"With a language disappearing every two weeks and neologisms springing up almost daily, understanding the origins and currency of language has never seemed more relevant. In this charming volume, expert linguist David Crystal proves why the story of language deserves retelling. From an infant's first words to the peculiar dialect of text messaging, A Little Book of Language ranges widely, revealing language's myriad intricacies and quirks. Crystal delves into the development of unique linguistic styles, the origins of obscure accents and the search for the first written word. He discusses the plight of endangered languages, as well as successful cases of linguistic revitalisation. Much more than a history, this book also turns to the future of language, exploring the effect of technology on our day-to-day reading, writing and speech. Through enlightening diagrams and quizzes, as well as Crystal's avuncular and entertaining style, A Little Book of Language reveals the story of language to be a captivating tale for all ages"--Inside front flap.

Early in this century, Futurist and Dada artists developed brilliantly innovative uses of typography that blurred the boundaries between visual art and literature. In The Visible Word, Johanna Drucker shows how later art criticism has distorted our understanding of such works. She argues that Futurist, Dadaist, and Cubist artists emphasized materiality as the heart of their experimental approach to both visual and poetic forms of representation; by mid-century, however, the tenets of New Criticism and High Modernism had polarized the visual and the literary. Drucker suggests a methodology closer to the actual practices of the early avant-garde artists, based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Few studies of avant-garde art and literature in the early twentieth century have acknowledged the degree to which typographic activity furthered debates about the very nature and function of the avant-garde. The Visible Word enriches our understanding of the processes of change in artistic production and reception in the twentieth century.