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Pronunciation governs our regional and social identity more powerfully than any other aspect of spoken language. No wonder, then, that it has attracted most attention from satirists. In this intriguing book, David Crystal shows how our feelings about pronunciation today have their origins in the way our Victorian predecessors thought about the subject, as revealed in the pages of the satirical magazine, Punch. In the sixty years between its first issue in 1841 and the death of Queen Victoria in 1901, jokes about the fashions affecting English usage provide one of Punch's most fruitful veins of humour, from the dropped aitches of the Cockney accent to the upper-class habit of dropping the final `g' (huntin' and fishin'). For 'We Are Not Amused', David Crystal has examined all the issues during the reign of Queen Victoria and brought together the cartoons and articles that poked fun at the subject of pronunciation, adding a commentary on the context of the times, explaining why people felt so strongly about accents, and identifying which accents were the main source of jokes. The collection brings to light a society where class distinction ruled, and where the way you pronounced a word was seen as a sometimes damning index of who you were and how you should be treated. It is a fascinating, provocative and highly entertaining insight into our on-going amusement at the subject of how we speak

"The vocabulary of past times, no longer used in English, is always fascinating, especially when we see how it was pilloried by the satirists of the day. Here we have Victorian high and low society, with its fashionable and unfashionable slang, its class awareness and the jargon of steam engines, motor cars and other products of the Industrial Revolution. Then as now, people had strong feelings about the flood of new words entering English. Swearing, new street names and the many borrowings from French provoked continual irritation and mockery, as did the Americanisms increasingly encountered in the British press. In this intriguing collection, David Crystal has pored through the pages of the satirical magazine, 'Punch', between its first issue in 1841 and the death of Queen Victoria in 1901, and extracted the articles and cartoons that poked fun at the jargon of the day, adding a commentary on the context of the times and informative glossaries. In doing so he reveals how many present-day feelings about words have their origins over a century ago"--Publisher's description.

Margaretha van Hulsteyn (also known as Scrappy) is the daughter of respected South African attorney Sir Willem van Hulsteyn, and an aspiring actress. While studying in London after the Great War, Scrappy changes her name to Marda Vanne and enters into a relationship with one of the foremost actresses of her day, Gwen Ffrangcon-Davies. However, on a visit to her parents in the Union of South Africa, Marda meets Hans Strydom, an attorney and uncompromising radical politician with the soubriquet 'The Lion of the North'. Their meeting changes the course of her life, at least temporarily... Strydom went on to become a principal progenitor of the harshest discriminatory legislation, Apartheid, which endured for decades until his nephew, President FW de Klerk, in a volte-face , dismantled the laws of Apartheid.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Focusing on an epoch of spectacular demographic, political, economic, and cultural changes for European Jewry, Cultural Intermediaries chronicles the lives and thinking of ten Jewish intellectuals of the Renaissance, nine of them from Italy and one a Portuguese exile who settled in the Ottoman empire after a long sojourn in Italy. David B. Ruderman, Giuseppe Veltri, and the other contributors to this volume detail how, in the relative openness of cultural exchange encountered in such intellectual centers as Florence, Mantua, Pisa, Naples, Ferrara, and Salonika, these Jewish savants sought to enlarge their cultural horizons, to correlate the teachings of their own tradition with those outside it, and to rethink the meaning of their religious and ethnic identities within the intellectual and religious categories common to European civilization as a whole. The engaging intellectual profiles created especially for this volume by scholars from Israel, North America, and Europe represent an important rereading and reinterpretation of early modern Jewish culture and society and its broader European intellectual contexts.

What kind of a God singles out a particular people for special favours and punishments? What does being chosen by God mean to both parties? What are the opportunities and temptations of such a relationship? Writing from a secular point of view, Jacobson offers a profound and serious meditation that sheds a new light on biblical scholarship and orthodox theology. On first publication, The Story of the Stories was at once perceived to be a seminal work.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Set in Quebec at the turn of the 19th to 20th century, the story of Agnes White, a lonely orphaned girl fascinated by the "wrong" things--microscopes, dissections, and anatomy instead of more ladylike interests--who rises to the status of one of the world's most celebrated pioneering women doctors. Not only does she break through patriarchal academic barriers; she masters the science of the human heart, becoming a scholar of international fame, all in a place and time inimical to intelligent women. Inspired by the career of Maude Abbott, one of Canada's first female physicians.

In the seventh book in The Performers saga, it is 1873 and impoverished Sophie Lackland must marry if she is to escape a lifeof genteel poverty. Then comes a letter telling of the death of her step-grandmamma, and of a strange bequest which could make it possible for Sophie to fulfil her ambition to qualify as a physician. So Sophie sets off for London, to a new life, new career and Gilbert Stacey, who offers her charm, tenderness and excitement.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.