In der let­zten Zeit sind u.a. diese frei ver­füg­baren Titel erschienen:

A Handbook and Reader of Ottoman Arabic

Esther-Miri­am Wag­n­er (ed.) | https://doi.org/10.11647/OBP.0208

Writ­ten forms of Ara­bic com­posed dur­ing the era of the Ottoman Empire present an immense­ly fruit­ful lin­guis­tic top­ic. Extant texts dis­play a prox­im­i­ty to the ver­nac­u­lar that can­not be encoun­tered in any oth­er sur­viv­ing his­tor­i­cal Ara­bic mate­r­i­al, and thus pro­vide unprece­dent­ed access to Ara­bic lan­guage his­to­ry.
This rich mate­r­i­al remains very lit­tle explored. Tra­di­tion­al­ly, schol­ar­ship on Ara­bic has focussed over­whelm­ing­ly on the lit­er­a­ture of the var­i­ous Gold­en Ages between the 8th and 13th cen­turies, where­as texts from the 15th cen­tu­ry onwards have often been viewed as cor­rupt­ed and not wor­thy of study. The lack of inter­est in Ottoman Ara­bic cul­ture and lit­er­a­cy left these sources almost com­plete­ly neglect­ed in uni­ver­si­ty cours­es.
This vol­ume is the first lin­guis­tic work to focus exclu­sive­ly on vari­eties of Chris­t­ian, Jew­ish and Mus­lim Ara­bic in the Ottoman Empire of the 15th to the 20th cen­turies, and present Ottoman Ara­bic mate­r­i­al in a didac­tic and eas­i­ly acces­si­ble way. Split into a Hand­book and a Read­er sec­tion, the book pro­vides a his­tor­i­cal intro­duc­tion to Ottoman lit­er­a­cy, trans­la­tion stud­ies, ver­nac­u­lar­i­sa­tion process­es, lan­guage pol­i­cy and lin­guis­tic plu­ral­ism. The sec­ond part con­tains excerpts from more than forty sources, edit­ed and trans­lat­ed by a diverse net­work of schol­ars.
The mate­r­i­al pre­sent­ed includes a large num­ber of yet unedit­ed texts, such as Chris­t­ian Ara­bic let­ters from the Prize Paper col­lec­tions, mer­can­tile cor­re­spon­dence and note­books found in the Library of Gotha, and Garshu­ni texts from archives of Syr­i­ac patri­archs.

Brushed in Light: Calligraphy in East Asian Cinema

Markus Nornes | https://doi.org/10.3998/mpub.11373292

Draw­ing on a mil­len­nia of cal­lig­ra­phy the­o­ry and his­to­ry, Brushed in Light exam­ines how the brushed word appears in films and in film cul­tures of Korea, Japan, Tai­wan, Hong Kong, and PRC cin­e­mas. This includes silent era inter­ti­tles, sub­ti­tles, title frames, let­ters, graf­fi­ti, end titles, and props. Markus Nornes also looks at the role of cal­lig­ra­phy in film cul­ture at large, from gifts to cor­re­spon­dence to adver­tis­ing. The book begins with a his­tor­i­cal dimen­sion, track­ing how cal­lig­ra­phy is ini­tial­ly used in ear­ly cin­e­ma and how it is con­tin­u­al­ly reartic­u­lat­ed by trans­form­ing con­ven­tions and the inte­gra­tion of new tech­nolo­gies. These chap­ters ask how cal­lig­ra­phy cre­ates new mean­ing in cin­e­ma and demon­strate how cal­lig­ra­phy, cin­e­matog­ra­phy, and act­ing work togeth­er in a sin­gle film. The last part of the book moves to oth­er regions of the­o­ry. Nornes explores the cin­ema­ti­za­tion of the hand­writ­ten word and explores how cal­lig­ra­phers under­stand their own work.

Voice at the interfaces: The syntax, semantics, and morphology of the Hebrew verb

Ita­mar Kast­ner | https://doi.org/10.5281/zenodo.3865067 | https://langsci-press.org/catalog/book/271

This books presents the most com­pre­hen­sive descrip­tion and analy­sis to date of Hebrew mor­phol­o­gy, with an empha­sis on the ver­bal tem­plates. Its aim is to devel­op a the­o­ry of argu­ment struc­ture alter­na­tions which is anchored in the syn­tax but has sys­tem­at­ic inter­faces with the phonol­o­gy and the seman­tics. Con­crete­ly, the mono­graph argues for a spe­cif­ic for­mal sys­tem cen­tered around pos­si­ble val­ues of the head Voice. The for­mal assump­tions are as sim­i­lar as pos­si­ble to those made in work on non-Semit­ic lan­guages. The first part of the book (four chap­ters) is devot­ed to Hebrew; the sec­ond part (two chap­ters) com­pares the cur­rent the­o­ry with oth­er approach­es to Voice and argu­ment struc­ture in the recent lit­er­a­ture.