This chapter explores the relationship of the adult essay with the ‘theme’, which was the name for school-essays until the mid-nineteenth century. Themes were, mostly, short prose pieces, focused on a moral subject which was also called a theme, written almost exclusively in Latin until English themes began to emerge in the late eighteenth century. The chapter argues that in the nineteenth century, the modern pedagogical essay emerged out of the Erasmian theme, combining many of its structures with the Baconian essay’s priority on individual experience and ideas. Meanwhile, the Romantic essayists, Charles Lamb and Thomas De Quincey, chief among them, created the modern literary essay by carrying forward the priority the theme assigned to rhetoric over experience, while on the other hand imitating Montaigne’s play with the oratorical structures of the theme, and with its subject (also called a ‘theme’).

This methodologically oriented chapter starts by defining military concepts: strategy, logistics, tactics, operations. Sun Tzu himself did not distinguish between strategy and tactics, so this is a modern lens on Sun Tzu’s thinking. Next, a standardized five-part format is introduced, to be used to provide uniform structure for the fourteen chapters analyzing fourteen major Sun Tzu themes: (a) list of Sun Tzu passages chosen to illustrate a given theme (just a list, not the passages themselves); (b) Sun Tzu (1) analysis of Sun Tzu’s ideas pertaining to that theme; (c) further Sun Tzu (1) analysis of facets of the given theme that conditions of war and politics in Sun Tzu’s time suggest that Sun Tzu might plausibly have discussed, yet did not discuss; (d) Sun Tzu (2) and (3) "frontiers" of the theme, generalizing Sun Tzu’s relevant ideas in selected Sun Tzu (2) and (3) directions; (e) passages listed in Part (a) (in Griffith’s translation), often with brief commentary . The chapter ends by introducing notational conventions used throughout this study to refer to Griffith verses and passages.

This methodologically oriented chapter starts by defining military concepts: strategy, logistics, tactics, operations. Sun Tzu himself did not distinguish between strategy and tactics, so this is a modern lens on Sun Tzu’s thinking. Next, a standardized five-part format is introduced, to be used to provide uniform structure for the fourteen chapters analyzing fourteen major Sun Tzu themes: (a) list of Sun Tzu passages chosen to illustrate a given theme (just a list, not the passages themselves); (b) Sun Tzu (1) analysis of Sun Tzu’s ideas pertaining to that theme; (c) further Sun Tzu (1) analysis of facets of the given theme that conditions of war and politics in Sun Tzu’s time suggest that Sun Tzu might plausibly have discussed, yet did not discuss; (d) Sun Tzu (2) and (3) "frontiers" of the theme, generalizing Sun Tzu’s relevant ideas in selected Sun Tzu (2) and (3) directions; (e) passages listed in Part (a) (in Griffith’s translation), often with brief commentary . The chapter ends by introducing notational conventions used throughout this study to refer to Griffith verses and passages.

Informal borrowings can be divided into three main thematic types: core, culture-specific, and miscellaneous. The core themes, shared with those in general informal language, make up the majority of borrowings and include such themes as evaluative categorization, the human body, sex, and intoxication. The culture-specific themes, inherent to immigrants and minorities, include borrowings connected with minority experiences but also racial discrimination and geography viewed from their perspective. The miscellaneous themes, constituting an all-inclusive collection, include as many as 150 themes grouped under several superordinate divisions. Their diversity and size illustrates the thematic scope of informal borrowings and demonstrates that they are not a marginal part of lexicon but can be used to refer to numerous aspects of human experience.

Chapter 6 explores theme and information systems and structures. It concentrates on the need to argue from discourse semantics as far as the interpretation of information flow is concerned. This chapter brings some phonological analysis into the picture, since information systems are realised through prosodic phonology (i.e. rhythm and intonation). This work draws on Halliday’s analysis of English intonation, as presented in Halliday (1967, 1970) and Halliday & Greaves (2008).

This chapter discusses three stylistic hallmarks of Clara Schumann’s songs: (1) a fascination with expansive themes; (2) a tendency to modify cadences so that themes pushe onward to the next and decisive closure arrives only at the end of songs; and (3) an inventive use of the piano. I explore each of these hallmarks via brief analyses of representative songs, in preparation for the more detailed music analyses in later chapters.

This chapter focuses on grammatical resources for composing information flow, focusing on theme. It begins with a basic introduction to textual clause structure – Theme and Rheme. It then describes the different types of Theme (Topical Theme, Interpersonal Theme and Textual Theme) and their grammatical realisation. The contribution of each type of Theme is illustrated in short texts illustrating their role in managing texture. The chapter concludes with a discussion of thematic progression and introduces guidelines for recognising types of Theme in discourse.

Knut Heim examines the literary and historical contexts of wisdom literature, taking the book of Proverbs as a case study, and surveying the work of key scholars in the field. Beginning with literary context, he argues that the sayings are organised into ‘clusters’ through linguistic and thematic links with their neighbours, and that this context has hermeneutical significance. Particularly important is the placement of religious proverbs, which are well integrated with their surroundings. This calls into question the scholarly assumption that religious elements are a late addition to the book, and that wisdom was originally a ‘secular’ endeavour. Rather, elements like the ‘fear of the Lord’ were already embedded within the sayings collections by the time an editor added chapters 1–9. This has implications for the historical development of Proverbs and, more broadly, of wisdom in Israel.

Simon Cheung discusses the scholarship surrounding the ‘wisdom psalms’, with an eye towards the varied proposals, as well as the grounds for and development of them over the last century. From this Cheung sets forth his own conception of wisdom psalms. They constitute ‘a family of psalms, with varying degrees of membership, that exhibit a wisdom-oriented constellation of its generic elements’. The core traits are likened to DNA, which can be more or less present, and mainly discerned in theme, tone and intention. ‘Wisdom psalms’, to some degree, then, feature wisdom, carry an ‘intellectual tone’ and a pedagogical intent, all of which Cheung inspects in Psalm 34:8–17. Overall, his approach may offer interpreters additional accuracy when considering wisdom and its influence within the Psalter.

Chapter 7 explores voices at the margin of society in The Nigger of the ‘Narcissus’. To the extent this novel on seafaring is autobiographical, it also explores Conrad himself as a marginal subject. The novel is one of the most sympathetic portrayals of a class of people frequently considered to be marginal: a multinational group of physical laborers paid a meager wage, living in harsh and deadly conditions, executing their menial jobs heroically (with notable exceptions). To move from the margin to the center, take up the pen and write a compelling story about this life for the middle-class literary establishment – first published in the conservative W. E. Henley’s The New Review in 1897 – is the part of Conrad’s achievement I focus on in this chapter. The chapter explores how Conrad makes his readers listen to the voice of the sailors, reflect on the value of their work, and appreciate the importance of seemingly menial, physical labor – like the heroism of serving coffee, which the novel discusses.

The primary purpose of this chapter is to provide a summary of key literature touching on China’s BITs and their evolution, characteristics, application and pitfalls. Based on the literature review, this chapter outlines the key issues that this book undertakes to conceptualize, contextualize and theorize. The importance of these issues concerns the context in which they are explored. This chapter also draws a roadmap of the book by offering an introduction to each chapter.

Throughout the twentieth century, the Eroica Symphony – especially its opening Allegro con brio – attracted considerable interest from music scholars, especially theorists and analysts. This chapter surveys attempts to understand the movement as an organic whole, but it also explores several specific issues that were regularly aired during that period: ‘1’ the location of a ‘second subject’ within the exposition; ‘2’ the so-called ‘new theme’ in the development and its possible relationship to earlier themes; ‘3’ the horn player’s purportedly mis-timed entry at the end of the development, and its consequences for the start of the recapitulation; ‘4’ the status of the unusually long final section of the movement ‘is it simply an extended coda, or does it embrace a secondary development section?’; and ‘5’ the possible thematic significance of the two introductory chords.

The type scene is one of the building blocks of Homeric poetry, which may be defined as a generic, recurring segment of narrative or description that is of a recognizable “type.” Variations among the individual instances of a type scene are meaningful.