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1
Frost, Sadie. Back In 5 Minutes: An Expression of Depression, Volume 1. Edited by Lucie Barat and Fawn Neun. London, England: Little Episodes Publishing, 2010.
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2
McLean, Alex (Christopher Alex), 1975-, ed. Speaking code: Coding as aesthetic and political expression. Cambridge, Mass: The MIT Press, 2012.
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3
Judi, Lesiak, ed. Problems in written expression: Assessment and remediation. New York, N.Y: Guilford Press, 1989.
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4
Guo jia da dao: Zhongguo gao su gong lu jian she fa zhan ji shi. Baoding: Hebei da xue chu ban she, 2008.
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5
Caldwell, Patricia. Puritan conversion narrative: The beginnings of American expression. Cambridge: Cambridge Univeristy Press, 1986.
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6
Expressives Sprachhandeln als Ausdrucksform der Persönlichkeit: Eine kommunikationsgeschichtliche Studie an den Briefen der Pirckheimer-Frauen aus den Jahren 1505-1547. Hildesheim: G. Olms, 2005.
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Romance of the road: The literature of the American highway. Bowling Green, OH: Bowling Green State University Popular Press, 1996.
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RoadFrames: The American highway narrative. Lincoln: University of Nebraska Press, 1997.
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10
Strube, Cordelia. Exhilarating Prose: Cognitions, Contemplations, Insights, Introspections, Lucubrations, Meditations, Musings, Prognostications, Reflections, Reveries and Ruminations on the Process of Writing. Baraka Books, 2015.
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11
McLean, Alex, Geoff Cox, and Franco "Bifo" Berardi. Speaking Code: Coding As Aesthetic and Political Expression. MIT Press, 2019.
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12
Fuller, Matthew, Lev Manovich, Alex McLean, Geoff Cox, and Franco "Bifo" Berardi. Speaking Code: Coding As Aesthetic and Political Expression. MIT Press, 2012.
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13
Fuller, Matthew, Lev Manovich, Alex McLean, Geoff Cox, and Franco "Bifo" Berardi. Speaking Code: Coding As Aesthetic and Political Expression. MIT Press, 2012.
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14
Hutchinson, G. O. Plutarch's Rhythmic Prose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.001.0001.
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Greek literature is divided, like many literatures, into poetry and prose; but in the earlier Roman Empire, 31 BC to AD 300, much Greek (and Latin) prose was written in one organized rhythmic system. Whether most, or hardly any, Greek prose adopted this patterning has been entirely unclear; this book for the first time adequately establishes an answer. It then seeks to get deeper into the nature of prose-rhythm through one of the greatest Imperial works, Plutarch’s Lives. All its phrases, almost 100,000, have been scanned rhythmically. Prose-rhythm is revealed as a means of expression, which draws attention to words and word-groups. (Online readings are offered too.) Some passages in the Lives pack rhythms together more closely than others; the book looks especially at rhythmically dense passages. These do not occur randomly; they attract attention to themselves, and are marked out as climactic in the narrative, or as in other ways of highlighted significance. Comparison emerges as crucial to the Lives on many levels. Much of the book closely discusses particular dense moments, in commentary form, to show how much rhythm contributes to understanding, and is to be integrated with other sorts of criticism. These remarkable passages make apparent the greatness of Plutarch as a prose-writer: a side not greatly considered amid the huge resurgence of work on him. The book also analyses closely rhythmic and unrhythmic passages from three Greek novelists. Rhythm illuminates both a supreme Greek writer, Plutarch, and three prolific centuries of Greek literary history.
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Holmes, Andrew R. Union and Presbyterian Ulster Scots. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198736233.003.0008.
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This chapter explores the relationship between literature and union among Presbyterian writers in nineteenth-century Ulster. It examines the work of the poet William McComb and the journalist James McKnight, who together were responsible for the publication of The Repealer Repulsed (1841), a collection of reportage and literary fancy written in response to Daniel O’Connell’s campaign to repeal the 1800 Act of Union. Their various publications employed a shared Ulster–Scottish Presbyterian heritage to express opposition to the imposition of English Protestant forms and principles, and to highlight the importance and distinctiveness of Presbyterian Scots and Ulster-Scots within the United Kingdom. It demonstrates that Presbyterian writers saw Robert Burns as only one part of a broader literary culture that they shared with Britain and that was usually expressed in standard English, included prose as well as poetry, employed a number of literary genres, and sometimes drew upon a shared Gaelic heritage.
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Lavendar, Diamante. Finding Hope in the Darkness of Grief: Spiritual Insights Expressed Through Art, Poetry and Prose. Balboa Press, 2018.
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Jean, Garapon, and Université de Nantes. Centre de recherches "Textes, langages, imaginaires.", eds. L' expression de l'inoubliable dans les mémoires d'Ancien Régime. Nantes: Éditions Cécile Defaut, 2005.
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Jean, Garapon, and Université de Nantes. Centre de recherches "Textes, langages, imaginaires.", eds. L' expression de l'inoubliable dans les mémoires d'Ancien Régime. Nantes: C. Defaut, 2005.
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Jean, Garapon, and Universite de Nantes. Centre de recherches "Textes, langages, imaginaires"., eds. L' expression de l'inoubliable dans les memoires d'Ancien Regime. Nantes: Editions Cecile Defaut, 2005.
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Series, Michigan Historical Reprint. The complete prose works of Martin Farquhar Tupper. Rev. expressly for this ed. by W. C. Armstrong. Scholarly Publishing Office, University of Michigan Library, 2005.
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21
Power, Timothy. Musical Persuasion in Early Greece. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0008.
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This chapter on archaic and classical Greek music finds the political dimensions of musical expression to be paramount. Music, according to Power, presents a synesthetic form of communication—verse, instruments, often dance and, in Athenian drama, prose dialogue—of unrivalled modal complexity that reinforced the popular impact of this art form. Solon and other politicians used music, while Pindar and other poets introduced political motifs into performances of their works. In Power’s view, the generally accepted notion that early Greece was a “song culture”—differing in this respect from ancient Mesopotamia with its scribal culture, or from imperial Rome with its predilection for monuments and public spaces—should not lead to overemphasizing private life and personal communication as opposed to the political forms of expression developed by Solon, Pindar, and others.
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Stevenson, Jane. Streams of Consciousness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0006.
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A number of modernist writers are profoundly engaged with the classical tradition (or traditions) and the relevance of the past to the present. Writers singled out include Djuna Barnes, expressing a modern sensibility through a fantastical neo-Elizabethan prose style, and the way Woolf in Orlando also patched the Elizabethan era onto the present: in both cases, the obliquity of their narrative relates to the problem of expressing a lesbian viewpoint without provoking censorship. The chapter examines the camp streak in interwar literature and its debt to Saki and Ronald Firbank. Also explored is the importance of fantasy: not just Tolkien together with his friends C. S. Lewis and Charles Williams, a nexus of mutually connected writers who reacted to modernity by going somewhere else entirely, but the writers of many contemporary bestsellers and critically successful books.
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Hutchinson, G. O. Bewilderments of Joy (Heliodorus 10.38.3–4). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0020.
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A climactic non-rhythmic passage from a novelist is analysed, to show its difference from Chariton, and more especially from the passage in the next chapter. The passage is climactic, part of the great finale of Heliodorus’ novel. The language flows without rhythmic stopping-points, and perhaps even seeks to compensate for the absence of rhythm with arresting complication of expression and thought. Thucydides is the basis for developments which are obscure in meaning and recall in stylistic balance other prose of the fifth and fourth centuries. The writing is far from the sharpness of Chariton, to which rhythm makes such a contribution.
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Green, Steven J., ed. Text and Translation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0002.
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This section contains a Latin text of the poem based on the editions of Baehrens and Vollmer (1911) and Enk (1918): no independent assessment of the manuscripts has taken place. It also contains a new English prose translation of the poem—the first published English translation since that of Duff and Duff in the 1934 Loeb edition, Minor Latin Poets—which seeks in particular to represent more faithfully the poem’s extensive use of anthropomorphic expression. The translation is accompanied by notes that provide brief comment on thematic and interpretive issues, and offer reflections on Grattius’ skill as a poet, a particularly underrated topic.
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Thompson, Douglas I. The Pleasure of Diversity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190679934.003.0003.
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This chapter investigates Montaigne’s fascination with the irreducible diversity of human beliefs, opinions, and forms of life. Montaigne uses his literary self-portrait to model a new attitude toward this diversity. Instead of fearing or fighting it, Montaigne portrays himself as experiencing pleasure in direct contact and dialogue with a diverse range of people, especially members of other religions and cultures. He expresses this pleasure both directly, by telling us about his own joy in these encounters, and indirectly, with comical, carnivalesque forms of prose. The chapter then compares this theme of the Essais with Judith Shklar’s use of Montaigne as a model for her conception of a “liberalism of fear.”
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Moland, Lydia L. Hegel’s Philosophy of Art. Edited by Dean Moyar. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199355228.013.26.
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Despite Hegel’s effusive praise for art as one of the ways humans express truth, art by his description is both essentially limited and at perpetual risk of ending. This hybrid assessment is apparent first in Hegel’s account of art’s development, which shows art culminating in classical sculpture’s perfect unity, but then, unable to depict Christianity’s interiority, evolving into religion, surrendering to division, or dissipating into prose. It is also evident in his ranking of artistic genres from architecture to poetry according to their ability to help humans produce themselves both individually and collectively: the more adequately art depicts human self-understanding, the more it risks ceasing to be art. Nevertheless, art’s myriad endings do not exhaust its potential. Art that makes humans alive to the unity and interdependence at the heart of reality continues to express the Idea and so achieves Hegel’s ambitions for its role in human life.
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Adlington, Hugh. John Donne. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.20.
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This chapter argues that the distinctive qualities of John Donne’s religious thought and temperament are revealed as much through the manner or expressive mode of his religious writing as they are through its matter or doctrinal content. To illustrate, the chapter analyses the rhetoric and prosody of Holy Sonnet 19 (‘Oh, to vex me’) in the light of two key contexts: Donne’s letters, poems, and prose works from his middle years (1606–14), and the religious and theological controversies of the same period, including fiercely argued doctrinal debates about the means of salvation and bitter religio-political disputes over the Oath of Allegiance. The chapter concludes by showing the degree to which Donne’s compelling union of dialectical reason and associative poesis in his religious writing both shares in and departs from literary traits and mentalities found in other religious writers of the period.
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Heine, Steven. Tones. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190637491.003.0008.
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Chapter 8 uses the multifaceted term “tones” to explain the expressive role of texts that were produced as part of a growing publication industry to record and circulate various sermons in prose and verse that reflected a master’s awakened state of mind beyond logical thinking. This section also explains the importance of nuanced ink tones for the creation of sparse, monochromatic calligraphy and painting that reveals the interior depths of enlightened engagement with all forms of human and natural existence. Advances in literary and visual arts greatly contributed to the success of maritime transitions and transfers. Salons located within and outside of temple compounds propagated the production of writings and drawings, and contributed to the formation of the tradition that at once affirmed and negated the importance of artistic pursuit in relation to the religious goal of attaining spiritual awakening.
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Hutchinson, G. O. Motion in Classical Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.001.0001.
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Ancient literature is full of people, gods, and animals in impressive motion. But while the importance of space has been realized recently, motion has had little attention, for all its prominence in literature, and its interest to ancient philosophy. Motion is bound up with decisions, emotions, character; its specific features are expressive. The book starts with motion in visual art: this leads to the characteristics of literary depiction. Literary works discussed are: Homer’s Iliad; Ovid’s Metamorphoses; Tacitus’ Annals; Sophocles’ Philoctetes and Oedipus at Colonus; Parmenides’ On Nature; Seneca’s Natural Questions. The two narrative poems here diverge rewardingly, as do philosophical poetry and prose; in the prose narrative, as in the philosophical poem, the absence of motion, and metaphorical motion, are important; the dramas scrutinize motion verbally and visually. Each discussion pursues the general roles of motion in a work, with detail on its language of motion; then passages are analysed closely, to show how much emerges when this aspect is scrutinized. A conclusion brings works and passages together. It considers the differences made by genre and by the time of writing. Among aspects of motion which emerge as important are speed, scale, shape of movement, motion and fixity, movement of one person and a group, motion willed and imposed, motion in images and unrealized possibilities. A companion website makes it easier to see passages and analyses together; it offers videos of readings to convey the vitality and subtlety with which motion is portrayed.
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Huber, Judith. Latin and medieval French in the motion verb typology. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657802.003.0007.
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Since Latin and medieval French are the contact languages from which the path verbs analysed in chapter 9 are borrowed, this chapter summarizes earlier research on Latin and medieval French in the motion verb typology and offers a case study on motion expression in the prose parts of the Old French Aucassin et Nicolette. It is shown that while medieval French can be called satellite-framing with respect to the structures used to talk about motion, which typically feature satellites (though less often in the form of adverbs than in medieval English), the use of path verbs is considerably higher than of manner verbs, and manner verbs are less frequently combined with satellites than are other motion verbs. This is related to narrative styles typical of medieval French romances and epics.
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Esterhammer, Angela. The 1820s and Beyond. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.5.
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In light of new research on print culture and media history, the 1820s—once considered an age of superficiality, conservatism, and mediocrity—are emerging as a key moment of experimentation and innovation at the interface of Romanticism and modernity. The era abounds in periodicals and literary magazines, non-traditional stage performances and spectacles, popular novels and serialized fiction, and curious hybrids of prose, poetry, drama, fiction, and non-fiction. The chapter argues that a recurring contrast between theatricality and authenticity characterizes these forms of expression, as do themes of spectatorship and speculation. The 1820s may be redefined and reinterpreted as an ‘age of information’ as well as an ‘age-in-formation’, a time when literature thematizes and reflects on rapid changes in the conditions of communication and in the relationship between writers and readers.
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Bomberger, E. Douglas. Noise. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0004.
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As the revelation of the Zimmermann telegram pushed the United States closer to war, jazz continued to grow in popularity. The Creole Band and Original Dixieland Jazz Band played simultaneous engagements in New York, and numerous journalists reported on the new musical genre. Fritz Kreisler played to loyal audiences of German Americans, while Karl Muck continued to emphasize Austro-German music in his Boston Symphony Orchestra concerts. Patron Henry Lee Higginson weighed the pros and cons of renewing Muck’s contract in light of the conductor’s frankly expressed loyalty to Germany. Walter Damrosch seized the moment by prominently featuring “The Star-Spangled Banner” in his concerts with the New York Symphony, which embarked on a ten-week national tour in mid-March.
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Caldwell, Patricia. The Puritan Conversion Narrative: The Beginnings of American Expression (Cambridge Studies in American Literature and Culture). Cambridge University Press, 1985.
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34
Bahoora, Haytham. Iraq. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.16.
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This chapter examines the development of the novel in Iraq. It first considers the beginnings of prose narrative in Iraq, using the intermingling of the short story and the novel, particularly in the first half of the twentieth century, as a framework for reassessing the formal qualities of the Arabic novel. It then turns to romantic and historical novels published in the 1920s, as well as novels dealing with social issues like poverty and the condition of peasants in the countryside. It discusses the narrative emergence of the bourgeois intellectual’s self-awareness and interiority in Iraqi fiction, especially the novella; works that continued the expression of a critical social realism in the Iraqi novelistic tradition and the appearance of modernist aesthetics; and narratives that addressed dictatorship and war in Iraq. The chapter concludes with an overview of the novel genre in Iraq after 2003.
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Wilcox, Helen. Sacred and Secular Love. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.35.
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This chapter explores early modern literary responses to one of the most fundamental issues in the Christian faith—the love of God for humankind, and its reception and reciprocation by individuals and communities. Textual explorations of sacred love, closely interlinked with writings about secular love, are drawn from the full chronological span of the volume, ranging from Richard Rolle in 1506 to Damaris Masham in 1696. The works discussed are from a wide variety of genres, including lyric poetry, devotional prose, prayers, sermons, and autobiographical writings. The subject of love is seen to open up some of the major religious controversies of the period, including the nature of Christ’s redemptive love and its expression in the Eucharist; the possible tension between love for God and charity towards others; and the roles of gender, sacrifice, perplexity, and mystery in the relationship between God and humanity.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0021.
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Part IV outlines the development of literature within its social and historical context, charting the growth of a mass readership and literary journalism. It explores how the establishment of a sustainable system of royalties enabled the professionalization of literature, arguing that the so-called thick journals, thanks to their financial success, played a particularly important role in this process. The Part explores how autobiographical genres and poetry each in its own way expressed subjectivities. The Part discusses the growth of the novel and the diversification of character types, and, rejecting an entrenched model of a changeover between ages of prose and poetry, argues that poetry remained vibrant. The roles of women as writers producing poetry and fiction and as readers consuming literature are explored. The Part argues that literature paid close attention to society, raising questions and fictionalizing scenarios that stimulated individual moral exploration and searching for national identity.
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Hurley, Michael D., and Marcus Waithe, eds. Thinking Through Style. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737827.001.0001.
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What is ‘style’, and how does it relate to thought in language? It has often been treated as something merely linguistic, independent of thought, ornamental; stylishness for its own sake. Or else it has been said to subserve thought, by mimicking, delineating, or heightening ideas that are already expressed in the words. This ambitious and timely book explores a third, more radical possibility, in which style operates as a verbal mode of thinking through. Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, style is conceived here as having the capacity to clarify or generate thinking. The book’s generic focus is on non-fiction prose, and it looks across the long nineteenth century. Leading scholars survey twenty authors, to show where writers who have gained reputations as either ‘stylists’ or as ‘thinkers’ both in fact exploit the interplay between the what and the how of their prose. But the study demonstrates more than that celebrated stylists might after all have thoughts worth attending to, or that distinguished thinkers might be enriched for us if we paid more due to their style. More than reversing the conventional categories, the innovative chapters collected here show how ‘style’ and ‘thinking’ can be approached as a shared concern. At a moment when, especially in nineteenth-century studies, interest in style is re-emerging, this book revaluates some of the most influential figures of that age, re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers, style, and stylists.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. A History of Russian Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.001.0001.
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The History of Russian Literature provides a comprehensive account of Russian writing from its earliest origins in the monastic works of Kiev up to the present day, still rife with the creative experiments of post-Soviet literary life. Five chronological parts by design unfold in diachronic histories; they can be read individually but are presented as inseparable across the span of a national literature. Throughout its course, this History follows literary processes as they worked in respective periods and places, whether in monasteries, at court, in publishing houses, in the literary marketplace, or the Writers’ Union. Evolving institutional practices used to organize literature are themselves a part of the story of literature told in poetry, drama, and prose including diaries and essays. Equally prominent is the idea of writers’ agency in responding to tradition and reacting to larger forces such as church and state that shape the literary field. Coverage strikes a balance between extensive overview and in-depth thematic discussion, addressing trans-historical questions through case studies detailing the importance of texts, figures, and notions. The book does not follow the decline model often used in accounts of the nineteenth century as a change-over between ages of prose and poetry. We trace in the evolution of literature two interrelated processes: changes in subjectivities and the construction of national narratives. It is through categories of nationhood, literary politics, and literary life, forms of selfhood, and forms of expression that the intense influence of literature on a culture as a whole occurs.
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Ruskin, John. Praeterita. Edited by Francis O'Gorman. Oxford University Press, 2012. http://dx.doi.org/10.1093/owc/9780192802415.001.0001.
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‘For as I look deeper into the mirror, I find myself a more curious person than I had thought.’ John Ruskin (1819-1900) was a towering figure of the nineteenth century: an art critic who spoke up for J. M. W. Turner and for the art of the Italian Middle Ages; a social critic whose aspiration for, and disappointment in, the future of Great Britain was expressed in some of the most vibrant prose in the language. Ruskin’s incomplete autobiography was written between periods of serious mental illness at the end of his career, and is an eloquent analysis of the guiding powers of his life, both public and private. An elegy for lost places and people, Praeterita recounts Ruskin’s intense childhood, his time as an undergraduate at Oxford, and, most of all, his journeys across France, the Alps, and northern Italy. Attentive to the human or divine meaning of everything around him, Praeterita is an astonishing account of revelation.
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Martin, Catherine Gimelli. John Milton. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.22.
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Milton’s religious outlook blends Christian humanism, including its dedication to close textual analysis, with idealistic, even futuristic or Baconian longings for a new, thoroughly reformed church and state. His most radical and unpuritanical ideas include ending state censorship, state support of the clergy, and clerical control of divorce, since he views marriage as a civil contract cancellable on grounds of incompatibility. Milton’s early prose and poetry express these ideas, but his most successful early poems blend Neoplatonic motifs of ascent with a strong moral emphasis on free choice. Paradise Lost continues that emphasis, but tempered by a vivid portrait of Satan and a deferred, if still sublime vision of heavenly reward. Its expanded epic cosmos reappears in Paradise Regained, but without the extraterrestrial landscapes or dynamic conflicts of the original. This chapter concludes that Samson Agonistes is truly ‘Greek’ in its tragic, meditative focus on self-betrayal, self-knowledge, and social renewal.
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Braunmuller, A. R. Shakespeare’s Late Style. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0025.
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‘Shakespeare’s Late Style’ explores stylistic aspects of Shakespeare’s dramatic verse (and a little of the prose) in plays composed after Hamlet. It suggests that Dryden was among the first to recognize that Shakespeare’s style changed over time and seems to have thought that the style became less ‘pestered’ with ‘figurative expressions’ as the career advanced. Like most early commentators, however, Dryden left little detailed analysis to support his larger, often metaphorical, claims. The purpose of this chapter is to identify the features of Shakespeare’s style in the second half of his professional career, to explore the imaginative effect of those features, and to speculate on why these changes from his earlier plays might have occurred. One principal claim made in this chapter concerns the degree to which the dramatic verse is rooted in dramatic events and characters’ motivations and designs. Increasing abstraction in both thought and expression combine to create the distinctive quasi-allegorical qualities especially visible in the four or five plays last written by Shakespeare alone or in collaboration.
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Schlapbach, Karin. The Anatomy of Dance Discourse. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.001.0001.
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This book makes an original contribution to the newly thriving field of ancient Greek and Roman performance and dance studies. It offers a better grasp of ancient perceptions and conceptualizations of dance through the lens of literary texts. It gives attention not only to the highly encoded genre of pantomime, which dominates the stages in the Roman Empire, but also to acrobatic, non-representational dances. It is distinctive in its juxtaposition of ancient theorizations of dance with literary depictions of dance scenes. Part I explores the contact zones of ancient dance discourse with other areas of cultural expression, especially language and poetry, rhetoric and art, and philosophy and religion. Part II discusses ekphraseis of dance performances in prose and poetry. The main bulk of the book focuses roughly on the second century CE (discussing Plutarch, Lucian of Samosata, Athenaeus, the apocryphal Acts of John, Longus, and Apuleius), with excursions to Xenophon and Nonnus. Dance is performative and dynamic, and its way to cognition and action is physical experience. This book argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing.
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Maxwell, Catherine. Scents and Sensibility. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.001.0001.
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A major reconceptualization of the imagination that reinstates its hidden links with the historically neglected sense of smell, this book is the first to examine the role played by scent and perfume in Victorian literary culture. Perfume-associated notions of imaginative influence and identity are central to this study, which explores the unfamiliar scented world of Victorian literature, concentrating on texts associated with aestheticism and decadence, but also noting important anticipations in Romantic poetry and prose, and earlier Victorian poetry and fiction. Throughout, literary analysis is informed by extensive reference to the historical and cultural context of Victorian perfume. A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark André Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things such as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.
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Keymer, Thomas. Poetics of the Pillory. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198744498.001.0001.
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On the lapse of the Licensing Act in 1695, Thomas Macaulay wrote in his History of England, ‘English literature was emancipated, and emancipated for ever, from the control of the government’. It’s certainly true that the system of prior restraint enshrined in this Restoration measure was now at an end, at least for print. Yet the same cannot be said of government control, which came to operate instead by means of post-publication retribution, not pre-publication licensing, notably for the common-law offence of seditious libel. For many of the authors affected, from Defoe to Cobbett, this new regime was a greater constraint on expression than the old, not least for its alarming unpredictability, and for the spectacular punishment—the pillory—that was sometimes entailed. Yet we may also see the constraint as an energizing force. Throughout the eighteenth century and into the Romantic period, writers developed and refined ingenious techniques for communicating dissident or otherwise contentious meanings while rendering the meanings deniable. As a work of both history and criticism, this book traces the rise and fall of seditious libel prosecution, and with it the theatre of the pillory, while arguing that the period’s characteristic forms of literary complexity—ambiguity, ellipsis, indirection, irony—may be traced to the persistence of censorship in the post-licensing world. The argument proceeds through case studies of major poets and prose writers including Dryden, Defoe, Pope, Fielding, Johnson, and Southey, and also calls attention to numerous little-known satires and libels across the extended period.
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Fludernik, Monika. Metaphors of Confinement. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840909.001.0001.
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Metaphors of Confinement: The Prison in Fact, Fiction, and Fantasy focuses on a historical survey of our imaginings of the prison as expressed in carceral metaphors that occur in great numbers in texts about imprisonment from Antiquity to the present but are also used to describe many non-penal situations as confining or restrictive. These imaginings are argued to coalesce into a ‘carceral imaginary’ that determines the way we think about prisons, just as social debates about punishment and criminals feed into the way our carceral imaginary develops over time. The book juxtaposes literary and non-literary contexts and contrasts fictional and non-fictional representations of (im)prison(ment) and discussions about the prison as institution and experiential reality. It comments on present-day trends of punitivity and foregrounds the ethical dimensions of penal punishment. The main argument of the book concerns the continuity of carceral metaphors through the centuries despite historical developments that included major shifts in policy (like the invention of the penitentiary). The study looks at selected carceral metaphors, often from two complementary perspectives, such as the home as prison or the prison as home (Chapter 4) or the factory as prison and the prison as factory (Chapter 7). Within chapters, case studies of particularly relevant genres and texts employing these metaphors are presented, often from a historical perspective in which their development through several periods is analysed. The book examines not only English-language prose fiction but also poetry and drama from the Middle Ages to postcolonial, particularly African, literature.
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Harding, Jason, and John Nash, eds. Modernism and Non-Translation. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821441.001.0001.
Full textAbstract:
Modernism and Non-Translation proposes a new way of reading key modernist texts, including the work of canonical figures such as T. S. Eliot, James Joyce, and Ezra Pound. The topic of this book is the incorporation of untranslated fragments from various languages within modernist writing. It explores non-translation in modernist fiction, poetry, and other forms, with a principally European focus. The intention is to begin to answer a question that demands collective expertise: what are the aesthetic and cultural implications of non-translation for modernist literature? How did non-translation shape the poetics, and cultural politics, of some of the most important writers of this period? Twelve essays by leading scholars of modernism explore American, British, and Irish texts, alongside major French and German writers, and the wider modernist recovery of Classical languages. They explore non-translation from the dual perspectives of both ‘insider’ and ‘outsider’, unsettling that false opposition, and articulating in the process their individuality of expression and experience. The range explored indicates something of the reach and vitality of the matter of translation—and specifically non-translation—across a selection of poetry, fiction, and non-fictional prose, while focusing on mainly canonical voices. Offering a series of case studies, the volume aims to encourage further exploration of connections across languages and among writers. Together, the collection seeks to provoke and extend debate on the aesthetic, cultural, political, and conceptual dimensions of non-translation as an important yet hitherto neglected facet of modernism, helping to redefine our understanding of that movement. It demonstrates the rich possibilities of reading modernism through instances of non-translation.
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Scott, William. Lessons in Elocution: Or, a Selection of Pieces, in Prose and Verse, for the Improvement of Youth in Reading and Speaking. to Which Are Prefixed, Elements of Gesture. Illustrated by Four Plates; and Rules for Expressing with Propriety the Various Passions. HardPress, 2020.
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