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What does it mean to talk like an American? According to John Russell Bartlett's 1848 Dictionary of Americanisms, it means indulging in outlandish slang—splendiferous, scrumptious, higgeldy piggedly—and free-and-easy word creation—demoralize, lengthy, gerrymander. American English is more than just vocabulary, though. It's a picturesque way of talking that includes expressions like go the whole hog, and the wild boasts of frontiersman Davy Crockett, who claimed to be "half horse, half alligator, and a touch of the airthquake." Splendiferous Speech explores the main sources of the American vernacular—the expanding western frontier, the bumptious world of politics, and the sensation-filled pages of popular nineteenth-century newspapers. It's a process that started with the earliest English colonists (first word adoption—the Algonquian raccoon) and is still going strong today. Author Rosemarie Ostler takes readers along on the journey as Americans learn to declare linguistic independence and embrace their own brand of speech. For anyone who wonders how we got from the English of King James to the slang of the Internet, it's an exhilarating ride.
‘The bookiest book about books you’ll ever read – I loved it’ Lucy Mangan ‘Truly delightful...I couldn’t have had more fun’ Benjamin Dreyer ‘Very funny, erudite and profound. A delight!’ Nina Stibbe This is the outside story of books. From blurbs to titles, quotes to (checks jacket) cute animal designs – via author feuds, writing tricks, classic literature, bonkbusters, plot spoilers and publishing secrets – discover why it’s good to judge a book by its cover. Maybe even this one…
“With their intellectual brilliance, humor and wonderful eye for detail, Leonard Bernstein’s letters blow all biographies out of the water.”—The Economist (2013 Book of the Year) Leonard Bernstein was a charismatic and versatile musician—a brilliant conductor who attained international superstar status, and a gifted composer of Broadway musicals (West Side Story), symphonies (Age of Anxiety), choral works (Chichester Psalms), film scores (On the Waterfront), and much more. Bernstein was also an enthusiastic letter writer, and this book is the first to present a wide-ranging selection of his correspondence. The letters have been selected for the insights they offer into the passions of his life—musical and personal—and the extravagant scope of his musical and extra-musical activities. Bernstein’s letters tell much about this complex man, his collaborators, his mentors, and others close to him. His galaxy of correspondents encompassed, among others, Aaron Copland, Stephen Sondheim, Jerome Robbins, Thornton Wilder, Boris Pasternak, Bette Davis, Adolph Green, Jacqueline Kennedy Onassis, and family members including his wife Felicia and his sister Shirley. The majority of these letters have never been published before. They have been carefully chosen to demonstrate the breadth of Bernstein’s musical interests, his constant struggle to find the time to compose, his turbulent and complex sexuality, his political activities, and his endless capacity for hard work. Beyond all this, these writings provide a glimpse of the man behind the legends: his humanity, warmth, volatility, intellectual brilliance, wonderful eye for descriptive detail, and humor. “The correspondence from and to the remarkable conductor is full of pleasure and insights.”—The New York Times Book Review (Editors’ Choice) “Exhaustive, thrilling [and] indispensable.”—USA Today (starred review)
The American Language, first published in 1919, is H. L. Mencken's book about the English language as spoken in the United States. Mencken was inspired by "the argot of the colored waiters" in Washington, as well as one of his favorite authors, Mark Twain, and his experiences on the streets of Baltimore. In 1902, Mencken remarked on the "queer words which go into the making of 'United States.'" The book was preceded by several columns in The Evening Sun. Mencken eventually asked "Why doesn't some painstaking pundit attempt a grammar of the American language... English, that is, as spoken by the great masses of the plain people of this fair land?" It would appear that he answered his own question. In the tradition of Noah Webster, who wrote the first American dictionary, Mencken wanted to defend "Americanisms" against a steady stream of English critics, who usually isolated Americanisms as borderline barbarous perversions of the mother tongue. Mencken assaulted the prescriptive grammar of these critics and American "schoolmarms", arguing, like Samuel Johnson in the preface to his dictionary, that language evolves independently of textbooks. The book discusses the beginnings of "American" variations from "English", the spread of these variations, American names and slang over the course of its 374 pages. According to Mencken, American English was more colorful, vivid, and creative than its British counterpart.
Perhaps the first truly important book about the divergence of American English from its British roots, this survey of the language as it was spoken-and as it was changing-at the beginning of the 20th century comes via one of its most inveterate watchers, journalist, critic, and editor HENRY LOUIS MENCKEN (1880-1956).In this replica of the 1921 "revised and enlarged" second edition, Mencken turns his keen ear on: • the general character of American English • loan-words and non-English influences • expletives and forbidden words • American slang • the future of the language • and much, much more. Anyone fascinated by words will find this a thoroughly enthralling look at the most changeable language on the face of the planet.
A history of the English language traces its evolution from a Germanic dialect around 500 A.D. to its modern form, noting the influence of such groups and individuals as early Anglo-Saxon tribes, Alfred the Great, and William Shakespeare.
Language is one of our most precious and uniquely human capacities, so it is not surprising that research on its neural substrates has been advancing quite rapidly in recent years. Until now, however, there has not been a single introductory textbook that focuses specifically on this topic. Cognitive Neuroscience of Language fills that gap by providing an up-to-date, wide-ranging, and pedagogically practical survey of the most important developments in the field. It guides students through all of the major areas of investigation, beginning with fundamental aspects of brain structure and function, and then proceeding to cover aphasia syndromes, the perception and production of speech, the processing of language in written and signed modalities, the meanings of words, and the formulation and comprehension of complex expressions, including grammatically inflected words, complete sentences, and entire stories. Drawing heavily on prominent theoretical models, the core chapters illustrate how such frameworks are supported, and sometimes challenged, by experiments employing diverse brain mapping techniques. Although much of the content is inherently challenging and intended primarily for graduate or upper-level undergraduate students, it requires no previous knowledge of either neuroscience or linguistics, defining technical terms and explaining important principles from both disciplines along the way.