plains of Passage, Ayla’s story continues. Ayla and Jondalar set out on horseback across the windswept grasslands of Ice Age Europe. To the hunter-gatherers of their world--who have never seen tame animals--Ayla and Jondalar appear enigmatic and frightening. The mystery surrounding the woman, who speaks with a strange accent and talks to animals with their own sounds, is heightened by her uncanny control of a large, powerful wolf. The tall, yellow-haired man who rides by her side is also held in awe, not only for the magnificent stallion he commands, but also for his skill as a crafter of stone tools, and for the new weapon he devises, the spear-thrower. In the course of their cross-continental odyssey, Ayla and Jondalar encounter both savage enemies and brave friends. Together they learn that the vast and unknown world can be difficult and treacherous, but breathtakingly beautiful and enlightening as well. All the pain and pleasure bring them closer to their ultimate destination, for the orphaned Ayla and the wandering Jondalar must reach that place on earth they can call home. As sweeping and spectacular as the land she creates, Jean M. Auel’s The Plains of Passage is an astonishing novel of discovery, danger, and love, a triumph for one of the world’s most original and popular authors. This eBook includes the full text of the novel plus the following additional content: • An Earth’s Children® series sampler including free chapters from the other books in Jean M. Auel’s bestselling series • A Q&A with the author about the Earth’s Children® series

The Food and Nutrition Security Resilience Programme (FNS-REPRO) is the first programme of the Food and Agriculture Organization of the United Nations (FAO) in Eastern Africa specifically designed to foster peace and food security at scale. FNS-REPRO employs a livelihood and resilience-based approach in some of the least stable regions, where interventions are normally exclusively of a humanitarian nature. Its design allows FAO and partners to set good examples of how to build food system resilience in protracted crises and strengthen cooperation across the humanitarian-development-peace nexus towards this end. This report provides the results of analyses conducted during FNS-REPRO’s inception phase in Somaliland, with the aim to inform its area based interventions, thereby creating a common understanding of the context, and both the challenges and opportunities therein. The context analysis informs and co-creates design, approaches and operational responses, thereby also strengthening the FNS-REPRO learning agenda and evidence-based programming - focused on seed sector development. The publication provides a baseline for the four-year programme in Somaliland, together with the Resilience Baseline (RIMA) report.

The accompanying CD contains music excerpts which are listed in the book on pgs. xiii-xvii.

When did the intimate dialogue between Africa, Europe, and the Americas begin? Looking back, it seems as if these three continents have always been each other’s significant others. Europe created its own modern identity by using Africa as a mirror, but Africans traveled to Europe and America long before the European age of discovery, and African cultures can be said to lie at the root of European culture. This intertwining has become ever more visible: Nowadays Africa emerges as a highly visible presence in the Americas, and African American styles capture Europe’s youth, many of whom are of (North-) African descent. This entanglement, however, remains both productive and destructive. The continental economies are intertwined in ways disastrous for Africa, and African knowledge is all too often exported and translated for US and European scholarly aims, which increases the intercontinental knowledge gap.This volume proposes a fresh look at the vigorous and painful, but inescapable, relationships between these significant others. It does so as a gesture of gratitude and respect to one of the pioneering figures in this field. Dutch Africanist and literary scholar Mineke Schipper, who is taking her leave from her chair in Intercultural Literary Studies at the University of Leiden. Where have the past four decades of African studies brought us? What is the present-day state of this intercontinental dialogue?Sixteen of Mineke’s colleagues and friends in Europe, Africa and the Americas look back and assess the relations and debates between Africa-Europe-America: Ann Adams, Ernst van Alphen, Mieke Bal, Liesbeth Bekers, Wilfried van Damme, Ariel Dorfman, Peter Geschiere, Kathleen Gyssels, Isabel Hoving, Frans-Willem Korsten, Babacar M’Baye, Harry Olufunwa, Ankie Peypers, Steven Shankman, Miriam Tlali, and Chantal Zabus write about the place of Africa in today’s African Diaspora, about what sisterhood between African and European women really means, about the drawbacks of an overly strong focus on culture in debates about Africa, about Europe’s reluctance to see Africa as other than its mirror or its playing field, about the images of Africans in seventeenth-century Dutch writing, about genital excision, the flaunting of the African female body and the new self-writing, about new ways to look at classic African novels, and about the invigorating, disturbing, political art of intercultural reading.