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Drafting bespoke commercial contracts—a review for JWELB

Kenneth Adams: A Manual of Style for Contract Drafting (4th Edition)1 Mark Adler and Daphne Perry: Clarity for Lawyers – Effective Legal Language (3rd Edition)2. The drafting of bespoke commercial contracts represents a challenge on many levels. First, it is a challenge to the drafter. He or she must seek to reconcile clarity with precision and to strike a balance between language which is legally effective but also comprehensible. Often, time is short or the task difficult. In such circumstances an understandable reaction is to stick to a precedent or other settled way of expressing the subject matter. Almost invariably, the culmination is to resort to what the authors of both books rightly refer to and denigrate as, ‘legalese’, brought about by what one describes as ‘the dead hand of inertia’. Secondly, it all too often represents a severe challenge to the reader, even a legally informed reader. How much time and intellectual energy is devoted to parsing very long sentences or breaking down forensically the structure of an indigestible slab of text into separate parts, simply to start to understand how the clause works: all simple grammatical work that was the drafter’s job, not the reader’s?

Bu ve Bunlar Sözcüklerinin Akademik Yazında Adıl ve Belirteç Olarak Kullanımı

This corpus-based exploratory study investigates the use of sentence-initial this and these as pronouns and determiners in a corpus of research articles by American writers and MA theses by novice Turkish academic writers in the field of Applied Linguistics. The study reveals that authors use sentence-initial this and these both as pronouns (unattended) and determiners (attended). Contrary to expectations, prescriptions of style manuals and guide-books, overall both groups used sentence-initial this and these as pronouns and determiners, yet with lower ratios than previous studies. The findings indicate a close relationship between the writers’ educational background, their field of study, and their employment of SI this and these as pronouns. The findings are discussed with reference to the relevant literature. The knowledge gained from this study can increase our awareness of the uses and purposes of these structures in academic prose.

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Harder to Find than Nemo: The Elusive Image Citation Standard

New image citation standards need to be developed in order for college and graduate students to meet visual literacy standards. The MLA Handbook , 8th edition, and Chicago Manual of Style , 16th edition, do not adequately clarify how to caption, attribute, and cite images. Other image captioning and citing resources are available, but refer to the MLA and Chicago manuals. Image captions from scholarly journals vary widely and cannot be used as examples for students to follow. Recommendations are also provided for future editions of the MLA Handbook and Chicago Manual of Style .

Music Received

Music Received Kathleen A. Abromeit INTRODUCTION This column presents a comprehensive list of new music publications that have been sent recently by publishers and distributors for possible review in Notes. Additionally, the list has been supplemented with selective items extracted from the Theodore Front Musical Literature, Inc. webpage. Self-published music is listed when a source of acquisition is provided. The primary aim of this column is to provide brief listings of a broad range of new editions of music, thereby assisting in selection and ordering for libraries or personal collections. After the listing is prepared, the publications are sent selectively to Keith Cochran, the "Music Reviews" column editor. Many thanks to Paul Schubert for his assistance with this column. ORGANIZATION AND SCOPE NOTES Scholarly & Historical Editions: Primarily volumes of collected editions and monumental series. Extensive critical apparatus is generally assumed and therefore not noted in the entries. Facsimile Editions: Limited to publications presenting a reproduction of an item that emphasizes its nature as a primary source rather than its simple intellectual content. Orchestral Music: Works for full and chamber orchestra, and chamber groups of more than nine players. Full scores of concertos are included, but reductions for solo instrument(s) with keyboard are listed in the appropriate chamber music category. Band Music: Brass and wind ensemble music intended for more than one player to a part, and wind chamber groups of more than nine players. Choral Music: Includes all types of nondramatic choral works, in full scores or vocal scores. Dramatic Music: Operas, musicals, and ballets, in full or vocal scores. Chamber Music with Strings; Chamber Music without Strings: Duets through nonets other than one instrument with keyboard. "Strings" includes harp and guitar, but excludes keyboard instruments. String Instrument with Keyboard; Woodwind Instrument with Keyboard; Brass Instrument with Keyboard: Includes reductions for one solo instrument with keyboard (including organ). Music for more than one instrument with keyboard is listed as Chamber Music. Music for solo instrument with basso continuo is listed here, however, since the bass part is often presented as optional or for a choice of instruments. Solos for Bowed or Plucked Strings, Unaccompanied; Solos for Wind Instruments, Unaccompanied: Music for single solo instrument. Studies are included here unless they are technical exercises, orchestral studies, or methods. Music for Organ: Solo organ music, duets, arrangements, and reductions. Music for Piano or Harpsichord: For any keyboard instrument other than organ. Includes solo music and like-instrument ensembles such as 4-hand piano and 2-piano duets, keyboard reductions of piano concertos, and larger keyboard ensembles. Music for Percussion: Includes percussion solos (with or without keyboard accompaniment) and ensembles. Chamber music with other instruments is listed in the appropriate category above. Music for Voice: Music for one or more solo voices (one singer per part) with any accompaniment, including chamber ensemble. Opera excerpts, such as collections of arias, are included, but complete opera vocal scores are listed under Dramatic [End Page 153] Music. Other works for solo voices with chorus are listed under Choral Music. Methods and Studies: Includes method books, technical exercises, and orchestral studies; studies that might be used in performance are listed above as solo music. Music for Children: Materials designed for study and performance by children of preschool or elementary school age. Miscellaneous: For music that defies inclusion in the categories above. CITATION STYLE Citations include publishers' numbers or plate numbers, ISBN, and ISMN, where available. In order to keep the citations brief, description of introductory notes, critical reports, etc., is not included unless the material is considered unusual for the type of publication, or an indication of languages is warranted. Abbreviations for publishers are listed at the end of the column with complete imprints, U.S. distributors, and Web sites. Some well-known collected works series titles are abbreviated according to usage in works lists of The New Grove Dictionary of Music and Musicians, 2nd ed. Most other abbreviations follow The Chicago Manual of Style and the Notes Style Sheet. SCHOLARLY & HISTORICAL EDITIONS Arie a voce sola de diversi auttori (Venice, 1656). Edited by Paolo Alberto Rismondo. (Recent Researches in the Music of the Baroque Era, Vol. 198). A-R, 2018. B 198. ISBN...

MLA Handbook

Reviewed by: MLA Handbook David P. Wiseman Modern Language Association. MLA Handbook. 8thed. New York: MLA, 2016. Pp. 146. ISBN 978-1-60329-262-7. As a scholar and editor, I read style manuals regularly, both to sharpen my editorial skills and to stay abreast of updates. As I read the eighth edition of the MLA Handbook, I confess my surprise to have learned, as the back cover clearly states, that: "More than just a new edition, this is a new MLA style." Though I anticipate some pushback against this major change, I consider the MLA's decision to transition to a less rigid style a necessary step in the right direction to be able to anticipate and meet new needs in a digital age. The MLA Handbookbegins with a foreword from Rosemary Feal and a preface from Kathleen Fitzpatrick, the latter being the primary author of the style guide (xiii). In her fore-word, Feal acknowledges that MLA style "has evolved in response to changing needs over the [End Page 162]years" (vii). The basic theories behind this recent publication are repeated throughout the text; it grants "more freedom" (vii) and "greater flexibility" (viii) to authors, while underscoring the continuing need for general principles of research and documentation. Fitzpatrick adds historical context to the MLA Handbookin her insightful preface, recognizing that with the "increasing mobility of texts" (x), there is even more need for "reliable data trail[s]" as well as increased "flexibility and openness" (xiii) to be able to cite any data source, whether currently existing or yet to be invented. By basing the handbook on "commonsense guidelines" (3) rather than prescriptive rules, the MLA has made a bold move, and a positive one in my opinion, toward a style that seeks to present the information that is most useful to readers, thus enabling more open communication in research and scholarly dialogue. The handbook is divided into two main parts: "Principles of MLA Style" (1–58) and "Details of MLA Style" (59–128). The first, as its title suggests, is dedicated to general principles of research and writing. I found this section to be clear and informative. Contrasting past MLA handbooks that served as "reference work[s], which users consulted at need," this edition is more of "a guide that [teaches] the principles underlying documentation" (xi). This principle-based approach, however, is not without structure. It simply opens the space for new forms of scholarship and media to be documented in a clear and consistent way regardless of the delivery format. The second part of the MLA Handbookprovides a more in-depth look at the specifics of the new style. This section details the "rules" of documentation, but repeatedly emphasizes that these guidelines should be adapted to the needs of authors and their readers. As there is not space to outline all of the structures and changes contained in the handbook, below is an abbreviated template of the new format for works cited entries with a specific example of a journal article following for reference. Citation template (see MLA Handbook129 for a useful practice template): Author. Title of source. Title of container, other contributors, version, number, publisher, publication date, location. (Additional "containers" [see definition below] or other clarifying information can be added to the citation as needed.) Article citation example ( MLA Handbook114): Baron, Naomi S. "Redefining Reading: The Impact of Digital Communication Media." PMLA, vol. 128, no. 1, Jan. 2013, pp. 193–200. The above template presents an orderly list of items that could be included in a citation. The introduction of the handbook, however, offers the following statement as one of the guiding principles behind the new MLA style: "Remember that there is often more than one correct way to document a source" (4). As such, most citations will not require all of the categories outlined in the template. Furthermore, the same work may be documented in distinct ways depending on what information the author considers most valuable for potential readers. As I read through the MLA Handbook, I was confronted with new terminology. For example, the term containerin MLA style refers to the entity that publishes ("contains") the work...

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Music Received

Music Received Kathleen A. Abromeit INTRODUCTION This column presents a comprehensive list of new music publications that have been sent recently by publishers and distributors for possible review in Notes. Additionally, the list has been supplemented with selective items extracted from the Theodore Front Musical Literature, Inc. webpage. Self-published music is listed when a source of acquisition is provided. The primary aim of this column is to provide brief listings of a broad range of new editions of music, thereby assisting in selection and ordering for libraries or personal collections. After the listing is prepared, the publications are sent selectively to Keith Cochran, the "Music Reviews" column editor. ORGANIZATION AND SCOPE NOTES Scholarly & Historical Editions: Primarily volumes of collected editions and monumental series. Extensive critical apparatus is generally assumed and therefore not noted in the entries. Facsimile Editions: Limited to publications presenting a reproduction of an item that emphasizes its nature as a primary source rather than its simple intellectual content. Orchestral Music: Works for full and chamber orchestra, and chamber groups of more than nine players. Full scores of concertos are included, but reductions for solo instrument(s) with keyboard are listed in the appropriate chamber music category. Band Music: Brass and wind ensemble music intended for more than one player to a part, and wind chamber groups of more than nine players. Choral Music: Includes all types of nondramatic choral works, in full scores or vocal scores. Dramatic Music: Operas, musicals, and ballets, in full or vocal scores. Chamber Music with Strings; Chamber Music without Strings: Duets through nonets other than one instrument with keyboard. "Strings" includes harp and guitar, but excludes keyboard instruments. String Instrument with Keyboard; Woodwind Instrument with Keyboard; Brass Instrument with Keyboard: Includes reductions for one solo instrument with keyboard (including organ). Music for more than one instrument with keyboard is listed as Chamber Music. Music for solo instrument with basso continuo is listed here, however, since the bass part is often presented as optional or for a choice of instruments. Solos for Bowed or Plucked Strings, Unaccompanied; Solos for Wind Instruments, Unaccompanied: Music for single solo instrument. Studies are included here unless they are technical exercises, orchestral studies, or methods. Music for Organ: Solo organ music, duets, arrangements, and reductions. Music for Piano or Harpsichord: For any keyboard instrument other than organ. Includes solo music and like-instrument ensembles such as 4-hand piano and 2-piano duets, keyboard reductions of piano concertos, and larger keyboard ensembles. Music for Percussion: Includes percussion solos (with or without keyboard accompaniment) and ensembles. Chamber music with other instruments is listed in the appropriate category above. Music for Voice: Music for one or more solo voices (one singer per part) with any accompaniment, including chamber ensemble. Opera excerpts, such as collections of arias, are included, but complete opera vocal scores are listed under Dramatic Music. Other works for solo voices with chorus are listed under Choral Music. [End Page 148] Methods and Studies: Includes method books, technical exercises, and orchestral studies; studies that might be used in performance are listed above as solo music. Music for Children: Materials designed for study and performance by children of pre-school or elementary school age. Miscellaneous: For music that defies inclusion in the categories above. CITATION STYLE Citations include publishers' numbers or plate numbers, ISBN, and ISMN, where available. In order to keep the citations brief, description of introductory notes, critical reports, etc., is not included unless the material is considered unusual for the type of publication, or an indication of languages is warranted. Abbreviations for publishers are listed at the end of the column with complete imprints, U.S. distributors, and Web sites. Some well-known collected works series titles are abbreviated according to usage in works lists of The New Grove Dictionary of Music and Musicians, 2nd ed. Most other abbreviations follow The Chicago Manual of Style and the Notes Style Sheet. SCHOLARLY & HISTORICAL EDITIONS Anonimi Toscani. Sonate Per Organo (Fonte Ricasoli, Univ. of Louisville), Band I: Für Orgel. Edited by Jolando Scarpa. (Frutti Musicali). Edition Walhall, 2016. EW 457 ISBN 9790500704577. Score, 54 p. $30. Anonimi Toscani. Sonate Per Organo (Fonte Ricasoli, Univ. of...