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Why are second language learners in Japan's universities so silent? This book investigates the perplexing but intriguing phenomenon of classroom silence and draws on ideas from psychology, sociolinguistics and anthropology to offer a unique insight into the reasons why some learners are either unable or unwilling to speak in a foreign language.
The story of one ... little boy trapped in silence.
In our talkative Western culture, speech is synonymous with authority and influence while silence is frequently misheard as passive agreement when it often signifies much more. In her groundbreaking exploration of silence as a significant rhetorical art, Cheryl Glenn articulates the ways in which tactical silence can be as expressive and strategic an instrument of human communication as speech itself. Drawing from linguistics, phenomenology, feminist studies, anthropology, ethnic studies, and literary analysis, Unspoken: A Rhetoric of Silence theorizes both a cartography and grammar of silence. By mapping the range of spaces silence inhabits, Glenn offers a new interpretation of its complex variations and uses. Glenn contextualizes the rhetoric of silence by focusing on selected contemporary examples. Listening to silence and voice as gendered positions, she analyzes the highly politicized silences and words of a procession of figures she refers to as "all the President's women," including Anita Hill, Lani Guiner, Gennifer Flowers, and Chelsea Clinton. She also turns an investigative ear to the cultural taciturnity attributed to various Native American groups--Navajo, Apache, Hopi, and Pueblo--and its true meaning. Through these examples, Glenn reinforces the rhetorical contributions of the unspoken, codifying silence as a rhetorical device with the potential to deploy, defer, and defeat power. Unspoken concludes by suggesting opportunities for further research into silence and silencing, including music, religion, deaf communities, cross-cultural communication, and the circulation of silence as a creative resource within the college classroom and for college writers.
Musings on joy and suffering, midlife and meaning, by a National Book Award–nominated poet and essayist praised for his “fine ear” (Publishers Weekly). Midway through the journey of his life, Dan Beachy-Quick found himself without a path, unsure how to live well. Of Silence and Song follows him on his resulting classical search for meaning in the world and in his particular, quiet life. In essays, fragments, marginalia, images, travel writing, and poetry, Beachy-Quick traces his relationships and identities. As father and husband. As teacher and student. As citizen and scholar. And as poet and reader, wondering at the potential and limits of literature. Of Silence and Song finds its inferno—and its paradise—in moments both historically vast and nakedly intimate. Hell: disappearing bees, James Eagan Holmes, Columbine, and the persistent, unforgivable crime of slavery. And redemption: in the art of Marcel Duchamp, the pressed flowers in Emily Dickinson’s Bible, and long walks with his youngest daughter. Curious, earnest, and masterful, Of Silence and Song is an unforgettable exploration of the human soul. Praise for the writing of Dan Beachy-Quick: “Intelligent, compassionate, exquisite . . . a unique voice.” —Cole Swensen “Rich, profound, fascinating.” —Los Angeles Times
For eleven years, Oakley Farrell has been silent. At the age of five, she stopped talking, and no one seems to know why. Refusing to communicate beyond a few physical actions, Oakley remains in her own little world. Bullied at school, she has just one friend, Cole Benson. Cole stands by her, refusing to believe that she is not perfect the way she is. Over the years, they have developed their own version of a normal friendship. However, will it still work as they start to grow even closer? When Oakley is forced to face someone from her past, can she hold her secret in any longer?
With examples from a variety of contexts, this book provides a linguistic analysis of the role of silence in language.
Izydora Dąmbska (1904-1982) was a Polish philosopher; a student of Kazimierz Twardowski, and his last assistant. Her output consists of almost 300 publications. The main domains of her research were semiotics, epistemology and broadly understood methodology as well as axiology and history of philosophy. Dąmbska’s approach to philosophical problems reflected tendencies that were characteristic of the Lvov-Warsaw School. She applied high methodological standards but has never limited the domain of analyzed problems in advance. The present volume includes twenty-eight translations of her representative papers. As one of her pupils rightly wrote: “Dąmbska’s works may help everyone [...] to think clearly. Her attitude of an unshaken philosopher may help anyone to hold oneself straight, and, if necessary, to get up after a fall”.
With The Book of Intimate Grammar, leading Israeli novelist David Grossman gives us the story of the greatest and most universal tragedy, the loss of the world of childhood. At twelve, Aron Kleinfeld is the ringleader among the boys in his Jerusalem neighborhood, their inspiration in dreaming up games and adventures. But as his friends begin to mature, Aron remains imprisoned for three long years in the body of a child. While Israel inches toward the Six-Day War, and the voices of his friends change and become strange to him, Aron lives in his child body as though in a nightmare. Like a spy in enemy territory, he learns to decipher the internal codes of sexuality and desire, to understand the unyielding bureaucracy of the human body. Hurled between childhood and adulthood, between the pure and the profane, he is like a volcano of emotions and impulses. But, like his hero Houdini, Aron still struggles to escape from the trap of growing up. The Book of Intimate Grammar is about the alchemy of childhood, which transforms loneliness and fear into creation, and about the struggle to emerge an artist. Funny, painful, and passionate, it is a work of enormous intensity and beauty.
Women in ancient Rome challenge the historian. Widely represented in literature and art, they rarely speak for themselves. Amy Richlin, among the foremost pioneers in ancient studies, gives voice to these women through scholarship that scours sources from high art to gutter invective. In Arguments with Silence, Richlin presents a linked selection of her essays on Roman women’s history, originally published between 1981 and 2001 as the field of “women in antiquity” took shape, and here substantially rewritten and updated. The new introduction to the volume lays out the historical methodologies these essays developed, places this process in its own historical setting, and reviews work on Roman women since 2001, along with persistent silences. Individual chapter introductions locate each piece in the social context of Second Wave feminism in Classics and the academy, explaining why each mattered as an intervention then and still does now. Inhabiting these pages are the women whose lives were shaped by great art, dirty jokes, slavery, and the definition of adultery as a wife’s crime; Julia, Augustus’ daughter, who died, as her daughter would, exiled to a desert island; women wearing makeup, safeguarding babies with amulets, practicing their religion at home and in public ceremonies; the satirist Sulpicia, flaunting her sexuality; and the praefica, leading the lament for the dead. Amy Richlin is one of a small handful of modern thinkers in a position to consider these questions, and this guided journey with her brings surprise, delight, and entertainment, as well as a fresh look at important questions.