The aim of this book is to provide a succinct, accessible and comprehensive guide to linguistic concepts and names. 'Linguistic' here does not mean the technical terminology of linguistic sciences, but language in a more everyday sense. Terms are drawn from the various applied areas of language study, such as language teaching, speech pathology, stylistics, typography, and lexicography, as well as from core topics such as grammar, figures of speech, and basic phonetics. The dictionary sets out to answer questions people are likely to ask about language, such as 'Which language(s) do they speak in such-a-country' (all the countries of the world are included), and 'How many people speak X?' (several hundred languages are included). There are entries on 'knowledge about language', and 'LINC', and the ongoing developments in corpus compilation (COBUILD, British National Corpus). A great deal of background is given to the language profiles (e.g. early literary history). Pronunciations of language names (and of several other terms) are given. A small number of entries deal with linguistics, in particular the main schools of thought and basic concepts (e. g. competence, morphology). Abbreviations are included. In all, there are almost 2750 entries and there are c. 5000 cross-references, to give readers a wide range of access points to the information. Carefully chosen illustrations show things that cannot easily be expressed in text, such as alphabets. A selection of cartoons reinforces the author's conviction that language study can be fun.

"Nobody at the Globe much likes the word 'authentic'. It is a difficult adjective to justify, given that so little is known about theatrical practice in Shakespeare's time, and the modern environment inevitably makes its presence felt, as does the modern weather. Performances take place for only half the year, between May and September. Evening performances are routine, whereas they were afternoons-only, at the original Globe. The theatre itself can be no more than a 'best guess' as to how things were. And the same sense of limitation pervades all aspects of the productions - casting, clothing, properties, design, music, movement ... Every attempt at an 'original practice' is an experiment, whether it be the casting of men in women's roles, the design and making of contemporary costume, or the performance of songs and instrumental music. The Globe has nonetheless carved out for itself an enviable reputation in each of these areas"-- Provided by publisher.