The people of colonial New England lived in a densely metaphoric landscape--a world where familiars invaded bodies without warning, witches passed with ease through locked doors, and houses blew down in gusts of angry, providential wind. Meaning, Robert St. George argues, was layered, often indirect, and inextricably intertwined with memory, apprehension, and imagination. By exploring the linkages between such cultural expressions as seventeenth-century farmsteads, witchcraft narratives, eighteenth-century crowd violence, and popular portraits of New England Federalists, St. George demonstrates that in early New England, things mattered as much as words in the shaping of metaphor. These forms of cultural representation--architecture and gravestones, metaphysical poetry and sermons, popular religion and labor politics--are connected through what St. George calls a 'poetics of implication.' Words, objects, and actions, referentially interdependent, demonstrate the continued resilience and power of seventeenth-century popular culture throughout the eighteenth century. Illuminating their interconnectedness, St. George calls into question the actual impact of the so-called Enlightenment, suggesting just how long a shadow the colonial climate of fear and inner instability cast over the warm glow of the early national period.

Basic ASL for everyday conversation.

How we address people, where we sit, what we disclose about ourselves, how we make eye contact, and where and when we touch are signs of attitudes and emotions. Because we may not be conscious of the social or psychological significance of these signs, they are the stealth aspect of conversation. One goal of this book is to demonstrate that address, self-disclosure, seating, eye-contact, and touch are the five vital signs of conversation. Another is to increase the reader's awareness of the fact that whatever the topic of a conversation, interlocutors are also expressing their attitudes and emotions by means of these five vital signs. A final goal is to show the reader that the use of these signs varies with ethnicity, gender, and relationship. To accomplish these goals, this book provides relevant scientific information in a popular style that makes it accessible to a broad spectrum of readers concerned with interpersonal communication.

"Laura Lynne Jackson is a psychic medium and the author of the New York Times bestseller The Light Between Us. She possesses an incredible gift--the ability to communicate with loved ones who have passed, convey messages of love and healing, and impart a greater understanding of our interconnectedness. Though her abilities are exceptional, they are not unique, and that is the message at the core of this book. Understanding "the secret language of the universe" is a gift available to all. As we learn to ask for and recognize signs from the other side, we will start to find meaning where before there was only confusion, we will see light in the darkness. We may decide to change paths, push toward love, pursue joy, and engage with life in a whole new way. In Signs, Jackson is able to bring the mystical into the everyday. She relates stories of people who have experienced these uncanny revelations and instances of unexplained synchronicity, as well as those drawn from her own experience. There's the producer whose lost child appears to her as a deer that approaches her unhesitatingly at a highway rest stop; the name tag of an ER nurse that lets a terrified wife know that her husband will be okay; the Elvis Presley song that arrives at the exact time of her own father's passing; and many others. This is a book that is both inspiring and practical, deeply comforting and wonderfully motivational in asking us to see beyond ourselves to a more magnificent universal design"--

“A critically sophisticated leap forward in the study of early medieval literature, Signs That Sing issues a bold challenge to long-held preconceptions about the relationships underlying Old English poetry between past and present, pagan and Christian, and oral and literary.”—Joseph Falaky Nagy, author of Conversing with Angels and Ancients: Literary Myths of Medieval Ireland “Maring sidesteps simplistic oral versus literary schools of thought as she considers Old English verse as the product of an emergent hybrid form, representing a fusion of native poetics and Christian beliefs and practices. A welcome contribution to oral poetics and the understanding of the earliest period of English literature.”—John D. Niles, author of The Idea of Anglo-Saxon England 1066–1901: Remembering, Forgetting, Deciphering, and Renewing the Past “Elegantly shows how the elements of oral poetry continued to inspire the authors of Old English verse long after their conversion to Christianity. Far from being antiquarian relics, the themes of oral verse joined with learned exegesis and ritual performances to form a rich source of metaphorical meaning in Old English poetry, which this book brilliantly opens up to modern readers.”—Emily V. Thornbury, author of Becoming a Poet in Anglo-Saxon England In Signs That Sing, Heather Maring argues that oral tradition, ritual, and literate Latinbased practices are dynamically interconnected in Old English poetry. Resisting the tendency to study these different forms of expression separately, Maring contends that poets combined them in hybrid techniques that were important to the development of early English literature. Maring examines a variety of texts, including Beowulf, The Battle of Maldon, Deor, The Dream of the Rood, Genesis A/B, The Advent Lyrics, and select riddles. She shows how themes and typescenes from oral tradition—devouring-the-dead, the lord-retainer, the poet-patron, and the sea voyage—become metaphors for sacred concepts in the hands of Christian authors. She also cites similarities between oral-traditional and ritual signs to describe how poets systematically employed ritual signs in written poems to dramatic effect. The result, Maring demonstrates, is richly elaborate verse filled with shared symbols and themes that would have been highly meaningful and widely understood by audiences at the time.