Karl Miller writes of the double that “one self does what the otherself can’t.”

Grief is noble, her words imply, but mourning is embarrassing

reinforces his concern with rank, since rank is the system that says suchidealization is fitting.

But Shakespeare’s plays, including Twelfth Night, acknowledgepaternal absence much more actively, perhaps in part because from apragmatic standpoint the absent father was simply more important tosixteenth-century children than the absent mother was.

Al-though a few lines later Sebastian acknowledges a female parent in themost general of ways (“I . . . / . . . am in that dimension grossly clad /Which from the womb I did participate”), the dialogue immediately re-turns to the male, who “had a mole upon his brow” (5.1.220–22, 226).Even the realm of the body, which early modern tradition and Sebastianassign to the mother, with her sullying womb (it renders him “gross”),turns out to be dominated by the more specifically embodied father.

More important,the brother has duplicated the father, first as protector and then as dece-dent. Likewise, although Viola’s disguise makes her a mirror image ofher brother, her brother is at least nominally a mirror of their father:Sebastian was my father;Such a Sebastian was my brother, too;So went he suited to his wat’ry tomb(5.1.216–18)“Such a Sebastian” (my emphasis) implies that father and son were alikein more than name, and Viola’s likeness to her brother is therefore like-ness to her father

The play’s language, if not always its plot, tends to figure the passage oftime as deprivation—of people, of pleasure, of love.

Sebastian’swish to erase his and Viola’s existence restores the primacy of the fatherwhose death his words have connected to their births.

juxtaposethe children’s birth and the father’s death, though Viola says later, in anunusual third-person reference to herself, that her father “died that daywhen Viola from her birth / Had numbered thirteen years” (5.1.229).(One critic suggests that the illeism is a form of self-objectification, anambivalence about living and agency. However, the absence of the ex-pected “I” also serves to distance Viola from her father’s death.) Sebas-tian’s phrasing insinuates a substitution of children for parent, an in-ability to exist simultaneously,

What the play does withthat projection of decline is to oscillate between mournfulness for thepast—and the parent—and a desire to avoid patrilineal strictures.

Thetwinning in Twelfth Night functions as a response to death.

One might as-sume that this paternal absence would free the plot from being the sortthat jonson crafted, with the older generation hovering over the libidosof the young. After all, the casual approximation of “some twelvemonthsince” suggests the count’s insignificance, and the quantitative play on“count” and “account” underscores the imprecision of the dating andthe wealth of the estate left Olivia by her father. But rather than cele-brating post-adolescent freedom, the play reverberates with the senseof familial loss that accompanies entry into the sexual adult world. Thatloss is a social lacuna, literalized as paternal death

For the same reasons, words produced in isolation – separated from the rest of the phrase by pauses – are also easier for infants to learn.

Even before a baby is born, the process of learning language has already begun. In the third trimester of pregnancy, when the infant’s ears are sufficiently developed, the intonation patterns of the mother’s speech are transmitted through the fluids in the womb

abies first start learning language by listening not to individual words, but to the rhythm and intonation of the speech stream – that is, the changes between high and low pitch, and the rhythm and loudness of syllables in speech.

“I think it shows that young people value inclusivity in group interactions, and I love that about this generation,” Intlekofer said.

Everybody, regardless of the size of the intended audience, is chat.

The miscommunication began in person, she clarified, but quickly trickled online. Carter, frustrated with the way it was handled on social media, decided to delete her Instagram and TikTok

Roughly 9% of Appalachian residents are Black, and this renders many of the region’s Black people “hypervisible,” meaning they stick out in primarily white spaces.

When President Lyndon B. Johnson declared his “war on poverty” in 1964, it was with Appalachia in mind. However, as pernicious as the effects of poverty have been for white rural Appalachians, they’ve been worse for Black Appalachians,

But as Black poets and scholars living in Appalachia, we know that this simplified portrayal obscures a world that is far more complex.

quotative “be like” has its highest rate with the higher social class in West Virginia.

“leveled ‘was’” (“We was going to the store”) and the “quotative ‘be like’” (“She was like, ‘That’s great,’”) – illustrate the types of changes occurring in Appalachian dialects,