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Whether it’s leaves on the line or the wrong kind of snow, whether the extortionately priced, curled-up sandwich on sale in the buffet car, or the militancy of the rail unions that seem to be endlessly on strike over nothing, everyone in Britain has an opinion about our railways. After the weather, they are probably the country’s most reliable talking point. With Telegraph readers being the trenchant, choleric and waggish letter-writers that they are, our railways have always figured high on the list of subjects requiring a missive to the Editor. Now, in this fascinating and hilarious selection, Gavin Fuller has put together the best letters on trains to the paper over the years. Here is the end of Steam and the start of Eurostar; the punctuality of Swiss trains and the signal failures of ours; the laments for the branch lines lost under the Beeching cuts, and also for the much-missed peace and quiet of a railway carriage, replaced by the menace of personal stereos and fellow passengers booming, ‘I’m On The Train!’ into their mobile phones.
In every walk of life, from relationships, to work, to politics, sport and the news, our everyday use of English harbours duplicities of meaning. We say 'I'm sorry' when we mean 'absolute nonsense', and write 'Yours faithfully' when we're thinking 'Sod you!' Jealousy, rage, love, affection – we're equally good at disguising them all. Leaves on the Line compiles this secret language – this 'double English' – in a hilarious and forthright volume exposing the doublespeak of the British language. For the first time, everyday terms which we casually deploy to loved ones and total strangers, and have been thrown at us from the radio or TV will be 'glossed' (yes, we really mean 'stripped') to reveal the unadorned, raw truth below. The book will be over 200 hilarious phrases of common doublespeak and will be essential reading for everyone from puzzled foreigners to young people to whom the dark art of linguistic dissembling are not yet second nature. The book includes phrases and the truths behind them, such as: Transport: 'This service is delayed because of leaves on the track...' Social: 'I'm not being racist but...' Weather: 'Nice weather we're having...' Sport: 'We're taking each game as it comes...' Relationships: 'I've never met anyone like you before...' Polititcs: 'Spending on health has increased in real terms, year on year, since we were elected...'
This book provides an in-depth exploration of trains and train travel. Letherby and Reynolds have conducted extensive research with all those concerned with trains, from leisure travelers and enthusiasts to railway workers and commuters. Overturning conventional wisdom, they show that the train has a social life in and of itself and is not simply a way to get from A to B.The book also looks at the depiction of train travel through cultural media, such as music, films, books and art. The authors consider the personal politics of train travel and political discussion surrounding the railways, as well as the relationship trains have to leisure and work. The media often paints a gloomy picture of the railways and there is a general view that the romance of train travel ended with the steam locomotive. Letherby and Reynolds show that this is far from the case.
This unique intermediate/advanced statistics text uses real research on antisocial behaviors, such as cyberbullying, stereotyping, prejudice, and discrimination, to help readers across the social and behavioral sciences understand the underlying theory behind statistical methods. By presenting examples and principles of statistics within the context of these timely issues, the text shows how the results of analyses can be used to answer research questions. New techniques for data analysis and a wide range of topics are covered, including how to deal with "messy data" and the importance of engaging in exploratory data analysis.
The ability to analyze and interpret enormous amounts of data has become a prerequisite for success in allied healthcare and the health sciences. Now in its 11th edition, Biostatistics: A Foundation for Analysis in the Health Sciences continues to offer in-depth guidance toward biostatistical concepts, techniques, and practical applications in the modern healthcare setting. Comprehensive in scope yet detailed in coverage, this text helps students understand—and appropriately use—probability distributions, sampling distributions, estimation, hypothesis testing, variance analysis, regression, correlation analysis, and other statistical tools fundamental to the science and practice of medicine. Clearly-defined pedagogical tools help students stay up-to-date on new material, and an emphasis on statistical software allows faster, more accurate calculation while putting the focus on the underlying concepts rather than the math. Students develop highly relevant skills in inferential and differential statistical techniques, equipping them with the ability to organize, summarize, and interpret large bodies of data. Suitable for both graduate and advanced undergraduate coursework, this text retains the rigor required for use as a professional reference.
Indigenous Cultural Translation is about the process that made it possible to film the 2011 Taiwanese blockbuster Seediq Bale in Seediq, an endangered indigenous language. Seediq Bale celebrates the headhunters who rebelled against or collaborated with the Japanese colonizers at or around a hill station called Musha starting on October 27, 1930, while this book celebrates the grandchildren of headhunters, rebels, and collaborators who translated the Mandarin-language screenplay into Seediq in central Taiwan nearly eighty years later. As a "thick description" of Seediq Bale, this book describes the translation process in detail, showing how the screenwriter included Mandarin translations of Seediq texts recorded during the Japanese era in his screenplay, and then how the Seediq translators backtranslated these texts into Seediq, changing them significantly. It argues that the translators made significant changes to these texts according to the consensus about traditional Seediq culture they have been building in modern Taiwan, and that this same consensus informs the interpretation of the Musha Incident and of Seediq culture that they articulated in their Mandarin-Seediq translation of the screenplay as a whole. The argument more generally is that in building cultural consensus, indigenous peoples like the Seediq are "translating" their traditions into alternative modernities in settler states around the world.
Abraham Lincoln read it with approval, but Emily Dickinson described its bold language and themes as 'disgraceful.' And Ralph Waldo Emerson found Leaves of Grass 'the most extraordinary piece of wit and wisdom that America has yet contributed,' calling it a 'combination of the Bhagavad Gita and the New York Herald.' Published at the author's own expense on July 4, 1855, Leaves of Grass initially consisted of a preface, twelve untitled poems in free verse (including the work later titled 'Song of Myself' which Malcolm Cowley called 'one of the great poems of modern times'), and a now-famous portrait of a devil-may-care Walt Whitman in a workman's shirt. Over the next four decades, Whitman continually expanded and revised the book as he took on the role of a workingman's bard who championed American nationalism, political democracy, contemporary progress, and unashamed sex. This volume, which contains 383 poems, is the final 'Deathbed Edition' published in 1892.
The clerk was a newcomer in El Paso, hardly yet wonted to the freakish humor and high spirits that there flourish unrebuked—and indeed, unnoticed. But he entered into the spirit of the occasion. “Is there anything I can do?” he inquired. “I am Mr. Hibler’s chief—and only—clerk.” “No-o,” said the visitor doubtfully, letting his eyes wander from his thumbs to the view of white-walled Juarez beyond the river. “No-o—That is, not unless you can sell me his Rainbow ranch and brand for less than they’re worth. Such is my errand—on behalf of Pringle, Beebe, Ballinger and Bransford. I’m Bransford—me.” “Jeff Bransford? Mr. Hibler’s foreman?” asked the young man eagerly. “Mr. Jeff Bransford—foreman for Hibler—not of,” amended Bransford gently. His thumbs were still upreared. Becoming suddenly aware of this, he fixed them with a startled gaze. “Say! Take supper with me!” The young man blurted out the words. “Mr. Hibler’s always talking about you and I want to get acquainted with you. Aughinbaugh’s my name.” Bransford sat down heavily, thumbs still erect, elbows well out from his side, and transferred his gaze, with marked respect, to the clerk’s boyish face, now very rosy indeed. Jeff’s eyes grew big and round; his lips were slightly parted; the thumbs drooped, the fingers spread wide apart in mutual dismay. Holding Aughinbaugh’s eyes with his own, he pressed one outspread hand over his heart. Slowly, cautiously, the other hand fumbled in a vest pocket, produced notebook and pencil, spread the book stealthily on his knee and began to write. “‘A good name,’” he murmured, “‘is rather to be chosen than great riches.’” But the owner of the good name was a lad of spirit, and had no mind to submit tamely to such hazing. “See here! What does a cowboy know about the Bible, anyway?” he demanded, glaring indignantly. “I believe you’re a sheep in wolves’ clothing! You don’t talk like a cowboy—or look like a cowboy.” Jeff glanced down at his writing, and back to his questioner. Then he made an alteration, closed the book and looked up again. He had a merry eye. “Exactly how does a cowboy look? And how does it talk?” he asked mildly. He glanced with much interest over as much of his own person as he could see; turning and twisting to aid the process. “I don’t see anything wrong. Is my hair on straight?” “Wrong!” echoed Aughinbaugh severely, shaking an accusing finger. “Why, you’re all wrong. What the public expects——” Mr. Bransford’s interruption may be omitted. It was profane. Also, it was plagiarized from Commodore Vanderbilt. “You a cowboy! Yah!” said Aughinbaugh in vigorous scorn. “With a silk necktie! Everybody knows that the typical cowboy wears a red cotton handkerchief.”