An Anthropology of Landscape tells the fascinating story of a heathland landscape in south-west England and the way different individuals and groups engage with it. Based on a long-term anthropological study, the book emphasises four individual themes: embodied identities, the landscape as a sensuous material form that is acted upon and in turn acts on people, the landscape as contested, and its relation to emotion. The landscape is discussed in relation to these themes as both ‘taskscape’ and ‘leisurescape’, and from the perspective of different user groups. First, those who manage the landscape and use it for work: conservationists, environmentalists, archaeologists, the Royal Marines, and quarrying interests. Second, those who use it in their leisure time: cyclists and horse riders, model aircraft flyers, walkers, people who fish there, and artists who are inspired by it. The book makes an innovative contribution to landscape studies and will appeal to all those interested in nature conservation, historic preservation, the politics of nature, the politics of identity, and an anthropology of Britain.

Personal narratives are one way people code their experiences and convey them to others. Given that speakers can simultaneously express information and define a social situation, analyzing how and why people structure the telling of personal narratives can provide insight into the social dimensions of language use. In Extraordinary from the Ordinary: Personal Experience Narratives in American Sign Language, Kristin Jean Mulrooney shows that accounts by Deaf persons expressed in ASL possess the same characteristics and perform the same function as oral personal narratives.

Mulrooney analyses12 personal narratives by ASL signers to determine how they “tell”  their stories. She examines the ASL form of textual narration to see how signers use lexical signs to grammatically encode information, and how they also convey perceived narration. In perceived narration, the presenter depicts a past occurrence in the immediate environment that allows the audience to partially witness and interpret the event. Mulrooney determined that ASL narratives reveal a patterned structure consisting of an introduction, a main events section for identifying and describing past events, and a conclusion. They also can include background information, an explication section in which the presenter expands or clarifies an event, and a section that allows the presenter to explain his or her feelings about what happened. Liberally illustrated with photographs from videotaped narratives, Extraordinary from the Ordinary offers an engrossing, expansive view of personal narratives embodying the unique linguistic elements of ASL.

These lectures by one of the most influential and original philosophers of the twentieth century constitute a sustained argument for the philosophical basis of romanticism, particularly in its American rendering. Through his examination of such authors as Emerson, Thoreau, Poe, Wordsworth, and Coleridge, Stanley Cavell shows that romanticism and American transcendentalism represent a serious philosophical response to the challenge of skepticism that underlies the writings of Wittgenstein and Austin on ordinary language.

Out of the Ordinary explores the functions of belief and supernatural experience within an array of cultures, as well as the stance of academe toward the study of belief and the supernatural. The essays in this volume call into question the idea that supernatural experience is extraordinary.

Among the contributors are Shelley Adler, David Hufford, Barre Toelken, and Gillian Bennett.

This radically original book argues for the power of ordinary language philosophy—a tradition inaugurated by Ludwig Wittgenstein and J. L. Austin, and extended by Stanley Cavell—to transform literary studies. In engaging and lucid prose, Toril Moi demonstrates this philosophy’s unique ability to lay bare the connections between words and the world, dispel the notion of literature as a monolithic concept, and teach readers how to learn from a literary text.

Moi first introduces Wittgenstein’s vision of language and theory, which refuses to reduce language to a matter of naming or representation, considers theory’s desire for generality doomed to failure, and brings out the philosophical power of the particular case. Contrasting ordinary language philosophy with dominant strands of Saussurean and post-Saussurean thought, she highlights the former’s originality, critical power, and potential for creative use. Finally, she challenges the belief that good critics always read below the surface, proposing instead an innovative view of texts as expression and action, and of reading as an act of acknowledgment. Intervening in cutting-edge debates while bringing Wittgenstein, Austin, and Cavell to new readers, Revolution of the Ordinary will appeal beyond literary studies to anyone looking for a philosophically serious account of why words matter.

Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal.

"This book has the lucidity and the intelligence we have come to expect from Marjorie Perloff.—Linda Munk, American Literature

"[Perloff] has brilliantly adapted Wittgenstein's conception of meaning and use to an analysis of contemporary language poetry."—Linda Voris, Boston Review

"Wittgenstein's Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds."—David Clippinger, Chicago Review

"Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic. . . . Entertaining, witty, and above all highly original."—Willard Bohn, Sub-Stance