The Journal of Language Relationship is an international periodical publication devoted to the issues of comparative linguistics and the history of the human language. The Journal contains articles written in English and Russian, as well as scientific reviews, discussions and reports from international linguistic conferences and seminars.

This book interprets rhetorical style within a theoretical frame, and it aims to give a more unifying account than has been given in most publications on style. The aim is to establish the concept of rhetorical style that will not only achieve a greater conceptual consensus, but also help make it both powerful and useful in line with other concepts in the practical and critical disciplines of rhetoric. The examination of rhetorical style is aimed at conceptual development based on theoretical reflection and rhetorical analysis. The goal is to achieve a clearer understanding of some of the ways in which rhetorical style supplies the conceptual frameworks for reflecting, perceiving, arguing, and gaining influence in practical life.

Latin American comics and graphic novels have a unique history of addressing controversial political, cultural, and social issues. This volume presents new perspectives on how comics on and from Latin America both view and express memory formation on major historical events and processes. The contributors, from a variety of disciplines including literary theory, cultural studies, and history, explore topics including national identity construction, narratives of resistance to colonialism and imperialism, the construction of revolutionary traditions, and the legacies of authoritarianism and political violence. The chapters offer a background history of comics and graphic novels in the region, and survey a range of countries and artists such as Joaquín Salvador Lavado (a.k.a Quino), Héctor G. Oesterheld, and Juan Acevedo. They also highlight the unique ability of this art and literary form to succinctly render memory. In sum, this volume offers in-depth analysis of an understudied, yet key literary genre in Latin American memory studies and documents the essential role of comics during the transition from dictatorship to democracy.

In the last 20 years or so, the 1994 genocide in Rwanda has inspired a number of creative writers who were eager to represent that genocide itself, its aftermath and, in some cases, the situation that they perceived as paving the way for it decades before it occurred. Unlike other parts of Africa, where the novel already had a deeply rooted tradition, the Rwandan novel is a recent phenomenon that dates back to the late 1990s. In this book, the author focuses on 10 Rwandan-authored novels of genocide, which he considers to be excellent memory texts that reveal a lot about memory processes in post-genocide Rwanda. The author argues that the freedom the novelists enjoy to create their own Rwanda enable them to explore the most controversial aspects of the relationships amongst the Hutu and the Tutsi, the main ethnic groups in Rwanda. Unlike non-fiction writers who are restricted by their discipline-specific constraints and ethical considerations, novelists use their invented Rwanda to expose ethnicity-related issues in a less formal, and often provocative, way. In so doing, however, they seem to exacerbate tensions, by for instance stereotyping the ethnic Other, by providing the ethnic Other with certain attributes and memory-loaded names, and by embracing certain ideological truths. As a follow up to Complexities and Dangers of Remembering and Forgetting in Rwanda [Volume 1 of the Memory Traps series, 2013], Novels of Genocide invites scholars, researchers, students and all those interested in collective memory, genocide studies, fiction, and propaganda studies, to go beyond the traditional fiction-versus-reality dichotomy, and to look at post-genocide Rwanda through the lenses of fiction. The author engages six Tutsi-authored novels and four Hutu-authored counterparts and contends that what happens in fictional Rwanda is so close to, and highly instructive about, what happens in real Rwanda.

Gina Athena Ulysse’s Because When God Is Too Busy: Haïti, me, & THE WORLD is a lyrically vivid meditative journey that is unapologetic in its determination to name, embrace and reclaim a revolutionary Blackness that has been historically stigmatized and denied. Crafting experiments with “ethnographic collectibles” of word, performative sounds, and imagery to blur genres and the lines between the geopolitical and the personal, this collection is a testament to postcolonial inheritances. Ulysse’s work remixes samples from a range of references as it beckons readers to bear witness to a coming of age as she shifts between time and place and plays with languages to stretch the margins of aesthetics in the academic. These poems, performance texts, and photographs gather fractured memories—longings laced with Vodou chants confronting a past that looms too largely in the present. Because When God Is Too Busy searches for humility while honoring sacred and ancestral imperatives to recognize and salute power beyond Western attachments to reason.

These articles on Aramaic, Hebrew, and Greek lexicography have arisen from papers presented at the International Syriac Language Project's 14th International Conference in St. Petersburg in 2014.

The volume is devoted to images in painting, photography and cinema invented by literature. At the same time it intends to question, through this perspective, the relationship between text and image, between verbal and visual in modern and contemporary literature. The authors involved study the mutual boundaries between literature and arts from the point of view of aesthetics, visual culture and literary theory, trying to build a map of the notional ekphrasis, a description which constitutes the work of art while telling it.

How is one to learn in a time of globalization? And in particular: how is one to learn if the research “object” is a non-European culture, such as that of Japan? What are the methodologies appropriate for working in the field of “Nippon/Japan” in a bi-directional approach from West to East and from East to West? Based on an interdisciplinary and intercultural orientation, specialists from Europe and Japan analyze topics focusing on History, Philosophy, Aesthetics, Literature, Linguistics, Sociology, Economics and Religious Studies.

Ellen Emerson may be the last living survivor of the Johnstown flood. She was only four years old on May 31, 1889, when twenty million tons of water decimated her hometown of Johnstown, Pennsylvania. Thousands perished in what was the worst natural disaster in U. S. history at the time. As we witness in The Johnstown Girls, the flood not only changed the course of history, but also the individual lives of those who survived it.A century later, Pittsburgh Post-Gazette reporters Ben Bragdon and Nina Collins set out to interview 103-year-old Ellen for Ben’s feature article on the flood. When asked the secret to her longevity, Ellen simply attributes it to “restlessness.” As we see, that restlessness is fueled by Ellen’s innate belief that her twin sister Mary, who went missing in the flood, is somehow still alive. Her story intrigues Ben, but it haunts Nina, who is determined to help Ellen find her missing half.Novelist Kathleen George masterfully blends a history of the Johnstown flood into her heartrending tale of twin sisters who have never known the truth about that fateful day in 1889—a day that would send their lives hurtling down different paths. The Johnstown Girls is a remarkable story of perseverance, hard work, and never giving up hope in the face of seemingly insurmountable odds. It’s also a tribute to the determination and indomitable spirit of the people of Johnstown through one hundred years, three generations, and three different floods.

WINNER OF THE 2015 DRUE HEINZ LITERATURE PRIZE Selected by Jill McCorkleThis Angel on My Chest is a collection of unconventionally linked stories, each about a different young woman whose husband dies suddenly and unexpectedly. Ranging from traditional stories to lists, a quiz, a YouTube link, and even a lecture about creative writing, the stories grasp to put into words the ways in which we all cope with unspeakable loss. Based on the author's own experience of losing her husband at age thirty-seven, this book explores the resulting grief, fury, and bewilderment, mirroring the obsessive nature of grieving. The stories examine the universal issues we face at a time of loss, as well as the specific concerns of a young widow: support groups, in-laws, insurance money, dating, and remarriage. This Angel on My Chest ultimately asks, how is it possible to move forward with life while "till death do you part" rings in your ears—and, how is it possible not to?

Planetary Noise: Selected Poetry of Erín Moure gathers four decades of poetry from a celebrated Canadian poet and translator who has persistently reconfigured the linguistic and material relations of English. Moure’s poems and networked sequences are hybrid and often polylingual; they work with contradiction, paradox, and verbal detritus— linguistic hics and blips often too quickly dismissed as noise—to create new conditions for thought and pleasure. From postdramatic theatre to queer and feminist theory, from the politics of citizenship and genocide to the minutiae of digital poetics, from the clamor of love to the shadows of grief and memory, Moure has joyously toppled hierarchies of meaning and parasited dominant discourses to create poetry that crosses borders, embracing hope, not war. This volume, edited by poet and literary scholar Shannon Maguire, also features an extensive introduction to Moure’s poetry, a section of poetry by others translated by Moure, and an afterword on translation by the poet. An online reader’s companion is available at XXXX.site.wesleyan.edu.

In Science Fiction and the Mass Cultural Genre System, John Rieder asks literary scholars to consider what shape literary history takes when based on a historical, rather than formalist, genre theory. Rieder starts from the premise that science fiction and the other genres usually associated with so-called genre fiction comprise a system of genres entirely distinct from the pre-existing classical and academic genre system that includes the epic, tragedy, comedy, satire, romance, the lyric, and so on. He proposes that the field of literary production and the project of literary studies cannot be adequately conceptualized without taking into account the tensions between these two genre systems that arise from their different modes of production, distribution, and reception. Although the careful reading of individual texts forms an important part of this study, the systemic approach offered by Science Fiction and the Mass Cultural Genre System provides a fundamental challenge to literary methodologies that foreground individual innovation.

In this fourth book in a series of award-winning survival narratives, Dungy writes positioned at a fulcrum, bringing a new life into the world even as her elders are passing on. In a time of massive environmental degradation, violence and abuse of power, a world in which we all must survive, these poems resonate within and beyond the scope of the human realms, delicately balancing between conflicting loci of attention. Dwelling between vibrancy and its opposite, Dungy writes in a single poem about a mother, a daughter, Smokin’ Joe Frazier, brittle stars, giant boulders, and a dead blue whale. These poems are written in the face of despair to hold an impossible love and a commitment to hope.

With this volume, we present a collection of writings, each offering their own novel perspective regarding the question of realism. Realism has undoubtedly attracted a lot of attention during recent philosophical debates, and one of its characteristic aspects that has made the most notable impact is the way it challenges rigid traditional demarcations between “continental” and “analytic” philosophy. We maintain that there is still much more to be said on the matter and that a renewal of the discussion on realism is necessary and should bypass old divisions. Therefore, this volume offers a contribution to some of the many discussions on the subject without entirely departing from the “old” realism and without treating its object of study as something that can be created ex nihilo. Instead, this work is based on the broadly shared conviction that a certain historicism cannot be left out of the picture if we are to reposition realism and see its present or future as yet to be determined rather than set in stone.

The book addresses Merleau-Ponty’s so-called ontology of the flesh, a rather obscure expression that the book explains in depth by drawing from Merleau-Ponty’s lecture courses, published in the last years. In light of these publications, the book shows the importance and the novelty of Merleau-Ponty’s later philosophy, which until recently has been seldom addressed in its entirety. Thanks to the knowledge of the whole range of Merleau-Ponty’s now published body of work and of the as yet unpublished texts, as well as a scholarship acquired through more than 20 years spent working on these themes, the author of the book is able to offer a ground-breaking interpretation of one of the most important philosophers of the 20th century, whose philosophical relevance is now widely acknowledged both in Europe and the USA, and whose scholarship is fast growing, while at the same time still lacking an overall systematic assessment, which this book aims to provide.

As the title implies, this beautifully written collection bursts with stories reminiscent of blackberries----small, succulent morsels that are inviting and sweet, yet sometimes bitter. Crystal Wilkinson provides an almost voyeuristic glimpse into the lives of her characters: Two misfit teenagers seek stolen moments of love and acceptance in the cloak of night ("Hushed"); a woman spends every waking hour obsessed with dying yet ironically watching her loved ones pass away before her ("Waiting on the Reaper"); a wife confronts her husband's mistress in a diner over potato skins and cornbread ("Need"); and a pious young woman's torment erupt in a violent and unsuspecting resolution ("No Ugly Ways").The stories in this award-winning collection are terse and transient, like snippets taken from random dreams, thoughts, or conversations. Wilkinson is able to embed a vibrancy into each stunningly descriptive and evocative tale. Infused with humor, sadness and honesty, this provocative and haunting work features a new foreword and a new afterword by nationally acclaimed authors Nikky Finney and Honorée Jeffers.