It is widely held that the large-scale translation of international news from English will lead to changes in French syntax. For the first time this assumption is put to the test using extensive fieldwork carried out in an international news agency and a corpus of translated news agency dispatches. The linguistic analysis of three syntactic structures in the translations is complemented by an investigation of the effects of a range of factors including, most notably, the speed at which the translation is carried out. The analysis sheds new light on the ways in which news translation could lead to syntactic borrowing in French, and by extension, in other languages.

This book is a detailed study of French-English linguistic borrowing in Prince Edward Island, Canada which argues for the centrality of lexical innovation to grammatical change. Chapters 1–4 present the theoretical and methodological perspectives adopted along with the sociolinguistic history of Acadian French. Chapter 5 outlines the basic features of Acadian French morphosyntax. Chapter 6 provides an overview of the linguistic consequences of language contact in Prince Edward Island. Chapters 7–9 consider three particular cases of grammatical borrowing: the borrowing of the English adverb back and the semantic and syntactic reanalysis it has undergone, the borrowing of a wide range of English prepositions, resulting in dramatic changes in the syntactic behaviour of French prepositions, and the borrowing of English wh-ever words, resulting in the emergence of a new type of free relative. Chapter 10 argues for a theory of grammar contact by which contact-induced grammatical change is mediated by the lexicon.

In this major new work Alice Harris and Lyle Campbell set out to establish a general framework for the investigation of linguistic change. Systematic cross-linguistic comparison of syntactic change across a wide variety of languages is used to construct hypotheses about the universals and limits of language change more generally. In particular, the authors seek to move closer towards describing the range of causes of syntactic change to develop an understanding of the mechanisms of syntactic change, and to provide an understanding of why some languages undergo certain changes and not others. The authors draw on languages as diverse as Pipil and French, Georgian and Estonian, and the data presented is one of the book's great strengths. Rigor and precision are combined here with a great breadth of scholarship to produce a unique resource for the study of linguistic change, which will be of use to scholars and students alike.

While Baudelaire's 'Le Peintre de la vie moderne' is often cited as the first expression of our theory of modernism, his choice of Constantin Guys as that painter has caused consternation from the moment of the essay's publication in 1863. Worse still, in his 'Salon de 1859', Baudelaire had also chosen to condemn photography in terms that echo to this day. Why did the excellent critic choose a mere reporter and illustrator as the painter of modern life? How could he have overlooked photography as the painting of modern life? In this study of modernity and photography in Baudelaire's writing, Timothy Raser, who has written on the art criticism of Baudelaire, Proust, Claudel and Sartre, shows how these two aberrations of critical judgment are related, and how they underlie current discussions of both photography and modernism. Timothy Raser is Professor of French at the University of Georgia (USA).

Manneken Pis, a fountain featuring a bronze child urinating, has stood on the same Brussels street corner since at least the mid-fifteenth century. Since there is no consensus on its meaning, it has been used to express many different readings of social relations in a complex city and nation state. It has formed part of the festival culture of the city - from royal entries to gay pride - but has also been exploited in conflicts arising out of war and occupation, and the tensions inherent in modern Belgium. Drawing on archives, histories, police reports, devotional literature, ephemera and a wealth of other sources, Catherine Emerson examines how one smaller-than-lifesized water source has come to embody a certain sort of Brussels identity.

The Routledge Handbook of Translation and Media provides the first comprehensive account of the role of translation in the media, which has become a thriving area of research in recent decades. It offers theoretical and methodological perspectives on translation and media in the digital age, as well as analyses of a wide diversity of media contexts and translation forms. Divided into four parts with an editor introduction, the 33 chapters are written by leading international experts and provide a critical survey of each area with suggestions for further reading. The Handbook aims to showcase innovative approaches and developments, bridging the gap between currently separate disciplinary subfields and pointing to potential synergies and broad research topics and issues. With a broad-ranging, critical and interdisciplinary perspective, this Handbook is an indispensable resource for all students and researchers of translation studies, audiovisual translation, journalism studies, film studies and media studies.