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This book examines three major nineteenth-century writers in the context of the models of progress emerging from contemporary studies in geology and language. The deployment of varieties of speech in their novels throws light on how different genres--fictional and scientific--affected the century's use of metaphor and its often contradictory theories of progress.
'"Originality" is only plagiarizing from a great many', remarked Rupert Brooke, stealing the line from Voltaire. Questions of originality, and accusations of plagiarism, are as old as literature, but different literary cultures have interpreted the relationship between originality and plagiarism in startlingly dissimilar ways. Original Copy investigates and documents the drastic reappraisal of literary originality and plagiarism which occurred over the course of the nineteenth century: from the heroic visions of original authorship that characterised the 1820s and 1830s, through to the stickle-brick creativity of Oscar Wilde and Lionel Johnson at the century's end. It reveals how ideas of originality and plagiarism were not only a theoretical concern of Victorian commentators on literature, but also provided many important Victorian writers - Eliot, Dickens, Reade, Pater, Wilde, and Lionel Johnson among them - with a creative resource. Moving between numerous different fields of thought and knowledge - literary criticism, the history of science, manuscript culture, anthropology - and written in a supple and elegant style, this book shows that the ideas of originality and plagiarism were the subjects of nineteenth-century literature, as well as what it was subject to.
This intriguing book examines the ways contagion - or disease - inform and shape a wide variety of nineteenth century texts and contexts. Christiensen dissects the cultural assumptions concerning disease, health, impurity and so on before exploring different perspectives on key themes such as plague, nursing and the hospital environment and focusing on certain key texts including Dicken's Bleak House, Gaskell's Ruth, and Zola's Le Docteur Pascal.
This book introduces a unique methodology to the study of metaphor, integrating a corpus linguistic approach to explore the lexical, grammatical, semantic, and pragmatic characteristics of metaphoric instances of language. The volume questions the reliability of attempts to identify metaphor based on dichotomy and, drawing on data from a corpus of nineteenth-century writing, instead advocates for the notion that metaphoricity is context-dependent and fluid, in relation to the respective social and discourse contexts in which metaphors can be found. The book also applies Lexical Priming Theory to metaphoric language to suggest that our use of metaphor is due to unconscious behaviors, a counterpoint to perspectives that see metaphor use as part of the creative process. Taken as a whole, the volume calls for a deeper investigation of the complex web of meaning senses that contributes to our understanding of metaphor, making this key reading for students and researchers in corpus linguistics, metaphor studies, lexicography, semantics, and pragmatics.
Language and Metaphors of the Russian Revolution: Sow the Wind, Reap the Storm is a panoramic history of the Russian intelligentsia and an analysis of the language and ideals of the Russian Revolution, from its inception over the long nineteenth century through fruition in early Soviet society. This volume examines metaphors for revolution in the storm, flood, and harvest imagery ubiquitous in Russian literary works. At the same time, it considers the struggle to own the narrative of modernity, including Bolshevik weaponization of language and cultural policy that supported the use of terror and social purging. This uniquely cross-disciplinary study conducts a close reading of texts that use storm, flood, and agricultural metaphors in diverse ways to represent revolution, whether in anticipation and celebration of its ideals or in resistance to the same. A spotlight is given to the lives and works of authors who responded to Soviet authoritarianism by reclaiming the narrative of revolution in the name of personal freedom and restoration of humanist values. Hinging on the clashes of culture wars and class wars and residing at the intersection of ideas at the very core of the fight for modernity, this book provides a critical reading of authoritarian discourse and investigates rare examples of the counter narratives that thrived in spite of their suppression.
The present study investigates speech, writing, and thought presentation in a corpus of 19th-century narrative fiction including, for instance, the novels Frankenstein, Jane Eyre, Wuthering Heights, Oliver Twist, and many others.
Metaphor is a central concept in literary studies, but it is also prevalent in everyday language and speech. Recent literary theories such as postmodernism and deconstruction have transformed the study of the text and revolutionized our thinking about metaphor. In this fascinating volume, David Punter: establishes the classical background of the term from its philosophical roots to the religious and political tradition of metaphor in the East relates metaphor to the public realms of culture and politics and the way in which these influence the literary examines metaphor in relation to literary theory, philosophy, psychoanalysis and postcolonial studies illustrates his argument with specific examples from western and eastern literature and poetry. This comprehensive and engaging book emphasizes the significance of metaphor to literary studies, as well as its relevance to cultural studies, linguistics and philosophy.
Novel Science is the first in-depth study of the shocking, groundbreaking, and sometimes beautiful writings of the gentlemen of the “heroic age” of geology and of the contribution these men made to the literary culture of their day. For these men, literature was an essential part of the practice of science itself, as important to their efforts as mapmaking, fieldwork, and observation. The reading and writing of imaginative literatures helped them to discover, imagine, debate, and give shape and meaning to millions of years of previously undiscovered earth history. Borrowing from the historical fictions of Walter Scott and the poetry of Lord Byron, they invented geology as a science, discovered many of the creatures we now call the dinosaurs, and were the first to unravel and map the sequence and structure of stratified rock. As Adelene Buckland shows, they did this by rejecting the grand narratives of older theories of the earth or of biblical cosmogony: theirs would be a humble science, faithfully recording minute details and leaving the big picture for future generations to paint. Buckland also reveals how these scientists—just as they had drawn inspiration from their literary predecessors—gave Victorian realist novelists such as George Eliot, Charles Kingsley, and Charles Dickens a powerful language with which to create dark and disturbing ruptures in the too-seductive sweep of story.
"A great deal has been written about Elizabeth Gaskell in the past decade, and Elizabeth Gaskell: An Annotated Guide to English Language Sources, 1992-2001 builds upon Weyant's 1994 work which covered some 350 sources published between 1976 and 1991. This supplement identifies almost 600 new books, book chapters, journal articles, dissertations, and master and honor theses on the life and writings of Gaskell. Contents include two appendixes of new editions of Gaskell's works in print and digital, audio, and video formats; a selection of websites; citations of many brief articles in the Gaskell Newsletter that are generally ignored in standard indexes; numerous sources that would otherwise be difficult to locate; and an author and subject index."--Quatrième de couverture
Curiosity about the human mind—what it is and how it functions—began long before modern psychology. But because the mind and its processes are so elusive, they could be described only by means of metaphor. Michael Kearns, in this prize-winning study, examines the development of metaphors of the mind in psychological writings from Hobbes through William James and in fiction from Defoe through Henry James. Throughout the eighteenth century and even into the early nineteenth, metaphors of the mind as a relatively simple entity, either mechanical or biological, dominated both those engaged in psychological theorizing and novelists ranging from Richardson and Smollett through Dickens and the Brontes. In the nineteenth century, such psychologists as Herbert Spencer and Alexander Bain conceived of the mind as a complex organism quite different from that embodied in earlier thinking, but their figurative language did not keep pace. The result was a tension between theoretical expression and actual discussion of mental phenomena