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The aim of this book is to restore to the story of Englishness the lively material interactions between words, bodies, plants, stones, metals, and soil, among other things, that would have characterized it for the early medieval English themselves. In particular, each chapter demonstrates how a productive collapse, or fusion, between place and history happens not only in the intellectual realm, in ideas, but is also a material concern, becoming enfleshed in encounters between early medieval bodies and a host of material entities. Through readings of texts in a wide variety of genres including hagiography, heroic poetry, and medical and historical works, the book argues that Englishness during this period is an embodied identity emergent at the frontier of material and textual interactions that serve productively to occlude history, religion, and geography. The early medieval English body thus results from the rich encounter between the lived environment—climate, soil, landscape features, plants—and the textual-discursive realm that both determines what that environment means and is also itself determined by the material constraints of everyday life.
This text provides a new way of understanding how people became English during the Anglo-Saxon period by tracing the links between Englishness and the body in the texts and culture of this time.
Analyses the construction of gender through bodily elements and clothing in early modern England.
Oxford Textual Perspectives is a series of informative and provocative studies focused upon literary texts (conceived of in the broadest sense of that term) and the technologies, cultures, and communities that produce, inform, and receive them. It provides fresh interpretations of fundamental works and of the vital and challenging issues emerging in English literary studies. By engaging with the materiality of the literary text, its production, and reception history, and frequently testing and exploring the boundaries of the notion of text itself, the volumes in the series question familiar frameworks and provide innovative interpretations of both canonical and less well-known works. Whenever people talk to one another there are at least two things going on at once. First, and most obviously, there is an exchange of speech. Second, and slightly less obviously, there is a negotiation about how that exchange is organised—about whose turn it is to talk at any given moment. Linguists call this second, organisational level of activity 'turn-taking' and since the late 1970s it has been central to the way in which spoken interaction is understood. In spite of its obvious relevance to the study of drama, however, turn-taking has received little attention from critics and editors of Shakespeare. Turn-taking in Shakespeare offers a fresh perspective on the dramatic text by reversing the priorities of traditional literary analysis. Rather than focussing on what characters say, it focuses on when they speak. Rather than focussing on how they talk, it focuses on how they gain access to the floor. Its central argument is that the turn-taking patterns of Shakespeare's plays are a part of what Emrys Jones has called their 'basic structural shaping'—as fundamental to dialogue as rhythm is to verse. The book investigates what it means for a character to speak in or out of turn, to interrupt or overlap with a previous speaker, to pause before speaking, or to fail to speak at all. It explores how these moments are—and are not—signalled by the Shakespearean text, how best to describe and understand them, and the implications of such questions for contemporary debates about editing, rhetoric, prosody, and early modern performance practices.
Includes both books and articles.
Contributing to our understanding of Ovid, Milton, and more broadly the transmission and transformation of classical traditions, this book examines the ways in which Milton drew on Ovid's oeuvre, and argues that Ovid's revision of the past gave Renaissance writers a model for their own transformation of classical works.
" it engages with the agentive qualities of matter " it shows how affective dimensions in history connect with material history " it explores the religious and cultural identity dimensions of the use of materials and artefacts
Oxford Textual Perspectives is a new series of informative and provocative studies focused upon literary texts (conceived of in the broadest sense of that term) and the technologies, cultures and communities that produce, inform, and receive them. It provides fresh interpretations of fundamental works and of the vital and challenging issues emerging in English literary studies. By engaging with the materiality of the literary text, its production, and reception history, and frequently testing and exploring the boundaries of the notion of text itself, the volumes in the series question familiar frameworks and provide innovative interpretations of both canonical and less well-known works. Work in Hand: Script, Print, and Writing, 1690-1840 argues that between the late seventeenth and early nineteenth centuries manual writing was a dynamic technology. It examines script in relation to becoming a writer, in constructions of the author, and in emerging ideas of the human. Revising views of print as displacing script, Work in Hand argues that print reproduced script, print generated script; and print shaped understandings of script. In this, the double nature of print, as both moveable type and rolling press, is crucial. During this period, the shapes of letters changed as the multiple hands of the early-modern period gave way to English round hand; the denial of writing to the labouring classes was slowly replaced by acceptance of the desirability of universal writing; understandings of script in relation to copying and discipline came to be accompanied by ideas of the autograph. The work begins by surveying representations of script in letterpress and engraving. It discusses initiation into writing in relation to the copy-books of English writing masters, and in the context of colonial pedagogy in Ireland and India. The middle chapters discuss the physical work of writing, the material dimensions of script, and the autograph, in constructions of the author in the late eighteenth and early nineteenth centuries, and in relation to Samuel Johnson, Alexander Pope, William Blake, Isaac D'Israeli, and Maria Edgeworth. The final chapter considers the emerging association of script with ideas of the human in the work of the Methodist preacher Joseph Barker.