In September 2007, Rissi Palmer’s debut single “Country Girl” entered Billboard’s Hot Country Song (HCS) chart, making her the first Black female artist to chart in twenty years and one of just seven Black women in the history of the industry. With short life cycles on the chart, their songs left faint data trails making their time in the industry. As a result, their careers received limited attention from the press, their music was not widely distributed, their contributions went unrecognized by the industry, and, as a result, they remain unknown to country music fans. In an industry tightly centered around documenting, preserving, and promoting its heritage, these women have been largely expunged from the genre’s historical narrative. Drawing on intersectional theory and feminist scholarship on institutional discrimination (Collins 1990; Ahmed 2014, 2019), this chapter analyzes sixty years of chart and award history data, to offer a framework for considering how industry data shapes cultural heritage, dictating whose stories get preserved.

The Epilogue includes a new interpretation of a late antique poem by Pentadius. The Epilogue also summarises the findings of the book.

Intercultural interactions in English as a Lingua Franca (ELF) are increasingly becoming the norm as speakers of diverse first languages and cultures find themselves needing to communicate in both personal and professional domains for any number of reasons. The chapter provides an overview of ELF pragmatics research that is focused on how multilingual, multicultural speakers in real-world settings achieve mutual understanding through the effective use of ELF. Specifically, the chapter examines the pragmatic strategies that speakers deploy to preempt misunderstanding as they conjointly negotiate and construct shared meaning. Practices that enhance explicitness and clarity, such as repetition, rephrasing, topic negotiation, and the insertion of a parenthetical remark that provides additional information, reveal how speakers who anticipate difficulty in understanding, possibly arising from linguistic variability and cultural difference, increase efforts to minimize mis/non-understanding. Using data extracts from relevant ELF studies, the chapter illustrates how speakers in these intercultural interactions accommodate their interlocutors and the context of communication to arrive at shared understanding.

How easy is it to repeat a previous corpus-based study? Repetition is a basic demand of scientific investigations. Hence our focus in this chapter is on an attempt to repeat some studies by Geoffrey Leech of modal verbs and word frequencies. In failing to repeat a number of observations we note the difficulty of repeating studies in corpus linguistics, in spite of the field having proposed that the ability to do this is one of its distinct strengths.

The chapter centres on the notion of repetition and takes it as the key concept of practice theory. It explores the translocal character of practice with regard to transnational diplomatic negotiations in the UNESCO World Heritage Programme. First, the chapter addresses a widespread bias towards stability and reproduction of the social in practice theory, points towards the need to take account of the dynamics of the social, and develops a poststructuralist understanding of repetition. The second part outlines three related dimensions of repetition and spells out their methodological implications for practice theory. By thinking of practices in terms of repetitions that link different sites and instances, the methodology of practice theory is to follow the fragile relations which make up the (in)stability of the social, enabling it to grasp the specific contributions of bodies and material artefacts. Drawing on data from a long-term participant observation, the final part of the chapter puts this methodology to work by analysing continuity and change in international diplomacy, looking at the interwoven diplomatic practices of negotiating, drafting, and decision-making.

The main message of this chapter is that vocabulary teaching has only a limited role to play in the learning of vocabulary (no more than one-quarter of one of the four strands of a course), and teachers need to be careful not to overplay this role at the expense of the time available for the deliberate learning and incidental learning of vocabulary. In this chapter, the role of teaching is very narrowly defined, and it is used to refer to the teacher deliberately teaching vocabulary. The conditions needed for vocabulary learning are carefully examined and two approaches to evaluating vocabulary teaching activities, involvement load and technique feature analysis, are described and applied. The chapter includes a range of practical activities for teaching words, including concordancing and computer-assisted vocabulary learning. These different activities are related to the various aspects of knowing a word.

Chapter 4 explores the memorial aspects of the Latin refrain and its circulation between genres and among works, demonstrating how the Latin refrain and refrain song participate in an extensive, and at times complicated network of textual and musical borrowing, reworking, and repetition. These intertextual and intermusical networks include refrains that are reworked from other genres, most often chant; refrains that are employed structurally across different songs; and refrains that are recycled more freely among songs. Although relying on the written side of the Latin refrain’s transmission, these forms of intertextuality are underpinned by the lived experiences of the individuals and communities who performed, remembered, and wrote down Latin song and refrain; singers, scribes, and compilers are the unnamed agents driving the recycling of Latin refrains. Chapter 4 concludes with a case study of two fourteenth-century sources from an Austrian abbey that considers how the inscription of refrains within this monastic community evidences an evolving, living practice of remembering, singing, copying, and reusing Latin refrains.

Chapter 6 picks up on several threads that run throughout the previous chapters, including community and performance, refrains and collective memory, the mobility or mouvance of refrains, and the question of place and locality for the performance and dissemination of Latin refrain songs, and puts them into a broader cultural and historical context. Chapter 6 also points to further contexts for the refrain song outside the scope of the book, as well as possible avenues of interpretation and research for songs and refrains that were not discussed, such as secular refrains. The chapter also briefly discusses the afterlives of Latin refrain songs, from the late medieval carol and the rise of print culture to modern recording practices.

To stand in Rome before the Pantheon and stare up at the huge bronze letters of the domineering inscription M. AGRIPPA L F COS TER FECIT is to recognize the memorializing power of the ancient epigraphic habit – and the degree to which the ancient city was full of sites that made the past physically, visibly present. The Parthenon parades its anonymity, proud in its generalization of the democratic ideal: the Pantheon broadcasts its maker’s name. Even or especially here, however, the act of making memory visible turns out to be more complicated than it might at first seem. The temple itself, originally built by Agrippa, had been burnt down twice, and the second rebuilding was completed by Domitian, an emperor so despised by those who remembered him that his statues were said to bleed and scream (it will be remembered) when beaten in violent damnatio. There is no record of his name on the Pantheon. This facade was rebuilt by Hadrian, who nonetheless has also not left his name anywhere on the building. This may seem an act of surprising restraint, but later history (HA Hadrian 20.3) records that Hadrian did not care to have his name proclaimed on buildings that he established or restored (though he was happy for cities to be named after him).

The Epilogue shows how the defamatory stories that began to emerge in the 1930s crystallized after Raúl’s death into an individualized “black legend” about “el negro Raúl.” I demonstrate the patterned and repetitive nature of these stories, which plagiarized each other and echoed master narratives of race rather than reflecting Raúl’s lived experience. The Epilogue brings the story of Raúl’s Black legend up to the present, where the largely unchanged contours of his tale suggest the tensions and incomplete transformations of Argentina’s newfound multiculturalism, and the ongoing seductiveness of “black legend” stories even within the emergent Black movement. Finally, I discuss the challenges (archival and conceptual) of researching Raúl’s story in a country that denies its African heritage, and I reflect on how the interest it sparked among my fellow Argentines suggests that Black Legend may, after all, help shift the narratives on Blackness in Argentina and beyond.

Dante’s life-transforming experience of Beatrice is at once a theophany and a poetic epiphany. It is made such particularly in and through its literary elaboration. Beatrice’s living appearances to Dante become inseparable from his imaginings of her in the complex weave of interpretations preserved in the book of his memory and in the existential witness of his poems. Dante’s rhetoric of appearing marks the visionary quality of his narrative and his verses, but it also underscores certain enigmas pertaining to the veracity of his personal experience of what is, for him, an unshakable truth. A proliferation of variants of his experience – whether of dissemblance or of death – riddles Dante’s testimony to one incomparable person and event. As in the fourfold Gospels, experience of the transcendent is inescapably multiple: every individual witness differs from the others. The emergence of modern self-reflective subjectivity in Dante’s rendering of his witness to a religious experience results in a dialectic between reflection and inspiration. The more Dante reflects on his experience, the more reflection itself is revealed as at least the proximate source of his however exalted perceptions. His inspiration comes to him in and through his deeply subjectivized reflection – for instance, in his spontaneously “receiving” the incipit for his canzone “Women who have intelligence of love” during prolonged solitary meditation. The boundaries between inner and outer realities dissolve when all definable realities show up as produced by reflection. Reflection finds itself at the origin of its world to such an extent that even the self has no content not produced by reflection, and in this Dante’s little book anticipates the eventual implosion of the modern subject. For him, this is also its explosion in a direction opening to the infinitely other and divine.

Finch’s chapter argues that the rhetorical artifice in Wallace Stevens’s poetry may be best understood through the concept of manner. In contrast with style, which focuses on the personal signature of a writer’s work, manner refers to the more social, public aspects of a writer’s rhetorical bearing. Drawing on a range of critics who have theorized aesthetic manner and the politics of manners, including Pierre Bourdieu, Giorgio Agamben, Henry James, and Lionel Trilling, this chapter proposes that Stevens’s interest in textiles and clothing, in figurations of nobility, and in the mannerist syntax of repetition are not just neutral aesthetic traits but expressions of a sensibility tied to social categories that include class and race. After examining these intersections in poems spanning Stevens’s career, Finch closes by suggesting that the most meaningful approaches to Stevens’s formal prosody should remain attentive to the social posture and cultural tones of his language.

Surgical patients undergo multiple transitions of care, from home to the operating room, to a recovery unit to a ward, and so on. Each transition poses a risk of medication error if the current medications are not reconciled or managed appropriately in the new phase of care. Home medications may be suspended, stopped, substituted for, or need to be continued, often in the face of changing preoperative guidelines. Admission and discharge medication reconciliations are at high risk for inaccuracies and for mis-information for the patient as well as the patient's primary provider. Intraoperative medication management is largely but not exclusively, under the control of the anesthesiologist, who serves as the sole agent for the prescription, dispensing, preparation, administration, documentation and monitoring of the anesthetic medications. Common errors include syringe or vial swaps, omissions (e.g., no redosing of antibiotics), wrong route, wrong dose, and even wrong choice of medication. Medication errors occur in approximately every 2 anesthetics, most are of little to no harm, but each has the potential for significant injury. Medication errors also can be made by a surgeon or OR nurse; communication failures between care team members often contribute.