'Passe-Partout', a three stage French course with an accessible step-by-step methodology, provides a supportive and motivating approach, enabling all of your students to succeed. It has been specifically written to the requirements of the revised National Curriculum and GCSE as well as the 5-14 Guidelines and Standard grade.

Passe-Partout is a three stage French course with an accessible step-by-step methodology which provides a supportive and motivating approach, enabling all of your students to succeed. It has been specifically written to the requirements of the revised National Curriculum and GCSE as well as the 5-14 Guidelines and Standard grade.

Mouton proudly presents this collection of articles considered to be representative of author achievements over the past quarter-century of its publishing history. A selection, of course, can do little more than make the readers wish for more; it is hoped that these volumes will do just that. The book contains essays on Phonology, Morphology, Formal Syntax, Functional Linguistics, Historical Linguistics, Language and Cognition, Language Acquisition, Discourse and Text, Sociology of Language, Semiotics.

In Jacques Derrida: Opening Lines, Marian Hobson gives us a thorough and elegant analysis of this controversial and seminal contemporary thinker. Looking closely at the language and the construction of some of Derrida's philosophy, Hobson suggests the way he writes, indeed the fact he writes in another language, affects how he can be understood by English speakers. This superb study on the question of language will make illuminating reading for anyone studying or engaged with Derrida's philosophy.

The point of departure of Heide Gerstenberger’s path-breaking work is a critique of structural-functionalist theory of the state, in both its modernisation theory and materialist variants. Prof. Gerstenberger opposes to these a historical-theoretical explanation that proceeds from the long-term structuring effect of concrete social practice. This is elucidated by detailed investigation of the development of bourgeois state power in the two key examples of England and France. The different complexions that the bourgeois state assumed are presented as the results of processes of social and cultural formation, and thus irreducible to a simple function of capitalism. This approach culminates in the thesis that the bourgeois form of capitalist state power arose only where capitalist societies developed out of already rationalised structures of the Ancien Régime type.

An introduction to the study of style in language, offering practical advice on how to stylistically analyse texts.

Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions. British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.

First published in 1982, this collection of essays is a reproach to a form of the sociology of religion that treats people as the passive objects of impersonal social influences. In opposition to this, the author seeks to assert an active voice style of thinking about the relations between individuals and their cultural environment, whether in economics, history or literary criticism. This collection is assembled with the guiding principle that all the essays touch upon the borderland between economic values and personal judgements of quality. Several essays illustrate the theme from the place of economics in anthropology and the place of economic behaviour in sociological and cultural criticism. The essay on 'Cultural bias' suggests a systematic method of analysis for investigating social influences on judgement and choice.