Oxford University Press's
Academic Insights for the Thinking World
Color words are among the most mysterious ones to a historian of language and culture, and brown is perhaps the most mysterious of them all. At first blush (and we will see that it can have a brownish tint), everything is clear. Brown is produced by mixing red, yellow, and black.
THE DATE: 18 September 2014, Fateful Day of Scotland’s Independence Referendum
THE PLACE: A Sceptred Isle
DRAMATIS PERSONAE: Alexander the Great, First Minister of Scotland; Daveheart, Prime Minister of the Britons […]
Saxo, who lived in the latter part of the twelfth and early thirteenth centuries, was probably a canon of Lund Cathedral (then Danish). He was secretary to Archbishop Abslon, who encouraged his gifted protégé to write a history of his own country to emulate those of other nations, such as Bede’s Ecclesiastical History of the English People.
To celebrate the launch of our new Oxford Arabic Dictionary (in print and online), the Chief Editor, Tressy Arts, explains why she decided to become an Arabist…When I tell people I’m an Arabist, they often look at me like they’re waiting for the punchline. Some confuse it with aerobics and look at me dubiously […]
In a few months, Troy and I hope to welcome you all to the 2014 Oral History Association (OHA) Annual Meeting, “Oral History in Motion: Movements, Transformations, and the Power of Story.” This year’s meeting will take place in our lovely, often frozen hometown of Madison, Wisconsin, from 8-12 October 2014.
The horror of the First World War produced an extraordinary amount of poetry, both during the conflict and in reflection afterwards. Professor Tim Kendall’s anthology, Poetry of the First World War, brings together work by many of the well-known poets of the time, along with lesser-known writing by civilian and women poets and music hall and trench songs.
Plato famously said that there is an ancient quarrel between philosophy and poetry. But with respect to one aspect of poetry, namely metaphor, many contemporary philosophers have made peace with the poets. In their view, we need metaphor. Without it, many truths would be inexpressible and unknowable.
By Kirk Curnutt
Ask someone who came of age in the 1980s what they remember about the movie Eddie and the Cruisers and one of the following responses is likely: it spawned the great rock-radio staple “On the Dark Side” and briefly made MTV stars of the improbably named John Cafferty and the Beaver Brown Band…
By David Blockley
Aristotle saw five ways of arriving at the truth – he called them art (ars, techne), science (episteme), intuition (nous), wisdom (sophia) and practical wisdom – sometimes translated as prudence (phronesis). Ars or techne (from which we get the words art and technical, technique and technology) was concerned with production but not action. Art had a productive state, truly reasoned, with an end (i.e. a product) other than itself (e.g. a building).
By Mark Rank
In celebrating the founding of this country, many things come to mind when asked to describe the essence of America — its energy and innovation; the various liberties that Americans enjoy; the racial and ethnic mix of its people. But perhaps fundamental to the essence of America has been the concept of the American Dream.
By Tom McLeish
There is a pressing need to re-establish a cultural narrative for science. At present we lack a public understanding of the purpose of this deeply human endeavour to understand the natural world. In debate around scientific issues, and even in the education and presentation of science itself, we tend to overemphasise the most recent findings, and project a culture of expertise.
By Andrew Taylor
Whatever else we think of poets, we don’t tend to see them as heroes. There are exceptions, of course – Wilfred Owen and Siegfried Sassoon famously won the Military Cross, and some three hundred years earlier, Sir Philip Sidney was praised for his dash and gallantry at the Battle of Zutphen.
By Anatoly Liberman
Once again we are torn between Rome, the Romance-speaking world, and England. The word baron appeared in English texts in 1200, and it probably became current shortly before that time, for such an important military title would hardly have escaped written tradition for too long.
By William Allan
One of the most striking aspects of classical literature is its highly developed sense of genre. Of course, a literary work’s genre remains an important factor today: we too distinguish broad categories of poetry, prose, and drama, but also sub-genres (especially within the novel, now the most popular literary form) such as crime, romantic or historical fiction. And we do the same in other creative media, such as film, with thrillers, horrors, westerns, and so on. But classical authors were arguably even more aware than writers of genre fiction are today what forms and conventions applied to the genre they were writing in.
By J. C. McKeown
The National September 11 Memorial Museum will be opened in a few weeks. On the otherwise starkly bare wall at the entrance is a 60-foot-long inscription in 15-inch letters made from steel salvaged from the twin towers: NO DAY SHALL ERASE YOU FROM THE MEMORY OF TIME. This noble sentiment is a quotation from Virgil’s Aeneid, one of mankind’s highest literary achievements, but its appropriateness has been questioned.
Anatoly Liberman’s etymological thoughts and correspondences for April; regarding ‘old languages and complexity’, the origins of the word ‘brothel’, why ‘selfie’ is not such a new term after all, ‘to whom it may concern’, unintentional wolf puns, and the amusing revenges of time.