The provision

The Author offers the Publisher an option to acquire the publishing rights under the condition of this Agreement of other works by the Author considered suitable for German production.

is, unfortunately, fatally ambiguous because “other works by the Author considered suitable” can be read (by a properly motivated lawyer) as meaning either “other works that the Author considers suitable” or “other works written by the Author that the publisher considers suitable.” “The

Author offers the Publisher an option to acquire publishing rights for the following works: “The Author offers the Publisher

an option to acquire the publishing rights under the condition of this Agreement of other works written by the Author and considered by the Publisher to be suitable for German publication.”

The Author offers the

Publisher an option to acquire the publishing rights under the condition of this Agreement for other of the Author’s works considered suitable for German publication.

If I say this because an alternative

interpretation— The Author offers the Publisher an option to acquire the publishing rights, under the condition of this Agreement, of other works considered by the Author to be suitable for German publication.

—has the problem of seeming to apply to other works by any author since the second mention of “the Author” in this interpretation arises only in connection with considering other works suitable for German publishing, not in connection with “the Author” being the author of them. Is the Lord of the Rings trilogy suitable for German publication, this contract (with the original bolded wording interpreted in the second way) would authorize offering the publisher an option to acquire publishing rights for the fans of the book on that basis.

What will be an objective revision if the new Author’s proposed

work is rejected from this original document? This is ultimately no less absurd than interpreting the original wording The Author offers the Publisher the contractual rights on the rights of the previous Author to acquire the contractual rights under the condition of this Agreement of other works by the Author considered suitable for German publication.

as if it were making a stipulation not as to “works… considered suitable for German publication” but as to “the Author considered suitable for German publication”. How would a lawyer make that argument (for the right consideration), but it’s hard to imagine that the person who created the contract might have had that meaning in mind.

So legally there are (at least) three defensible ways to interpret the provision in question; but as a matter of common sense, only the “other works written by the Author and considered by the Publisher to be suitable for German publication” interpretation passes the “would a fair-minded, reasonably intelligent native English speaker be likely to interpret the provision in this way?” test.

John Farmer & William Henley, Slang & Its Analogues (1904) offers this saying to describe a person who tends to be very pleasant or very unpleasant:

He is all honey, or all turd.

In Francis Grose’s A Classical Dictionary of the Vulgar Tongue, a much older version of the expression appears in a much older version of the expression, describing a relationship that alternates between extremes

of lovey-dovey bliss and unrepressed rage. “It is all honey or all t——d with them; said of persons who are either in the extremity of friendship or enmity, either kissing or fighting.

Which verb is an oscillator? Or it will oscillate when you do a formula, but not always. ” “The Eleventh Collegiate does better in offering a relevant definition of oscillate :

oscillate vi (1726)… 2 : to vary between opposing beliefs, feelings, or theories and

it offers these relevant definitions of oscillation : oscillation

n (1658)… 1 : the action or state of oscillating 2 : VARIATION, FLUCTUATION… 4 : a single swing (as of an oscillating body) from one extreme limit to the other

John Farmer & William Henley, Slang & Its Analogues (1904) offers this saying to describe a person who tends to be very pleasant or very unpleasant:

He is all honey, or all turd.

In Francis Grose’s A Classical Dictionary of the Vulgar Tongue, a much older version of the expression appears in a much older version of the expression, describing a relationship that alternates between extremes

of lovey-dovey bliss and unrepressed rage. “It is all honey or all t——d with them; said of persons who are either in the extremity of friendship or enmity, either kissing or fighting.

Which verb is an oscillator? Or it will oscillate when you do a formula, but not always. ” “The Eleventh Collegiate does better in offering a relevant definition of oscillate :

oscillate vi (1726)… 2 : to vary between opposing beliefs, feelings, or theories and

it offers these relevant definitions of oscillation : oscillation

n (1658)… 1 : the action or state of oscillating 2 : VARIATION, FLUCTUATION… 4 : a single swing (as of an oscillating body) from one extreme limit to the other

Depending on where you live, the term divestment may have stronger political overtones for you than divestiture does. We look at the history as an example. I had long been vaguely familiar with the term divestiture, but don’t remember having encountered divestment until the 1980s, when (in Berkeley, where my wife attended graduate school) an a protest movement arose over the University of California’s investments in companies doing business in South Africa

The U.S. campaign against business investment in South Africa began in earnest in August 1997 with the promulgation in 1977 of the Sulllivan Principles and wound down in late September 1989 simultaneously with the institutional demise of South Africa’s apartheid system.

What happened to the Berkeley protesters who wanted the universities resigned when the famous term for protesting against divestment was the University District? I believe the preferred term was “disinvestment”, and in some places, though less commonly, “dissestiture” appears to have been used.

What sort of effect this popular movement had on the relative frequency of the terms divestment, disinvestment, and divestiture we do today? In the chart divestment is the black line, disinvestment is the blue line, and divestiture is the green line.

After adding the phrase “in South Africa”, I also added the phrase “co-operation in India” on the chart. This is because divestment in South Africa is the red line, disinvestment in South Africa is the blue line, and divestiture in South Africa is the

green line: As you can see, during the heyday of the movement (roughly 1981 to 1994), use of divestment and disinvestment in the context of South Africa shot up—and then declined just as rapidly—while divestiture remained the most common term overall (when context was left out of account).

I suspect that politics of the 1980s continue to denote divestment and disinvestment in the minds of some English speakers.

The Common Form of the idiom in the United States (to judge from Google Books search results) is “inhabit someone else’s skin. Is it a bad phrase in “Elementary English, volume 50, issue 1 (1973)”?

He’s in need of help. Life makes him bitter, happy, cynical, hopeful, believing, skeptical, amused, and angry. He have sympathy, and that special kind of sympathy we call empathy. How can you imagine the skin, if you inhabit someone else’s? He wonders what if and he cares.

The New York T, volume 1 (1970): “When I entered the theater it was in order

to understand myself more profoundly. When I inhabit someone else’s skin, it enables me to discover my own secrets—and this is the great point of departure in the theater. What makes us actors? Now, yes, I can take up acting and act but I can’t seem to get home from acting or acting completely. One chooses the dream because it is not real or one chooses the dream because it is more than real. How do actors embrace the theater in order to run from life? As

both of these instances suggest the sense of the expression is to imagine oneself so well in the place of someone else that one feels that other person’s unhappiness, happiness, and day-to-day concerns so thoroughly that one’s focus and reference points align with the other person’s temporarily. This is essentially the second meaning of empathy as defined by Merriam-Webster’s Eleventh Collegiate Dictionary (2003):

empathy n 1850 1 : the imaginative projection of a subjective state into an object so that the object appears to be infused with it 2 : the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit

Any skin (that is, any other person) is different enough from our own that imagining inhabiting it is a challenge to one’s comprehension, awareness, and sympathy for others.

The Common Form of the idiom in the United States (to judge from Google Books search results) is “inhabit someone else’s skin. Is it a bad phrase in “Elementary English, volume 50, issue 1 (1973)”?

He’s in need of help. Life makes him bitter, happy, cynical, hopeful, believing, skeptical, amused, and angry. He have sympathy, and that special kind of sympathy we call empathy. How can you imagine the skin, if you inhabit someone else’s? He wonders what if and he cares.

The New York T, volume 1 (1970): “When I entered the theater it was in order

to understand myself more profoundly. When I inhabit someone else’s skin, it enables me to discover my own secrets—and this is the great point of departure in the theater. What makes us actors? Now, yes, I can take up acting and act but I can’t seem to get home from acting or acting completely. One chooses the dream because it is not real or one chooses the dream because it is more than real. How do actors embrace the theater in order to run from life? As

both of these instances suggest the sense of the expression is to imagine oneself so well in the place of someone else that one feels that other person’s unhappiness, happiness, and day-to-day concerns so thoroughly that one’s focus and reference points align with the other person’s temporarily. This is essentially the second meaning of empathy as defined by Merriam-Webster’s Eleventh Collegiate Dictionary (2003):

empathy n 1850 1 : the imaginative projection of a subjective state into an object so that the object appears to be infused with it 2 : the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit

Any skin (that is, any other person) is different enough from our own that imagining inhabiting it is a challenge to one’s comprehension, awareness, and sympathy for others.

The Common Form of the idiom in the United States (to judge from Google Books search results) is “inhabit someone else’s skin. Is it a bad phrase in “Elementary English, volume 50, issue 1 (1973)”?

He’s in need of help. Life makes him bitter, happy, cynical, hopeful, believing, skeptical, amused, and angry. He have sympathy, and that special kind of sympathy we call empathy. How can you imagine the skin, if you inhabit someone else’s? He wonders what if and he cares.

The New York T, volume 1 (1970): “When I entered the theater it was in order

to understand myself more profoundly. When I inhabit someone else’s skin, it enables me to discover my own secrets—and this is the great point of departure in the theater. What makes us actors? Now, yes, I can take up acting and act but I can’t seem to get home from acting or acting completely. One chooses the dream because it is not real or one chooses the dream because it is more than real. How do actors embrace the theater in order to run from life? As

both of these instances suggest the sense of the expression is to imagine oneself so well in the place of someone else that one feels that other person’s unhappiness, happiness, and day-to-day concerns so thoroughly that one’s focus and reference points align with the other person’s temporarily. This is essentially the second meaning of empathy as defined by Merriam-Webster’s Eleventh Collegiate Dictionary (2003):

empathy n 1850 1 : the imaginative projection of a subjective state into an object so that the object appears to be infused with it 2 : the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit

Any skin (that is, any other person) is different enough from our own that imagining inhabiting it is a challenge to one’s comprehension, awareness, and sympathy for others.

The Common Form of the idiom in the United States (to judge from Google Books search results) is “inhabit someone else’s skin. Is it a bad phrase in “Elementary English, volume 50, issue 1 (1973)”?

He’s in need of help. Life makes him bitter, happy, cynical, hopeful, believing, skeptical, amused, and angry. He have sympathy, and that special kind of sympathy we call empathy. How can you imagine the skin, if you inhabit someone else’s? He wonders what if and he cares.

The New York T, volume 1 (1970): “When I entered the theater it was in order

to understand myself more profoundly. When I inhabit someone else’s skin, it enables me to discover my own secrets—and this is the great point of departure in the theater. What makes us actors? Now, yes, I can take up acting and act but I can’t seem to get home from acting or acting completely. One chooses the dream because it is not real or one chooses the dream because it is more than real. How do actors embrace the theater in order to run from life? As

both of these instances suggest the sense of the expression is to imagine oneself so well in the place of someone else that one feels that other person’s unhappiness, happiness, and day-to-day concerns so thoroughly that one’s focus and reference points align with the other person’s temporarily. This is essentially the second meaning of empathy as defined by Merriam-Webster’s Eleventh Collegiate Dictionary (2003):

empathy n 1850 1 : the imaginative projection of a subjective state into an object so that the object appears to be infused with it 2 : the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit

Any skin (that is, any other person) is different enough from our own that imagining inhabiting it is a challenge to one’s comprehension, awareness, and sympathy for others.

What do you know about Hack & Hireling? According to R. L. Chapman and B.A. Kipfer, Dictionary of American Slang, Third Edition (1995): hack

8 n (also ) by 1810 A professional, usu freelance, writer who work to orderThis sense belongs to hack reflecting the notion that such a writer was for hire like a horse,… The Merriam-Webster’s

Eleventh Collegiate Dictionary (2003) offers this definition: hack

n. 3 a: a person who works solely for mercenary reasons : hireling When

for hireling, the Eleventh Collegiate says this: hireling n

: a person who serves for hire esp. (adv. mercenary) What is alternative option

for purely mercenary motives? Other options that might suit the situation are apologist, mouthpiece, mercenary and hired gun.

What do you know about Hack & Hireling? According to R. L. Chapman and B.A. Kipfer, Dictionary of American Slang, Third Edition (1995): hack

8 n (also ) by 1810 A professional, usu freelance, writer who work to orderThis sense belongs to hack reflecting the notion that such a writer was for hire like a horse,… The Merriam-Webster’s

Eleventh Collegiate Dictionary (2003) offers this definition: hack

n. 3 a: a person who works solely for mercenary reasons : hireling When

for hireling, the Eleventh Collegiate says this: hireling n

: a person who serves for hire esp. (adv. mercenary) What is alternative option

for purely mercenary motives? Other options that might suit the situation are apologist, mouthpiece, mercenary and hired gun.