TRENDS IN LINGUISTICS is a series of books that open new perspectives in our understanding of language. The series publishes state-of-the-art work on core areas of linguistics across theoretical frameworks as well as studies that provide new insights by building bridges to neighbouring fields such as neuroscience and cognitive science. TRENDS IN LINGUISTICS considers itself a forum for cutting-edge research based on solid empirical data on language in its various manifestations, including sign languages. It regards linguistic variation in its synchronic and diachronic dimensions as well as in its social contexts as important sources of insight for a better understanding of the design of linguistic systems and the ecology and evolution of language. TRENDS IN LINGUISTICS publishes monographs and outstanding dissertations as well as edited volumes, which provide the opportunity to address controversial topics from different empirical and theoretical viewpoints. High quality standards are ensured through anonymous reviewing.

Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.

The Lover's Compass: Navigating the Seas of Passion Do you long for a deeper connection? Are you ready to find love that lasts? The Lover's Compass is your guide to navigating the exciting and sometimes confusing world of romance. This insightful book explores the art of communication, emotional intelligence, and building fulfilling relationships. With practical advice and heartwarming stories, The Lover's Compass equips you with the tools to find lasting love. Embrace the journey of love. Start reading today!

This introduction to the tools required for literary study provides all the skills, background and critical knowledge which students require to approach their study of literature with confidence.

This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory.

Following the success of their instantly iconic double LP, London Calling, The Clash set out to do something “triply outrageous.” Named after the Nicaraguan rebels who successfully overthrew an authoritarian dictator, Sandinista! consists of 36 songs across six sides of vinyl. Produced by the band, it showcases their politics as well as their ability to adopt a multitude of genres ranging from punk, reggae, jazz, gospel, calypso, and hip hop. Free from the influence of their Machiavellian manager, Bernie Rhodes, The Clash still battled their record label to release the triple LP on their terms: three for the price of one. Despite its polarizing reception from critics at the time of its release, Sandinista! is often considered one of the greatest albums of all time. Nevertheless, critics and fans have spent over 40 years debating whether the album would be better as a 12-track LP. This book entertains that idea and considers what is lost or gained in the process. To do so, the book delves into the politics of The Clash, the spliff bunkers constructed for the production of the album, and the sacrifices made upon its release. It examines the album's 36 tracks and considers the significance of the record's dissection on behalf of fans who curate their own versions of the album in the mixtape, CD, and playlist eras.