Peter And Pia

Practical Pia wishes for her own pixie man to have and to hold on to, but she doesn’t expect to wake up with him a couple of hours later. Peter has been dumped by his human girlfriend and is only too glad to salve his bruised and shaken feelings with a miss who welcomes his pixie grip. It’s lucky that Pia is up for a challenge, because Peter is a challenge and a half. Peter is determined to marry Pia immediately. The vicar, who happens to be his grandfather, has other ideas. While Peter and Pia begin their long and fruitful marriage, Peter’s ex-girlfriend, Barbie, faces a life-altering situation. Meanwhile, Peter’s younger cousins, Salix Peter Grene and Joe Bakewell, pursue their own hopes, and Judit Creed, artist’s model and dancer, entertains her favourite soldier in the dressing room.

Practical Pia wishes for her own pixie man to have and to hold on to, but she doesn't expect to wake up with him a couple of hours later. Peter has been dumped by his human girlfriend and is only too glad to salve his bruised and shaken feelings with a miss who welcomes his pixie grip.It's lucky that Pia is up for a challenge, because Peter is a challenge and a half.Peter is determined to marry Pia immediately. The vicar, who happens to be his grandfather, has other ideas.While Peter and Pia begin their long and fruitful marriage, Peter's ex-girlfriend, Barbie, faces a life-altering situation. Meanwhile, Peter's younger cousins, Salix Peter Grene and Joe Bakewell, pursue their own hopes, and Judit Creed, artist's model and dancer, entertains her favourite soldier in the dressing room.

The recent discovery and filming of Frankin's HMS 'Terror' has brought the tragic story of the expedition into the international spotlight. The only man who knows the true narrative is Ernest Coleman.

"Auch" and "noch" in Child and Adult German is an empirical study of the early acquisition of "auch" (also) and "noch" (also/still) in German, and the adult use of these additive particles in spoken language. It centres around the question of how children acquire these particles, but it also investigates the way in which adults use these particles in order to determine what children actually have to learn and what the input they get is like. Previous studies on focus particles in adult German mainly focused on the semantic and syntactic properties of primarily constructed examples. Based on several corpora of spoken German, this is the first comprehensive study of natural language data that systematically analyses the intonation of focus particle utterances as well as their semantic, syntactic and information structural properties. The study of the child data, an extensive longitudinal corpus of one German child, was carried out against the background of the adult data. It offers a thorough characterisation of the acquisition of the two additive particles that also takes into account results from previous studies on the acquisition of focus particles, mainly on their comprehension. In addition to studying the acquisition of these particles, the author also introduces an analysis of focus particles that emphasises the differences between stressed and unstressed particles, which makes this book not only interesting to researchers in language acquisition and psycholinguistics, but also to those interested in phonology/prosody, semantics, syntax and information structure.

This tribute collection reflects the wide range and diversity of James Gibbs’s academic interests. The focus is on Africa, but comparative studies of other literatures also receive attention. Fiction, drama, and poetry by writers from Nigeria, Ghana, Sierra Leone, Eritrea, Malawi, Zimbabwe, South Africa, Ireland, England, Germany, India, and the Caribbean are surveyed alongside significant missionaries, scientists, performers, and scholars. The writers discussed include Wole Soyinka, Chinua Achebe, Kobina Sekyi, Raphael Armattoe, J.E. Casely Hayford, Michael Dei-Anang, Kofi Awoonor, Ayi Kwei Armah, John Kolosa Kargbo, Dele Charley, Ngugi wa Thiong’o, Okot p’Bitek, Jonathan Sajiwandani, Samuel E. Krune Mqhayi, A.S. Mopeli–Paulus, Kelwyn Sole, Anna Seghers, Raja Rao, and Arundhati Roy. Other essays treat the black presence in Ireland, anonymous rap artists in Chicago, the Jamaican missionary Joseph Jackson Fuller in the Cameroons, the African-American actor Ira Aldridge in Sweden, the Swedish naturalist Anders Sparrman in South Africa, and the literary scholar and editor Eldred Durosimi Jones in Sierra Leone. Interviews with the Afro-German Africanist Theodor Wonja Michael and the Irish-Nigerian dramatist Gabriel Gbadamosi are also included. Also offered are poems by Jack Mapanje and Kofi Anyidoho, short stories by Charles R. Larson and Robert Fraser, plays by Femi Osofisan and Martin Banham, and an account of a dramatic reading of a script written and co-performed by James Gibbs. Contributors: Anne Adams, Sola Adeyemi, Kofi Anyidoho, Awo Mana Asiedu, Martin Banham, Eckhard Breitinger, Gordon Collier, James Currey, Geoffrey V. Davis, Chris Dunton, Robert Fraser, Raoul J. Granqvist, Gareth Griffiths, C.L. Innes, Charles R. Larson, Bernth Lindfors, Leif Lorentzon, Jack Mapanje, Christine Matzke, Mpalive–Hangson Msiska, Femi Osofisan, Eustace Palmer, Jane Plastow, Lynn Taylor, and Pia Thielmann. Geoffrey V. Davis co-edits the series Cross/Cultures and the African studies journal Matatu. Recent publications include Narrating Nomadism and African Literatures: Post¬colonial Literatures in English: Sources and Resources (both co-ed. 2013). Bernth Lindfors, founding editor of the journal Research in African Literatures, is writing a bio¬graphy of Ira Aldridge (two volumes have so far appeared: The Early Years, 1807–1833 and The Vagabond Years, 1833–1852, both 2011).