John Hawkins

First published in 1986, this book draws together analyses of English and German. It defines the contrasts and similarities between the two languages and, in particular, looks at the question of whether contrasts in one area of the grammar is systematically related to contrasts in another, and whether there is any ‘directionality’ or unity to contrast throughout grammar as a whole. It is suggested that there is, and that English and German can serve as a case study for a more general typology of languages than we now have. This volume will be of interest to a wide range of linguists, including students of Germanic languages; language typologists; generative grammarians attempting to ‘fix the parameters’ on language variation;’ historical linguists; and applied linguists.

First published in 1988, this book is concerned with the definite and indefinite articles in English. It provides an integrated pragmatic-semantic theory of definite and indefinite reference, on the basis of which, many co-occurance restrictions between articles and non-modifiers are explained. At the general theoretical level, this book looks at the role of semantics in the prediction of all and only the grammatical sentences of a language. A generalisation is proposed uniting semantic oppositions underlying ungrammaticality with syntactic oppositions between conditions of application on transformational generative rules. A procedure is suggested for distinguishing semantic from syntactic causes of ungrammaticality. At a more particular level, the book explores the nature of reference. It examines an important selection of subjects such as the contrast between definiteness and indefiniteness, the relationship between definite and demonstrative reference, and the relationship between pragmatic and logical aspects of determining meaning.

This is the first and only scholarly edition of Sir John Hawkins’s Life of Samuel Johnson, LL. D., a work that has not been widely available in complete form for more than two hundred years. Published in 1787, some four years before James Boswell's biography of Johnson, Hawkins's Life complements, clarifies, and often corrects numerous aspects of Boswell's Life. Samuel Johnson (1709-84) is the most significant English writer of the second half of the eighteenth century; indeed, this period is widely known as the Age of Johnson. Hawkins was Johnson's friend and legal adviser and the chief executor of his will. He knew Johnson longer and in many respects better than other biographers, including Boswell, who made unacknowledged use of Hawkins's Life and helped orchestrate the critical attacks that consigned the book to obscurity. Sir John Hawkins had special insight into Johnson's mental states at various points in his life, his early days in London, his association with the Gentleman's Magazine, and his political views and writings. Hawkins's use of historical and cultural details, an uncommon literary device at the time, produced one of the earliest "life and times" biographies in our language. The Introduction by O M Brack, Jr., covers the history of the composition, publication, and reception of the Life and provides a context in which it should be read. Annotations address historical, literary, and linguistic uncertainties, and a full textual apparatus documents how Brack arrived at this definitive text of Hawkins's Life.

Sir John Hawkins (1719–1789), lawyer, friend of Samuel Johnson and member of the Academy of Ancient Music, published his pioneering five-volume history in 1776 just after the first volume of Burney's. Hawkins' work suffered badly in the resulting competition between the two, partly because of his difficult personality, partly because of the scholarly style of the writing contrasting with Burney's more engaging approach. However, it is Hawkins' accuracy and attention to detail, his appreciation of sixteenth- and seventeenth-century music and his account of London music society in the early eighteenth century, supported by his painstaking research, which makes the History of indispensable value to music scholars. Whilst there are neither contents list nor chapter headings, there is an index, and each volume includes generous illustrations and musical examples. The work ranges from earliest times to Hawkins' own day, showing how musical instruments and performance developed.

Sir John Hawkins (1719–1789), lawyer, friend of Samuel Johnson and member of the Academy of Ancient Music, published his pioneering five-volume history in 1776 just after the first volume of Burney's. Hawkins' work suffered badly in the resulting competition between the two, partly because of his difficult personality, partly because of the scholarly style of the writing contrasting with Burney's more engaging approach. However, it is Hawkins' accuracy and attention to detail, his appreciation of sixteenth- and seventeenth-century music and his account of London music society in the early eighteenth century, supported by his painstaking research, which makes the History of indispensable value to music scholars. Whilst there are neither contents list nor chapter headings, there is an index, and each volume includes generous illustrations and musical examples. Volume 3 looks at the music of the Reformation, the English madrigalists and the rise of opera and oratorio.

Sir John Hawkins (1719–1789), lawyer, friend of Samuel Johnson and member of the Academy of Ancient Music, published his pioneering five-volume history in 1776 just after the first volume of Burney's. Hawkins' work suffered badly in the resulting competition between the two, partly because of his difficult personality, partly because of the scholarly style of the writing contrasting with Burney's more engaging approach. However, it is Hawkins' accuracy and attention to detail, his appreciation of sixteenth- and seventeenth-century music and his account of London music society in the early eighteenth century, supported by his painstaking research, which makes the History of indispensable value to music scholars. Whilst there are neither contents list nor chapter headings, there is an index, and each volume includes generous illustrations and musical examples. Volume 1 includes a Preliminary Discourse, the development of music notation, plainchant and the music treatises of Arezzo and Boethius.

Sir John Hawkins (1719–1789), lawyer, friend of Samuel Johnson and member of the Academy of Ancient Music, published his pioneering five-volume history in 1776 just after the first volume of Burney's. Hawkins' work suffered badly in the resulting competition between the two, partly because of his difficult personality, partly because of the scholarly style of the writing contrasting with Burney's more engaging approach. However, it is Hawkins' accuracy and attention to detail, his appreciation of sixteenth- and seventeenth-century music and his account of London music society in the early eighteenth century, supported by his painstaking research, which makes the History of indispensable value to music scholars. Whilst there are neither contents list nor chapter headings, there is an index, and each volume includes generous illustrations and musical examples. Volume 2 includes music of the troubadours, measured notation, modes, organum, the rise of polyphony and Glarean's Dodecachordon.

Sir John Hawkins (1719–1789), lawyer, friend of Samuel Johnson and member of the Academy of Ancient Music, published his pioneering five-volume history in 1776 just after the first volume of Burney's. Hawkins' work suffered badly in the resulting competition between the two, partly because of his difficult personality, partly because of the scholarly style of the writing contrasting with Burney's more engaging approach. However, it is Hawkins' accuracy and attention to detail, his appreciation of sixteenth- and seventeenth-century music and his account of London music society in the early eighteenth century, supported by his painstaking research, which makes the History of indispensable value to music scholars. Whilst there are neither contents list nor chapter headings, there is an index, and each volume includes generous illustrations and musical examples. Volume 5 includes the Baroque era, an account of the contemporary music scene in England and the general index.

Sir John Hawkins (1719-1789), lawyer, friend of Samuel Johnson and member of the Academy of Ancient Music, published his pioneering five-volume history in 1776 just after the first volume of Burney's. Hawkins' work suffered badly in the resulting competition between the two, partly because of his difficult personality, partly because of the scholarly style of the writing contrasting with Burney's more engaging approach. However, it is Hawkins' accuracy and attention to detail, his appreciation of sixteenth- and seventeenth-century music and his account of London music society in the early eighteenth century, supported by his painstaking research, which makes the History of indispensable value to music scholars. Whilst there are neither contents list nor chapter headings, there is an index, and each volume includes generous illustrations and musical examples. Volume 4 covers the seventeenth century, including portraits of Gibbons, Lully and Purcell, and discusses of Mersenne's Harmonie Universelle.