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Charlotte Brontë's classic Jane Eyre translated by Jant van der Weg into West Frisian.

Charlotte Bronte's classic Jane Eyre translated by Nicholas Williams into Cornish.

William Scawen, writing in the seventeenth century when Cornish was still the vernacular, compares Cornish with other Celtic languages, and says that Cornish is "lively and manly spoken". When we hear the majority of present-day Cornish speakers, however, this can rarely be said-particularly when considering the "lively" part. Rod Lyon believes that for a number of years matters have been getting worse. He therefore has undertaken some research to find out why this appears to be the case. Inevitably his research has led him to study in depth the traditional Cornish texts. Present-day teaching methods and a particular approach to the texts seem to be the main causes of the problem. As Lyon illustrates in this book, current teaching of the language is concentrated far too heavily on the lin­guistic structure of the old texts, which were by and large all theological works, often following strict poetic measures and by their very nature, lacking in any idiomatic, everyday Cornish. This approach of mainly written, academic thinking towards the language has resulted in the most important aspect of any language-fluent and lively conversational Cornish-being sidelined or even ignored. This is proven by the number of people who can write lengthy, academi­cally perfect passages of Cornish, but are unable to string to­gether a sentence in an impromptu everyday conversa­tion. Are these above reasons then solely to blame for the lack of lively speakers? Although they point to the root problem, Lyon also highlights other aspects of the revived language which are strong contributing factors.

Sir Gerard Clauson's "Skeleton Tangut (Hsi Hsia) Dictionary" survives as an unpublished manuscript because the author felt that he could not complete it without additional Tangut material. He began compiling the dictionary around 1938 but had to abandon the idea when it became clear that no more Tangut texts held in the USSR would be accessible in the foreseeable future. In the 1950s he deposited the manuscript and his other notes on Tangut studies in the Library of the School of Oriental and African Studies, University of London, with the aim of making them available to anyone engaged in the study of Tangut. He believed that the dictionary represented a solid structure which could be enriched with more lexical data once more Tangut texts were published. This facsimile edition makes his work accessible to a wider audience, in order to stimulate further research on the Tangut language. "Corpus Textuum Tangutorum" is a series presenting a variety of resources relevant to the study of Tangut, also known as Xixia, the north­eastern Tibeto-Burman language of the Western Xia empire, attested from 1036-1502.

Keväällä 2006 Panu Höglund värvättiin suuren suomalaisen nettiportaalin pakinoitsijaksi, koska hänellä oli "oma tapansa käyttää kieltä". Keväällä 2013 hän sai potkut eikä ole siitä saakka kelvannut yhteenkään suomenkieliseen julkaisuun, koska maahanmuuttokriitikot eivät salli. Tähän niteeseen on koottu hänen tärkeimmät kirjoituksensa syksyltä 2006, kun äärioikeistolaiset eivät vielä olleet sensuroimassa suomalaista sananvapautta.

La Marveloza Sorcisto di Oz esas rakonto di L. Frank Baum pri puerino nomizita Dorothy, qua kun sua hundo Toto esas portita da ciklono de Kansas ad la stranja e belega lando di Oz. Hike el decidas vizitar la Smeralda Urbo por demandar de olua regnanto, sorcisto nomita Oz, ke lu retrosendez el adheme. Survoye el konoceskas Terorigilo, qua serchas cerebro; Stana Hakisto, qua deziras havar kordio; e Poltrona Leono, l'unika deziro di qua esas posedar kurajo. La grupeto renkontras multa danjeri e marveloza aventuri, ma sekure atingas la Smeralda Urbo, lia suceso debita a la pensemeso dil Terorigilo, la tenera sorgemeso dil Stana Hakisto, e la senpavoreso dil Poltrona Leono. To esas la libro qua inspiris la famoza cinemo-filmo de 1939 - qua multe diferas de la libro originala! Ica libro kolorizita kontenas la ilustruri originala da William Wallace Denslow, qui esis skanita de exempleri dil unesma edituro. Esas 24 plaki kolorizita e 150 ilustruri textala, multi de li adaptita a la Linguo Internaciona Ido. La libro esas kompostita per maniero simila ad olta dil unesma edituro, kun ula pluboniguri tipografala por la lektanto moderna. --- The Wonderful Wizard of Oz is L. Frank Baum's story of a little girl named Dorothy, who with her dog Toto is carried by a tornado from Kansas to the strange and beautiful land of Oz. Here she decides to visit the Emerald City to ask its ruler, a wizard called Oz, to send her back home again. On the way she meets a Scarecrow, who is in search of brains; a Tin Woodman, who wishes to have a heart; and a Cowardly Lion, whose one desire is to possess courage. The little party encounter many dangers and marvelous adventures on the way, but reach the Emerald City in safety, their success being due to the thoughtfulness of the Scarecrow, the tender care of the Tin Woodman, and the fearlessness of the Cowardly Lion. This is the book that inspired the famous 1939 film -- which differs from the original book in quite a few ways! This full-colour book contains the original illustrations by William Wallace Denslow which were were scanned from copies of the first edition. There are 24 colour plates and 150 text illustrations, many localized into Scots. The book has been typeset a fashion similar to that of the first edition, with some typographic improvements for the modern reader.

HamethochtsBraid Scotland haes nae peer the warld's lenth lang,For bonny ben or glen, for burn or sea,Wide lochs an straths, laich park an shieling hie,The lanesome muir an dinsome cities thrang;For thesaury o pipe an dance an sang,For wale o words an flouer o poesie,Vieve checkit cleidin an proud history,Themed heritage aa ither lands tae dang;The pent-braw hames new made frae tume mills black,The pitheid gear raired rustin tae the lift,The wharves drained dry o ships whaur nae graiths bang,The idle fowk made veicious by wark's lackTwined o a hame or thirled tae debt or thrift:Braid Scotland haes nae peer the warld's lenth lang.Elaine Morton haes been scrievin aff an on for the feck o her life. Her daft days were misspent in lair o leids an music. She erst stertit scrievin hailly in Scots in 1998, muived tae it by the rich idiolects o friens in West Lothian an efter in East Lothian. She is, for instance, aye thankfu tae the chiel wha judged a photie-feenish atween twa rival dauncers wi the words "Ye'se are that close a pail o watter wadna pairt ye." Mair dacent influences cam frae John Galt, Robert Louis Stevenson, an Hugh MacDiarmid. A muckle guddle o unfurthset scrievins awaits fowk tae come, or the council cowp.

Forshall and Madden's 1850 edition of Wycliffe's Bible has long been out of print. It is very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This facsimile edition contains the entire text in a sturdy binding and will be suitable for students of Middle English as well as those interested in the history of the English bible. The two translations given below are conventionally designated "Wycliffe's Bible" or "the Wycliffite Bible" because John Wycliffe (c. 1328-31 December 1384) was inspired to render Jerome's Latin Vulgate into the spoken language of the English people, that they might be better able to understand the scriptures. Today we know that Nicholas of Hereford (died c. 1420) worked extensively on the translation of the Old Testament, completing it by 1382. John Purvey (c. 1354-16 May 1414) was probably responsible for revising the "early" translation (produced during Wycliffe's lifetime) to the more idiomatic "later" translation, which exhibits less influence from Latin syntax. It is also possible that Cornishman John Trevisa (1342-1402) participated in the earlier translation; indeed the preface to the 1611 King James Bible mentions that Trevisa, a contemporary of Wycliffe, was involved in translating the Gospels into English. Josiah Forshall (29 March 1795-18 December 1863) and Frederic Madden (16 February 1801-8 March 1873) worked for twenty-two years on their remarkable edition. The early translation is given in the left-hand column, and the later translation in the right. In their text they retained the letter yogh (¿ ¿) throughout but, curiously, replaced the letter thorn (Þ þ) with the digraph th. A glossary of Middle English words is given at the end of Volume IV. The table of contents gives the names of both the canonical and deuterocanonical books as Forshall and Madden gave them. Where the modern names differ, they are given between parentheses in italic type. At the end of Volume IV there was originally an oddity in the pagination of the back-matter. The end of the book of Apocalypse was on page 681, followed by a blank page 682. Immediately following this was a section of Additional Prologues at pages 681b-695b, after which followed a Table of Lessons pages 683-698, a Glossary pages 699-749, a blank page 750, and a Correction page 751. In this edition the Additional Prologues have been moved to pages 751-765 after the Glossary, and the Correction page has been kept as the final page redundantly at the end of each volume, although all of the specified corrections have been applied to the relevant pages (all but one which could not be found, at II p. 546 c. I. l. 22, amending te to the). Guide-words have also been added to the headers in the Glossary.

A colour facsimile of Josiah Forshall and Frederic Madden's 1850 edition of John Wycliffe's early (c. 1382) and John Purvey's later (c. 1388) Middle English translations of the Latin Vulgate. Contains the Apocryphal books. Volume III - Proverbs to 2 Maccabees

A colour facsimile of Josiah Forshall and Frederic Madden's 1850 edition of John Wycliffe's early (c. 1382) and John Purvey's later (c. 1388) Middle English translations of the Latin Vulgate. Contains the Apocryphal books. Volume IV - Matthew to Apocalypse

Forshall and Madden's 1850 edition of Wycliffe's Bible has long been out of print. It is very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This facsimile edition contains the entire text in a sturdy binding and will be suitable for students of Middle English as well as those interested in the history of the English bible. The two translations given below are conventionally designated "Wycliffe's Bible" or "the Wycliffite Bible" because John Wycliffe (c. 1328-31 December 1384) was inspired to render Jerome's Latin Vulgate into the spoken language of the English people, that they might be better able to understand the scriptures. Today we know that Nicholas of Hereford (died c. 1420) worked extensively on the translation of the Old Testament, completing it by 1382. John Purvey (c. 1354-16 May 1414) was probably responsible for revising the "early" translation (produced during Wycliffe's lifetime) to the more idiomatic "later" translation, which exhibits less influence from Latin syntax. It is also possible that Cornishman John Trevisa (1342-1402) participated in the earlier translation; indeed the preface to the 1611 King James Bible mentions that Trevisa, a contemporary of Wycliffe, was involved in translating the Gospels into English. Josiah Forshall (29 March 1795-18 December 1863) and Frederic Madden (16 February 1801-8 March 1873) worked for twenty-two years on their remarkable edition. The early translation is given in the left-hand column, and the later translation in the right. In their text they retained the letter yogh (¿ ¿) throughout but, curiously, replaced the letter thorn (Þ þ) with the digraph th. A glossary of Middle English words is given at the end of Volume IV. The table of contents gives the names of both the canonical and deuterocanonical books as Forshall and Madden gave them. Where the modern names differ, they are given between parentheses in italic type. At the end of Volume IV there was originally an oddity in the pagination of the back-matter. The end of the book of Apocalypse was on page 681, followed by a blank page 682. Immediately following this was a section of Additional Prologues at pages 681b-695b, after which followed a Table of Lessons pages 683-698, a Glossary pages 699-749, a blank page 750, and a Correction page 751. In this edition the Additional Prologues have been moved to pages 751-765 after the Glossary, and the Correction page has been kept as the final page redundantly at the end of each volume, although all of the specified corrections have been applied to the relevant pages (all but one which could not be found, at II p. 546 c. I. l. 22, amending te to the). Guide-words have also been added to the headers in the Glossary.

An whedhel a'n popet a bredn usy ow soweny wàr an dyweth dhe dhesky dader hag yw gwrës gwir-vaw yw aswonys dres oll an norvës. Peskytter may whrella Geppetto, an gravyor predn, kervya popet a yll kerdhes ha côwsel, yma an fantasy-ma, rych y awen, ow try Pinocchio der aventurs heb nùmber; rag ensampyl, yma y dhewfrik ow tevy hir dres ehen pynag oll dermyn a wrella ev leverel gow, ev yw gwrës asen hag yw lenkys gans morgy, kyns ès ev orth dyweth an whedhel dhe drouvya gwir-lowena. Nyns yw an drolla-ma leun a emôcyons shùgrus ha nyns ywa whedhel naneyl a vo porposys dhe dhesky omdhegyans dâ. I'n contrary part yma Pinocchio dhe reckna in mesk domhelydhyon vrâs an folen screfys, awenyth muscok neb yw herdhys in rag in dadn arlottes y blesours ha'y whansow; in udn ger ev yw negedhys pur. Pinocchio, an novel, kebmys ha Pinocchio an caracter, yw onen an desmygyansow brâssa a'n lien arnowyth. I'n lyver yma tradycyons a'n picaresque, a'n waryva strêt, a whedhlow an weryn hag a whedhlow fayes dhe weles kemysky warbarth. Leun yw an lyver a garacterow hegof, ha screfys ywa gans lojyk heblyth saw anwoheladow an hunros, Pinocchio yw ober na wra y dhynyans fyllel nefra. Ha'n redyor leun-devys a vydn aswon ino kefrës gesyans polytyk ha socyal. Hèm yw an kensa treveth may feu Pinocchio dyllys in Kernowek. ---The story of the wooden puppet who learns goodness and becomes a real boy is famous the world over. From the moment Geppetto the wood carver shapes a puppet that can walk and talk, this wildly inventive fantasy takes Pinocchio through countless adventures, in which his nose grows whenever he lies, he narrowly avoids death on a number of occasions, he is turned into a donkey, and is swallowed by a dogfish, before he finally achieves true happiness. Pinocchio is not in any sense sentimental nor is it a morally improving tale. On the contrary, Pinocchio is one of the great subversives of literature, a chaotic genius driven on at the mercy of his desires, in short, a renegade. Indeed he is one of the great inventions of modern literature. The novel merges the picaresque hero with elements of street theatre, of folk and fairy tales into a work that is at once adventure, satire, and a powerful enchantment. The book is full of memorable characters, is narrated with the fluid but inevitable logic of a dream, and is an endlessly fascinating work. Although originally directed at Italian children in the generation following the risorgimento, the adult reader will recognize in the Pinocchio layers of social and political satire. This is the first time that it has appeared in Cornish.