Many of us don't know what a homonym is, yet we use them every day. The Wordsworth Dictionary of Homonyms, the first of its type published in Britain, will bring enlightenment. Do you get confused between 'to', 'too' and 'two'? Do you need to know the five definitions of 'fluke'? If so, then this is the book for you. A boon for crossword addicts, a treasure trove for punsters and an endless source of fascination for anyone interested in the English language.

Corridor offers a series of conceptually provocative readings that illuminate a hidden and surprising relationship between architectural space and modern American fiction. By paying close attention to fictional descriptions of some of modernity’s least remarkable structures, such as plumbing, ductwork, and airshafts, Kate Marshall discovers a rich network of connections between corridors and novels, one that also sheds new light on the nature of modern media. The corridor is the dominant organizational structure in modern architecture, yet its various functions are taken for granted, and it tends to disappear from view. But, as Marshall shows, even the most banal structures become strangely visible in the noisy communication systems of American fiction. By examining the link between modernist novels and corridors, Marshall demonstrates the ways architectural elements act as media. In a fresh look at the late naturalist fiction of the 1920s, ’30s, and ’40s, she leads the reader through the fetus-clogged sewers of Manhattan Transfer to the corpse-choked furnaces of Native Son and reveals how these invisible spaces have a fascinating history in organizing the structure of modern persons. Portraying media as not only objects but processes, Marshall develops a new idiom for Americanist literary criticism, one that explains how media studies can inform our understanding of modernist literature.

This book maps out the temporal and geographic coordinates of the trope of sensationalism in the long nineteenth century through a comparative approach. Not only juxtaposing different geographical areas (Europe, Asia and Oceania), this volume also disperses its history over a longue durée, allowing readers to perceive the hidden and often unacknowledged continuities throughout a period that is often reduced to the confines of the national disciplines of literature, art, and cultural studies. Providing a wide range of methodological approaches from the fields of literary studies, art history, sociology of literature, and visual culture, this collection offers indispensable examples of the relation between literature and several other media. Topics include the rhetorical tropes of popular culture, the material culture of clothing, the lived experience of performance as a sub-text of literature and painting, and the redefinition of spatiality and temporality in theory, art, and literature.

Homonyms, Homophones, and Homographs Homonym a word that is spelt like another word (or pronounced like it) but which has a different meaning, for example Key meaning 'set of answer to problems' and Key meaning 'button on computer keyboard'. The state of being a homonym is called homonymy. Very Important Note: In Strict Sense, Homonyms have same spelling, same pronunciation, and different meaning. HOMONYMS in Strict Sense: Same Spelling / Same Pronunciation / Different meaning Examples: fare, trunk, etc. Fare -- a passenger - Fare -- price Trunk -- a large strong box - Trunk -- main stem of a tree In Wider Sense, Homonyms can also include words that have same or similar pronunciation (but different spelling) Or same spelling (but different pronunciation.) In first situation, they are called 'HOMOPHONES' In second situation, they are called 'HOMOGRAPHS' HOMONYMS In Wider Sense: HOMOPHONES: Different Spelling / Same or Similar Pronunciation / Different meaning Examples: ad/add, know/now, to/too/two ad -- advertisement - add -- to include Note: 'Homophones' are also called 'Heterographs' HOMOGRAPHS: Same Spelling / Different Pronunciation / Different meaning Examples: abuse, bow, close, desert, entrance, fine, incense, lead, object bow -- (Pronunciation - bOU) -- a weapon used for shooting arrows bow -- (Pronunciation bAU) -- to move your head forwards and downwards Note: 'Homographs' are also called 'Heterophones'

The rich conceptual and experiential relays between music and philosophy—echoes of what Theodor W. Adorno once called Klangfiguren, or "sound figures"—resonate with heightened intensity during the period of modernity that extends from early German Idealism to the Critical Theory of the Frankfurt School. This volume traces the political, historical, and philosophical trajectories of a specifically German tradition in which thinkers take recourse to music, both as an aesthetic practice and as the object of their speculative work. The contributors examine the texts of such highly influential writers and thinkers as Schelling, Schopenhauer, Nietzsche, Bloch, Mann, Adorno, and Lukács in relation to individual composers including Beethoven, Wagner, Schönberg, and Eisler. Their explorations of the complexities that arise in conceptualizing music as a mode of representation and philosophy as a mode of aesthetic practice thematize the ways in which the fields of music and philosophy are altered when either attempts to express itself in terms defined by the other. Contributors: Albrecht Betz, Lydia Goehr, Beatrice Hanssen, Jost Hermand, David Farrell Krell, Ludger Lütkehaus, Margaret Moore, Rebekah Pryor Paré, Gerhard Richter, Hans Rudolf Vaget, Samuel Weber

First published in 1988, this book attempts to tackle the problem of how to write about art, culture, and the issues of postmodernism in a style appropriate to what is being claimed. The letters are written on art’s behalf to a range of institutions and individuals, and have as their recurring concern the relation between art, culture and representation — both art as representation and how art is represented to, and for, the surrounding culture. They explore the context and viability of art through a range of themes, including writing, the aestheticisation of everyday life, style, design pleasure, fragmentation, hyphenation, technology, and the museum — drawing on materials from the visual arts, music, literature, post-structuralism, contemporary criticism, philosophy, and sociology.

This book brings together current critical research into medical pluralism during the last two centuries. It includes a rich selection of historical, anthropological and sociological case studies.

Covers a range of literary and linguistic subjects from pre-Islamic times to the twentieth century.

The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this intervention, Fredric Jameson-perhaps the most influential and persuasive theorist of postmodernity-excavates and explores these notions in a fresh and illuminating manner.The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive 'modernity' as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well. In this major interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms-which can probably not be banished at this late date-helps us clarify our present political and artistic situations.