Letter to Henry Nelles from James Ingersoll.

Letter to Henry Nelles from James Ingersoll. Most of the writing is illegible, but he does mention turning a poor man off the premises without paying him. There is a note at the end of this letter (in different handwriting) to write to John Willson to provide an honest Scotch [Scottish] girl for Andrew Muir, about 9 or 10 years old(1 double-sided page, handwritten), April 1832.

Alverata: Latin, Greek and Cyrillic typeface

Alverata: a typeface design for Europe This typeface is a response to the extraordinarily diverse forms of letters of the Latin alphabet in manuscripts and inscriptions in the Romanesque period (c. 1000–1200). While the Romanesque did provide inspiration for architectural lettering in the nineteenth century, these letterforms have not until now been systematically considered and redrawn as a working typeface. The defining characteristic of the Romanesque letterform is variety: within an individual inscription or written text, letters such as A, C, E and G might appear with different forms at each appearance. Some of these forms relate to earlier Roman inscriptional forms and are therefore familiar to us, but others are highly geometric and resemble insular and uncial forms. The research underlying the typeface involved the collection of a large number of references for lettering of this period, from library research and direct on-site ivestigation. This investigation traced the wide dispersal of the Romanesque lettering tradition across the whole of Europe. The variety of letter widths and weights encountered, as well as variant shapes for individual letters, offered both direct models and stylistic inspiration for the characters and for the widths and weight variants of the typeface. The ability of the OpenType format to handle multiple stylistic variants of any one character has been exploited to reflect the multiplicity of forms available to stonecutters and scribes of the period. To make a typeface that functions in a contemporary environment, a lower case has been added, and formal and informal variants supported. The pan-European nature of the Romanesque design tradition has inspired an pan-European approach to the character set of the typeface, allowing for text composition in all European languages, and the typeface has been extended into Greek and Cyrillic, so that the broadest representation of European languages can be achieved.

Digital code-switching between Cypriot and Standard Greek: performance and identity play online

Studies of code-switching in writing are very limited in comparison with the numerous investigations of this phenomenon in oral communication. Recent research has revealed that in text-based computer-mediated communication internet users bring into play the various languages available in their linguistic repertoire and, consequently, switch between them. In this case study, I investigate digital code-switching between Cypriot and Standard Greek, the two varieties of Greek spoken on the island of Cyprus. Following Auer’s conversation analytic approach and Gafaranga’s view that conversational structure coexists with social structure, I investigate code-switching in online interactions. The data to be analysed here, unlike those considered in most studies of code-switching, are written data, obtained from channel #Cyprus of Internet Relay Chat. The results suggest that code-switching in writing is influenced not only by macro-sociolinguistic factors, but they are also shaped by the medium- and social-specific characteristics of Internet Relay Chat. This, in turn, allows internet users to gain access to different roles and perform various identities within this online context.

Projecting social and discursive identities through code-switching on facebook: the case of Greek Cypriots

Two varieties of Greek are spoken on the island of Cyprus: the local dialect, namely the Greek-Cypriot Dialect (GCD), and Standard Modern Greek (SMG). English is also influential, as Cyprus was an English colony until 1960. The dialect is rarely employed for everyday written purposes; however, it is now evident in computer-mediated communication (CMC). As a contribution to the field of code-switching in writing, this study examines how Greek-Cypriot internet users employ GCD, SMG, and English in their Facebook interactions. In particular, we investigate how identities (discursive and social) are performed and indexed through the linguistic choices of Greek-Cypriot internet users. The findings indicate that switches to GCD add a humorous tone and express solidarity and informality. SMG is mostly used for ‘official’ statements, and it is preferred by mature internet users, while English is used with expressions of affect and evaluative comments.

Linguistic innovations in IRC: Cypriot-Greek phonological features

The Cypriot Greek variety (CG), spoken in the island of Cyprus, is relatively distinct from Standard Greek (SG) in all linguistic domains and, especially, in the area of pronunciation. Youth language, within the Greek-Cypriot context, is an area of study that has, until recently, received little attention. Tsiplakou (2004) makes reference to the emergence of a new slang among young Greek-Cypriots, influenced by new comedy series, in which the actors make extensive use of ‘exaggeratedly peasant’ CG. As these comedy series become increasingly popular, the use of marked regional features becomes evident in the speech style of young Greek-Cypriots. A preliminary study has also revealed that marked CG linguistic features are equally evident in the online interactions of young internet users (Themistocleous 2005). In this study, I examine the use of CG phonological elements in a corpus of messages collected from channel #Cyprus, of Internet Relay Chat (IRC). It is demonstrated that young Greek-Cypriots use language in creative ways, in order to represent in writing phonological features, typical of their informal speech.

A reappraisal of Baskerville's Greek types

Ιn the eighteenth century the printing of Greek texts continued to be central to scholarship and discourse. The typography of Greek texts could be characterised as a continuation of French models from the sixteenth century, with a gradual dilution of the complexity of ligatures and abbreviations, mostly through printers in the Low Countries. In Britain, Greek printing was dominated by the university presses, which reproduced conservatively the continental models – exemplified by Oxford's Fell types, which were Dutch adaptations of earlier French models. Hindsight allows us to identify a meaningful development in the Greek types cut by Alexander Wilson for the Foulis Press in Glasgow, but we can argue that in the middle of the eighteenth century Baskerville was considering Greek printing the typographic environment was ripe for a new style of Greek types. The opportunity to cut the types for a New Testament (in an twin edition that included a generous octavo and a large quarto version) would seem perfect for showcasing Baskerville's capacity for innovation. His Greek type maintained the cursive ductus of earlier models, but abandoned complex ligatures and any hint of scribal flourish. He homogenised the modulation of the letter strokes and the treatment of terminals, and normalised the horizontal alignments of all letters. Although the strokes are in some letters too delicate, the narrow set of the style composes a consistent, uniform texture that is a clean break from contemporaneous models. The argument is made that this is the first Greek typeface that can be described as fully typographic in the context of the technology of the time. It sets a pattern that was to be followed, without acknowledgement, by Richard Porson nearly a century and a half later. The typeface received little praise by typographic historians, and was condemned by Victor Scholderer in his retrospective of Greek typography. A survey of typeface reviews in the surrounding decades establishes that the commentators were mostly reproducing the views of an arbitrary typographic orthodoxy, for which only types with direct references to Renaissance models were acceptable. In these comments we detect a bias against someone considered an arriviste in the scholarly printing establishment, as well as a conservative attitude to typographic innovation.

Social identities and law students' writing

This paper argues that social identities, discursively speaking, consist of ‘positions’ that are individuated by distinctive linguistic features. These include distinctive patterns of representation indicated by clause structure and type, a set of priorities for attending to what is important indicated by thematic structure, and an orientation to the represented world and to self as indicated by modality, propositional attitudes and tense. A social identity comprises an array of these often contradictory ‘positions’ associated with a social or professional role. A person’s identity is constituted dynamically by the way they ‘reconcile’ the various positions that make up the social identity, and also, as Archer and Ivanic argue, by the way they reconcile a social with a personal or autobiographical identity. It is argued that this process of reconciliation gives clues about identity formation in the traces it leaves in grammatical texture.

This paper uses a simulated letter of advice to a client written by a group of first year law students to explore the discursive construction of social or professional identity. This letter is poorly written and full of grammatical mistakes and infelicities. It is argued that the mistakes provide a linguistic trace of the students’ struggle to reconcile the conflicting roles and positions they occupy as authors of the letter. In particular the students’ problems result from a struggle to reconcile their multiple positions as: students writing for assessment by a tutor about a legal problem, as a simulated firm of solicitors advising to a client, and as potential litigators anticipating the future course of events in their simulated moot court appearance.

First-year law students’ construction of professional identity through writing

While there is a considerable body of research on law student identity construction based on interviews and transcripts of classroom talk, there is very little work based on student written texts. In this article two letters of advice written by beginning law students are analysed, using Ivanic and Camps’s (2001) framework, as an example of identity formation. Legal identity is argued to be formed by students’ attempts to accommodate a dynamic, partial, practitioner role of provider of advice to the traditional analytic focus of the law student. The process of accommodation is evident in the language of the letters, which show disfluencies resulting from attempts to combine different roles into a coherent legal identity. Comparison with a professionally written letter suggests that, rather than seeking to shape a coherent position, lawyers are able simultaneously to hold incompatible perspectives, concealing the tensions by foregrounding some perspectives and backgrounding others.

Letter to a dead playwright : daily grind, Vicki Reynolds, and archive fever

’Nothing is less reliable, nothing is less clear today than the word “archive”,’ observed Jacques Derrida in his book Archive Fever: a Freudian Impression (1996). This paper reflects on the unsettling process of establishing (or commencing) an archive for the Melbourne Workers Theatre, to form part of the AusStage digital archive which records information on live performance in Australia. Glenn D'Cruz's paper juxtaposes two disparate but connected registers of writing: an open letter to a deceased Australian playwright, Vicki Reynolds, and a critical reflection on the politics of the archive with reference to Derrida's account of archive fever, which he characterizes as an ‘irrepressible desire to return to the origin, a homesickness, a nostalgia for the return to the most archaic place of absolute commencement’. Using Derrida's commentary on questions of memory, authority, inscription, hauntology, and heritage to identify some of the philosophical and ethical aporias he encountered while working on the project, D’Cruz pays particular attention to what Derrida calls the spectral structure of the archive, and stages a conversation with the ghosts that haunt the digitized Melbourne Workers Theatre documents. He also unpacks the logic of Derrida's so-called messianic account of the archive, which ‘opens out of the future’, thereby affirming the future-to-come, and unsettling the normative notion of the archive as a repository for what has passed. Glenn D’Cruz teaches at Deakin University, Australia. He is the author of Midnight's Orphans: Anglo-Indians in Post/Colonial Literature (Peter Lang, 2006) and editor of Class Act: Melbourne Workers Theatre 1987–2007 (Vulgar Press, 2007).

Letter from Daniel Upton to James Savage, 1799 September 29

Daniel Upton wrote this letter from Machias, Maine on September 29, 1799; it is addressed to James Savage, who was then a freshman at Harvard College. In the letter, Upton advises Savage to study ardently, avoiding the temptation to procrastinate. He thanks Savage for having sent him a copy of "Mr. Lowell's oration" and sends greetings to a Mr. Holbrook and Mr. Jones. He also passes along the fond wishes of those in Machias who know Savage, including John Cooper and his wife, Phineas Bruce and his wife, and Hannah Bruce (Upton's future wife). Upton explains that he is writing the letter in a hurry because he is sending it on board with Captain Merryman, who is about to set sail, presumably for Boston.

Letter of recommendation for Amos Main from Joseph Moodey to Nathan Prince, 1725 July 2

Handwritten letter sent by Joseph Moody, schoolmaster in York, to Harvard Tutor Nathan Prince recommending student Amos Main for acceptance to the College. In the letter, Moody requests Prince give Main an examination for admission, with the caveat that though Main has been studying Latin and Greek he has a difficult home life and is "somewhat Raw; yet I hope you'l wink at it." The letter, dated July 2, 1725, is written on a folded folio-sized leaf; there are handwritten notes about Massachusetts towns on the verso.

Commonplace book of John Holyoke, 1662 - May 1663

This unbound commonplace book was kept by John Holyoke during 1662 and 1663. The volume contains chiefly religious quotations and sermon notes (possibly of sermons preached by Holyoke himself), in English, Latin and Greek. Both ends of the volume were used to begin writing: the front page reads “Johannes Holyoke, adjunctu occupatu, May-1663” and the rear page reads “Johannes Holyoke [illegible] 1662.” The texts do not follow a straight tête-bêche model, where one text is upside down in relation to the other; rather, the texts change direction several times within the volume. The volume also includes part of letter sent to Holyoke’s grandfather Pynchon, September 16, 16?? [date illegible], as well as a series of alphabetically arranged quotations.

Greek translations by Benjamin Wadsworth, 1766

Two-page handwritten Greek translations created by Harvard sophomore Benjamin Wadsworth on folio-sized paper. The document contains Greek translations of two letters from J. Garretson's "English exercises for school-boys to translate into Latin," copied by Wadsworth in 1766. The first page contains two sections: "As it is in English. A Letter from one friend to another," containing a copy of Garretson's Epistle IV from "E.C.," and a Greek translation of the letter beginning "Kypie..." The second page contains a Greek translation of Garretson's Epistle III from "B.J," and a note by Wadsworth: "A Letter from one Brother to another. Taken out of Garetson's English Exercise. The 3rd Exercise. or 135st page. There is not room or I would write down the English out of which I translated it. September the 2d A.D. 1766. When I was a sophomore." The document is bordered with hand-drawn double lines.

[Letter from Thankful Smith to Mary Dunster, ca. 1767]

Handwritten one-page undated letter from Thankful Smith to Mary Dunster of Harwick, Mass. The letter is witnessed by Judith Smith, Elisha Parker, and Caleb Gannett. The short letter is playful and provides cryptic details about Smith's life. Though the letter is closed, "I remain your dutiful Parent," the author appears to be Thankful Smith writing to her sister Mary Dunster.