El Diccionario Gorgias Siriaco-Español, basado en el Gorgias Concise Syriac-English, English-Syriac Dictionary de Brock y Kiraz, ha sido concebido como un recurso académico, concebido tanto para el siriaco clásico como para el siriaco literario moderno. A Concise Syriac-Spanish Dictionary. Based on Brock and Kiraz's 2015 Gorgias Concise Syriac-English, English-Syriac Dictionary, it is designed to be a convenient academic resource for Classical Syriac.

The Little Edges is a collection of poems that extends poet Fred Moten’s experiments in what he calls “shaped prose”—a way of arranging prose in rhythmic blocks, or sometimes shards, in the interest of audio-visual patterning. Shaped prose is a form that works the “little edges” of lyric and discourse, and radiates out into the space between them. As occasional pieces, many of the poems in the book are the result of a request or commission to comment upon a work of art, or to memorialize a particular moment or person. In Moten’s poems, the matter and energy of a singular event or person are transformed by their entrance into the social space that they, in turn, transform. An online reader’s companion is available at http://fredmoten.site.wesleyan.edu.

This book presents a comprehensive and systematic description of the underlying pedagogy inherent in doctoral supervision and its institutional context. It argues that doctoral supervision relies on an advanced form of pedagogy that is often tacit for both students and supervisors. The target audience for this book includes doctoral supervisors and students, people conducting research and developmental work in the field of doctoral education, and stakeholders and intellectual leaders in a broader academic context. The author of this book presents the results of an extensive study of the research on doctoral supervision and education together with his own empirical findings from qualitative observation and interview studies at both Danish and British universities.

The present book comprises thirteen chapters written by Nordic scholars in the human and social sciences, and developed out of conference papers presented at regular winter and summer symposia held by two research groups emanating from the Nordic Summer University. Born within and informed by this specific milieu, the chapters address significant sociopolitical implications for contemporary societies emerging from the ethical reflections of leading 20th century thinkers (e.g. Michel Foucault and Jürgen Habermas), important procedural as well as substantive aspects of democracy, and pivotal ethico-political issues arising from the abstract logic and concrete manifestations of market economies. Though by no means devoid of their own economic, cultural and political problems, the Nordic countries are still paramount examples of humane prosperity, democratic civility, environmentally sound policy, and peaceful resolution of social and industrial conflicts. Year after year, if not decade after decade, they keep topping the international charts for socio-economic indicators about sostainable development, healthcare quality and accessibility, educational levels, crime control, preceived happiness and much else. As such, the scholarly and scientific reflections orginating within the Nordic Summer University might prove to be useful sources of insight for policy-makers, intellectuals and interested persons outside the Nordic context, and not solely inside it.

The aim of this collection of essays is to explore “negative characters” in espionnage narratives of some of the most esteemed English writers, such as Conrad, Maugham, Ambler, Greene, Fleming, MacEwan, among others. The role of women will be analysed, in particular with the figure of Mata Hari, so as to provide a gender perspective on women as villains and /or double agents. The relationship between literature and film studies will also be considered in a comparative approach.

This volume reassesses the field of Chicana/o literary studies in light of the rise of Latina/o studies, the recovery of a large body of early literature by Mexican Americans, and the "transnational turn" in American studies. The chapters reveal how "Chicano" defines a literary critical sensibility as well as a political one and show how this view can yield new insights about the status of Mexican Americans, the legacies of colonialism, and the ongoing prospects for social justice. Chicana/o literary representations emerge as significant examples of the local that interrogate globalization's attempts to erase difference. They also highlight how Chicana/o literary studies' interests in racial justice and the minority experience have produced important intersections with new disciplines while also retaining a distinctive character. The recalibration of Chicana/o literary studies in light of these shifts raises important methodological and disciplinary questions, which these chapters address as they introduce the new tools required for the study of Chicana/o literature at this critical juncture.

The surviving versions of the Syriac translation of Ptolemy's life of Aristotle (which contains Aristotle's will), and the Syriac commentaries on Porphyry's Isagoge; the only printed edition, with extensive introduction.

“He arrived unannounced, where and when she needed him most . .

For nearly half a century, feminist scholars, writers, and fans have successfully challenged the notion that science fiction is all about “boys and their toys,” pointing to authors such as Mary Shelley, Clare Winger Harris, and Judith Merril as proof that women have always been part of the genre. Continuing this tradition, Sisters of Tomorrow: The First Women of Science Fiction offers readers a comprehensive selection of works by genre luminaries, including author C. L. Moore, artist Margaret Brundage, and others who were well known in their day, including poet Julia Boynton Green, science journalist

Fernando J. Rosenberg explores Latin American artistic production concerned with the possibility of justice after the establishment, rise, and ebb of the human rights narrative around the turn of the last century. Prior to this, key literary and artistic projects articulated Latin American modernity by attempting to address and supplement the state's inability to embody and enact justice. Rosenberg argues that since the topics of emancipation, identity, and revolution no longer define social concerns, Latin American artistic production is now situated at a point where the logic and conditions of marketization intersect with the notion of rights through which subjects define themselves politically. Rosenberg grounds his study in discussions of literature, film, and visual art (novels of political refoundations, fictions of truth and reconciliation, visual arts based on cases of disappearance, films about police violence, artistic collaborations with police forces, and judicial documentaries). In doing so, he provides a highly original examination of the paradoxical demands on current artistic works to produce both capital value and foster human dignity.

‘Already loose sand had drifted over the stamped-down square which momentarily had distinguished the subaltern’s grave: no there was no sign, no mark, no indication whatsoever. There had been, here, eleven men. Now ten rode away’ In the Mesopotamian desert during World War I, the leader of a British patrol is shot and killed, by an unseen enemy. The officer is the only one who knows their orders and has not told anyone else where they are located. From then on the sergeant has to try to lead the men through a hostile desert landscape which is full of invisible Arab snipers. One by one they are picked off, and the group of diverse characters from different backgrounds has to try to come together in order to survive. The decision making process proves far from easy as tensions and prejudices from their former lives come to the fore. This thrilling tale of suspense goes right to the last page and was a best seller in the 1920s. The novel was filmed twice, by Walter Summers (as Lost Patrol in 1929) and by John Ford (as The Lost Patrol in 1934).

‘The million British dead have left no books behind. What they felt as they died hour by hour in the mud, or were choked horribly with gas, or relinquished their reluctant lives on stretchers, no witness tells. But here is a book that almost tells it……Mr Gristwood has had the relentless simplicity to recall things as they were; he was as nearly dead as he could be without dying, and he has smelt the stench of his own corruption. This is the story of millions of men – of millions.’ – H. G. Wells, from the prefaceIn The Somme and its companion The Coward, first published in 1927, the heroics of war and noble self-sacrifice are completely absent; replaced by the gritty realism of life in WWI for the ordinary soldier, and the unflinching portrayal of the horrors of war. Written under the guidance of the master storyteller H. G. Wells, they are classics of the genre.The Somme revolves around a futile attack in 1916 during the Somme campaign. Everitt, the central protagonist is wounded and moved back through a series of dressing stations to the General Hospital at Rouen. Both in and out of the line he behaves selfishly and unheroically, but despite this his circumstances and the conditions around him make his actions easy to understand. Based on A D Gristwood’s own wartime experiences, critics have said that few other accounts of the war give such an accurate picture of trench life.The Coward concerns a man who shoots himself in the hand to escape the war, during the March 1918 retreat – an offence punishable by death. He gets away with it, but is haunted by fear of discovery and self-loathing.

Gerald Vizenor weaves an engrossing historical portrayal of Native American soldiers in World War I. 'Blue Ravens' is set at the start of the twentieth century in the days leading up to the Great War in France, and continues in combat scenes at Chateau-Thierry, Montbrehain, and Bois de Fays. The novel contains many of Vizenor's recurrent cultural themes - the power and irony of trickster stories, the privilege of 'survivance' over 'victimry', natural reason and resistance. After serving in the American Expeditionary Forces, two brothers from the Anishinaabe culture return to the White Earth Reservation where they grew up. They eventually leave for a second time to live in Paris where they lead successful and creative lives. With a spirited sense of 'chance, totemic connections, and the tricky stories of our natural transience in the world' Vizenor creates an expression of presence commonly denied Native Americans. 'Blue Ravens' is a story of courage in poverty and war, a human story of art and literature from a recognized master of the postwar American novel and one of the most original and outspoken Native voices writing today. Check for the online reader's companion at blueravens.site.wesleyan.edu.

Gerald Vizenor creates masterful, truthful, surreal, and satirical fiction similar to the speculative fiction of Margaret Atwood and Neil Gaiman. In this imagined future, seven natives are exiled from federal sectors that have replaced federal reservations; they pursue the liberty of an egalitarian government on an island in Lake of the Woods. These seven narrators, known only by native nicknames, are related to characters in Vizenor’s other novels and stories. Vizenor was the principal writer of the Constitution of the White Earth Nation, and this novel is a rich and critical commentary on the abrogation of the treaty that established the White Earth Reservation in 1867, and a vivid visualization of the futuristic continuation of the Constitution of the White Earth Nation, in 2034.

One of the most notable members of the New York School—and its best-known woman—Barbara Guest began writing poetry in the 1950s in company that included John Ashbery, Kenneth Koch, Frank O’Hara, and James Schuyler. And from the beginning, her practice placed her at the vanguard of American writing. Guest’s poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest’s remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing—seemingly simple, but truly and beautifully dislocating.

Detective Peter Seymour has seen every type of death imaginable in his time in the NSW Coroner's Court and, after many years in law enforcement, the tragedies are beginning to take their toll. Dealing with death day in day out becomes too much for Seymour and this seasoned veteran starts to grapple with overwhelming feelings of fear and doubt. He decides to return to the police force hoping the operational work might offer some reprieve. Fate would have it otherwise as he is thrust straight back into an intense murder investigation. One Friday night in the year 2000, Nick Hanes is heading home after a night out with his mates. Barely 250 metres from his home, he is set upon by two men. Bashed, beaten, then murdered, Hanes dies after a senseless and random attack. Seymour is called to the St Mary's crime scene. He examines the body and discovers that there are very few clues and no leads, no witnesses. As the case unravels it takes every bit of his experience, tenacity and determination to not only discover the identity of the perpetrators but to also deal with his own demons that are beginning to spiral out of control. Deadly Paths tells the true story of two men embarking on dangerous paths. One man finds himself the victim of a violent crime, the other searching for justice for the dead man's family as he struggles with his own battle with Post Traumatic Stress Disorder, the result of a life spent giving his all for others. Both paths are intertwined, and there is no turning back.