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This book provides a detailed linguistic analysis of the communication between highly proficient bilingual couples, each consisting of a native speaker of English and of Swiss German. Combining the accounts of ten couples on their language use with an analysis of their actual linguistic behaviour, several areas of the partners? speech and interaction were closely examined. These include their language choice and language mixing, attitudes, expression of emotions, swearing, as well as their humour and laughter. In addition, the influence of the bilinguals? mother tongue and gender on their language use was explored. Thus, the study provides valuable insights into the language practices of established bilingual couples, while also contributing to the fields of fluent late bilingualism and gender research

• Volume I. Temporale
• volume II. The Old Testament legends.

This is volume I of the first scholarly edition of the Golden Legend, the largest and most elaborate production of the first printer in English, William Caxton. It is an English translation of Jacobus de Voragine's Legenda aurea (ca. 1267), a collection of legends for the feasts of saints (the Sanctorale) and other major days of the liturgical year (the Temporale). The Legenda aurea was one of the most popular and influential books in the later medieval Western world; it circulated widely, and was repeatedly translated into many vernacular languages. This volume reproduces Caxton's original text of the Temporale with modern punctuation and capitalization, notes on content, syntax and lexis, a detailed glossary, and an index of proper names. Caxton's complex combination of sources is given particular attention: the principal one was a little-known reworking of the French translation made by Jean de Vignay, but he also used the Latin original and a previous English translation, the Gilte Legende, and made some personal additions. The Introduction considers the structure of the entire book that Caxton created, but focuses on the Temporale and the set of Old Testament legends that will follow in volume 2. It discusses their sources and language, highlighting the differences between the first two volumes and the notable number of new words and senses. It also gives a detailed bibliographic account of this printing in its historical context and descriptions of all surviving copies.
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• INTRODUCTION The Eneados and its Author The Text of the Eneados Later Editions The Present Edition Appendix to the Introduction: Priscilla J. Bawcutt, 'Gavin Douglas and the Text of Virgil', originally published in Edinburgh Bibliographical Society Transactions 4 (1973), pp. 213-31 COMMENTARY.
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• Preface and Acknowledgements Prologue I Book I Prologue II Book II Prologue III Book III Prologue IV Book IV Prologue V Book V Prologue VI Book VI Prologue VII Book VII VARIANT READINGS
• Book I
• Book II
• Book III
• Book IV
• Book V
• Book VI
• Book VII.
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• Prologue VIII Book VIII Prologue IX Book IX Prologue X Book X Prologue XI Book XI Prologue XII Book XII Prologue XIII Book XIII VARIANT READINGS
• Book VIII
• Book IX
• Book X
• Book XI
• Book XII
• Book XIII.
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Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book.D.F.C. Coldwell's four-volume modern edition of it was published in 1957-64 for the Scottish Text Society, but for some time now has needed revision. This new edition will provide a corrected version of Coldwell's text and variants in subsequent volumes. The first volume, here, the Introduction and Commentary, offers a wealth of new scholarship, comparing Douglas's text to his exact Latin source (first identified by Professor Bawcutt in a 1973 essay reprinted here); vastly expanding the Commentary; offering detailed new analysis of the manuscript and print witnesses to the text and its early reception and circulation; and surveying modern Douglas criticism. There is also a new Bibliography.
(source: Nielsen Book Data)
Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth, added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book. This new edition, the first for over sixty years, is based on Cambridge, Trinity College Library MS O.3.12 and presents a substantially revised and corrected version of the previous version's text and variants. Following from the first volume, containing a vastly expanded Introduction and Commentary, Volume II provides the text and variants for Books I-VII; Vol. III will provide the text and variants for Books VIII-XIII.
(source: Nielsen Book Data)

• Volume
• 1. Lives of saints 1.-65 --

This is the first edition of a major work by the translator and hagiographer Osbern Bokenham. Unknown before the discovery of the unique manuscript in 2005, Bokenham's work comprises a complete translation of Legenda Aurea, a collection of saints' lives compiled by the Dominican friar Jacobus de Voragine which achieved widespread popularity throughout the Middle Ages and survives in over eight hundred manuscripts, supplemented with accounts of the lives of various British saints, including those of Cedde, Felix, Edward, and Oswald. Writing in the fifteenth century, Bokenham's work, which combines prose and verse, was influenced by major writers such as Chaucer and Lydgate, both in its content and in its verse forms and style, and thus sheds new light on their fifteenth-century reputation. Bokenham's work is also important for his naming of the patrons for whom he translated a number of these saints' lives, allowing scholars to trace networks of patronage amongst prominent members of the gentry and nobility in fifteenth-century East Anglia.
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"Die vorliegenden Untersuchungen beantworten die Frage, wann sich einem fiktionalen Text eine "Moral" zuschreiben lässt. Unter "Moral" wird dabei die Aufforderung verstanden, fiktionale moralische Urteile für wahr zu halten. Solche Aufforderungen werden im vorliegenden Band aus moralischen Urteilssätzen abgeleitet. Diese werden als Suchbefehle verstanden. Und es wird erörtert wie die Befolgung dieser Befehle nach Maßgabe utilitarischer Zweckmäßigkeitsüberlengungen zum Befund der "Moral" fiktionaler Texte führen kann. Es soll gezeigt werden, dass entsprechende Befunde es nicht nur erlauben, fiktionale Texte zu identifizieren. Als Anleitung zur Gewinnung solcher Befunde wollen die hier unternommenen Bemühungen auch zur rationalen Diskussion der moralischen Beurteilung fiktionaler Werke beitragen." -- Back cover

• Introduction
• Texts. The vade mecum suite. A. Twenty colours by digestion groups. 1. Unillustrated text (Laud misc. 553)
• 2. Ring of urines (illustrated; Gonville & Caius 336/725)
• B. Urina rufa (Laud misc. 553)
• C. Cleansing of blood (Laud misc. 553)
• White-red and white-brown token lists. D. Urine white and red (Sloane 3542)
• E. Urine white and brown (Woman). 1. The earliest Middle English uroscopy (CCCC 388)
• 2. The fullest copy of the text (BL Add. 4898)
• F. Urine white and brown (Plegm) (Wellcome 8004)
• Texts of likely English origin. G. Rufus Subrufus (Gonville & Caius 336/725)
• Ten cold ten hot (Sloane 213)
• The dome of uryne, expanded version (Sloane 374)
• Appendices. I. The Latin vade mecum suite
• II. Uroscopy text from the Lettre d'Hippocrate
• III. Rufus Subrufus: variant prologues and remedies
• IV. The dome of uryne: English versions of Latin segments
• Commentaries. Textual commentary
• Medical comentary.

This volume contains nine of the most widely disseminated Middle English uroscopies, each of them short enough to be consulted quickly by practitioners and all of them commonly found in English medical miscellanies. Practical in their orientation, they are grounded firmly in Galenic humoralism and derive directly and indirectly from canonical Latin uroscopies, along with the Arabic and Greek antecedents of the Latin tradition. Together they occur in over 120 manuscripts. Despite the pervasive incidence of uroscopy in medieval medical manuscripts and medical practice, very few Middle English uroscopies have yet been edited, a gap that this edition seeks to reduce. Three of the texts edited are translated from widely circulated Latin originals; three are translated or adapted from a frequently copied French original (part of the Lettre d'Hippocrate); and three appear to be native English compositions. The Apparatus collates each text selectively against four to eight secondary witnesses, chosen primarily to represent different textual families for each item. The edition also contains a detailed Introduction; a Textual Commentary and a Medical Commentary; a detailed Glossary with special attention to medical vocabulary; and images of diagrams that accompany the texts. As a group, these texts provide an overview of the best-known elements of English vernacular uroscopy and a precis of western uroscopic knowledge more generally. They also shed light on the day-to-day application of uroscopic diagnosis by ordinary practitioners in the later Middle Ages, and thus on one of the central arenas of healer/patient interaction in the period

• Fordschritt und Rückblick. Zur Einleitung / Imme Bageritz, Hartmut Hombrecher, Vera K. Kostial, Katerina Kroucheva
• Das Schweigen der Maschine-- Georges Perec/Italo Calvino / Kevin Kempke
• Roadmovie im Sonettenkranz. Matthias Göritz' Automobile / Jan Röhnert
• Die Rückkehr des Archaischen / Sascha Seiler
• Who made the Internet? Betrachtungen zum Ursprung des Internet im Musikvideo Welcome to the Internet (Fraktus) mit Bruno Latours Akteur-Netzwerk-Theorie / Ann-Marie Riesner
• Wege zum "Neuen Menschen." Dimensionen des Transhumanen im Werk von Christian Kracht / Christian Dinger
• Technik an der Schwelle von Leben und Tod. Transplantationsmedizin in Maylis de Kerangals Réparar les vivants (2014) / Björn Weyand
• Der "Endsieg des Mechanischen über Mensch und Natur"-- Technikkritik im Diskurs des Alpinismus und in Paulus Hochgatterers Über Raben (2002) / Bernhard Oberreither
• Natur und Kultur im Fluss. Über Identität, Technik und Nostalgie in Ben Aaronovitchs Rivers of London-Reihe / Imme Bageritz
• Mensch und Maschine. Künstlerische Diskurse zwischen Selbstvergewisserung und Identitätsverlust / Kristina Lahl
• G.W. Leibnitz, Hans Poser, Jonas Lüscher. Die Technodizee-Frage im Roman Kraft (2017) / Vera K. Kostial
• "Eine verdammt kitzlige Sache, die Technik." Handwerk, Fleisch und Technik im Werk von Erich Kästner / Katerina Kroucheva
• Salvador Allende, TINA-Turner, die "Kommunistenmaschine" und die Hypothek des Totalitarismus. Die literarische Verhandlung des chilienischen Cybersyn-Projekts in Sascha Rehs Roman Gegen die Zeit / Sebastian Schweer
• Natur bauen. Herman Sörgels Atlantropa-Projekt in John Knittels Roman Amadeus (1939) / Steffen Richter
• Maschinen-- Begehren-- (Re-)Produktion. Sexualität und Technik in Franz Kafkas In der Strafkolonie / Annika Klanke
• Technik und Trash. Zur Reflexion über Technologie, Technikverwendung und die Technodizee in Sam Raimis Army of Darkness / Hartmut Hombrecher
• "i galaxens hav"-- das Ethos als Epos. Harry Martinsons Aniara. En Revy Om Människan i tid och rum / Niels Penke
• Störfall im Anthropozän. Zu Christa Wolfs Katastrophenerzählung nach Tschernobyl / Thorsten Unger

• Introduction The Text Notes Bibliography Glossary Index of Proper Names.
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The author of the fifteenth-century Older Scots romance of Rauf Coilyear may be unknown, but the popularity of this comic king-in-disguise tale is undisputed; it is cited by William Dunbar and Gavin Douglas at the turn of the century, and again in the mid-sixteenth century Complaynt of Scotland. The disguised king in this case is Charlemagne, and the hero a bluff collier called Ralph, who unwittingly plays host to him for one stormy night and teaches his bemused guest some rough lessons in his own version of courtesy. When Ralph is lured to court, the mistaken identities continue as he encounters the great Sir Roland and battles Saracens. Throughout, the scrappy hero maintains his dignity, as indeed does his king: both parties finish the tale immensely pleased with each other and with the bond they have forged. The text survives only in a 1572 print by Robert Lekpreuik (whose own career seems to have been only marginally less exciting than Rauf's: he printed it in St Andrews while attempting to evade imprisonment in Edinburgh, ultimately without success). It is edited here with an introduction and notes. RALPH HANNA is Emeritus Professor of Palaeography, University of Oxford.
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This is the first printed edition of a landmark work in the history of English humanism and perhaps English drama: a translation of part of Petrarch's Secretum into English verse. Copied at Winchester Cathedral in 1487, it is only the third work by Petrarch to be translated into English and is the most accurate and extensive translation from his work before the 1530s. It offers an insight into early English responses to humanist learning, with its balance of classical and religious ideas, and to the cosmopolitan and urbane taste of fifteenth-century English churchmen in the century before the Reformation. It might bear witness to the inventiveness of English poetry in a period with few such records; and, as Secretum is a dialogue, it might even be counted an early English secular work for performance. The edition has detailed explanatory notes and a glossary, revealing its verbal inventiveness and the translator's familiarity with Chaucerian verse traditions. It has an extensive introduction, relating it to literary culture at Winchester at the time and to the manuscripts of Petrarch's Latin Secretum in England at the time.
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"Dem Mimen flicht die Nachwelt keine Kränze': Im Widerspruch zu Schillers Behauptung entstanden seit dem 18. Jahrhundert zahlreiche Vers- und Prosatexte mit dem Anspruch, die ›Kunst‹ großer Mimen zu vergegenwärtigen. Der Begriff 'Mimen-Ekphrasis' stellt die Gattung dabei einerseits in die rhetorische Tradition lebendiger ›Beschreibungskunst‹; andererseits wird sie als Sonderform von ›Kunstbeschreibung‹ im Zeichen der Diskussion von Wort-Bild-Beziehungen im 18. Jahrhundert interpretiert. Intermedialitätsforschung, Bildwissenschaft und Performances Studies verbindend zeigt Rüdiger Singer auf, wie die szenische Struktur von Ekphrasen mit der plurimedialen Verfasstheit von Schauspielkunst interagiert. Dazu untersucht er englische, deutsche und italienische Texte."--Provided by publisher.