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It is widely accepted among literary scholars that canon-formation began in the eighteenth century when scholarly editions and critical treatments of older works, designed to educate readers about the national literary heritage, appeared for the first time. In The Making of the English Literary Canon Trevor Ross challenges this assumption, arguing that canon-formation was going on well before the eighteenth century but was based on a very different set of literary and cultural values. Covering a period that extends from the Middle Ages to the institutionalisation of literature in the eighteenth century, Ross's comprehensive history traces the evolution of cultural attitudes toward literature in English society, highlighting the diverse interests and assumptions that defined and shaped the literary canon. An indigenous canon of letters, Ross argues, had been both the hope and aim of English authors since the Middle Ages. Early authors believed that promoting the idea of a national literature would help publicise their work and favour literary production in the vernacular. Ross places these early gestures toward canon-making in the context of the highly rhetorical habits of thought that dominated medieval and Renaissance culture, habits that were gradually displaced by an emergent rationalist understanding of literary value. He shows that, beginning in the late seventeenth century, canon-makers became less concerned with how English literature was produced than with how it was read and received. By showing that canon-formation has served different functions in the past, The Making of the English Literary Canon is relevant not only to current debates over the canon but also as an important corrective to prevailing views of early modern English literature and of how it was first evaluated, promoted, and preserved. It is widely accepted among literary scholars that canon-formation began in the eighteenth century when scholarly editions and critical treatments of older works, designed to educate readers about the national literary heritage, appeared for the first time. In The Making of the English Literary Canon Trevor Ross challenges this assumption, arguing that canon- formation was going on well before the eighteenth century but was based on a very different set of literary and cultural values. Covering a period that extends from the Middle Ages to the institutionalisation of literature in the eighteenth century, Ross's comprehensive history traces the evolution of cultural attitudes toward literature in English society, highlighting the diverse interests and assumptions that defined and shaped the literary canon. An indigenous canon of letters, Ross argues, had been both the hope and aim of English authors since the Middle Ages. Early authors believed that promoting the idea of a national literature would help publicise their work and favour literary production in the vernacular. Ross places these early gestures toward canon-making in the context of the highly rhetorical habits of thought that dominated medieval and Renaissance culture, habits that were gradually displaced by an emergent rationalist understanding of literary value. He shows that, beginning in the late seventeenth century, canon-makers became less concerned with how English literature was produced than with how it was read and received. By showing that canon-formation has served different functions in the past, The Making of the English Literary Canon is relevant not only to current debates over the canon but also as an important corrective to prevailing views of early modern English literature and of how it was first evaluated, promoted, and preserved.
Albion and Marina was written by Charlotte Brontë when she was 14 years old. It is her first love story, a romance about star-crossed lovers. Charlotte Brontë (1816 – 1855), English writer noted for her novel Jane Eyre (1847) and sister of Anne Brontë and Emily Brontë. The three sisters are almost as famous for their short, tragic lives as for their novels. In their works they described love more truthfully that was common in Victorian age England. In the past 40 years Charlotte Brontë's reputation has risen rapidly, and feminist criticism has done much to show that she was speaking up for oppressed women of every age.
Children of Albion Rovers is the best-selling and critically acclaimed collection of novellas that features six of the most exciting young writers to emerge from Scotland in the 90s: award-winning authors Irvine Welsh, Alan Warner, Gordon Legge, and James Meek and introducing the striking new talents of Laura Hird and Paul Reekie. Children of Albion Rovers is a world of tripped-out crematorium attendants (Alan Warner), vengeful traffic-wardens (James Meek), born-again vinyl junkies (Gordon Legge), and teenage girls who sexually humiliate their teachers (Laura Hird). Also included are Paul Reekie’s fictional account of ideals betrayed, and Irvine Welsh’s first ever sci-fi story, featuring alien space casuals wreaking havoc through the known universe. The resulting mix is intoxicating to say the least.
Between 1599 and 1601, no fewer than five anthologies appeared in print with extracts from Shakespeare's works. Some featured whole poems, while others chose short passages from his poems and plays, gathered alongside lines on similar topics by his rivals and contemporaries. Appearing midway through his career, these anthologies marked a critical moment in Shakespeare's life. They testify to the reputation he had established as a poet and playwright by the end of the sixteenth century. In extracting passages from their contexts, though, they also read Shakespeare in ways that he might have imagined being read. After all, this was how early modern readers were taught to treat the texts they read, selecting choice excerpts and copying them into their notebooks. Taking its cue from these anthologies, Anthologizing Shakespeare, 1593-1603 offers new readings of the formative works of Shakespeare's first decade in print, from Venus and Adonis (1593) to Hamlet (1603). It illuminates a previously neglected period in Shakespeare's career, what it calls his 'anthology period'. It investigates what these anthologies made of Shakespeare, and what he made of being anthologized. And it shows how, from the early 1590s, his works were inflected by the culture of commonplacing and anthologizing in which they were written, and in which Shakespeare, no less than his readers, was schooled. In this book, Ted Tregear explores how Shakespeare appealed to the reading habits of his contemporaries, inviting and frustrating them in turn. Shakespeare, he argues, used the practice of anthologizing to open up questions at the heart of his poems and plays: questions of classical literature and the schoolrooms in which it was taught; of English poetry and its literary inheritance; of poetry's relationship with drama; and of the afterlife he and his works might win—at least in parts.