The nineteenth century witnessed a proliferation in the literary uses of dialect, with dialect becoming a key feature in the development of the realist novel, dialect songs being printed by the hundreds in urban centres and dialect poetry becoming a respected form. In this collection, scholars from a wide variety of disciplines, including dialectology, literary linguistics, sociolinguistics, literary studies and the history of the English language, have come together to examine the theory, context and ideology of the use of dialect in the nineteenth century. The texts considered range from the Cumberland poetry of Josiah Relph to the novels of Frances Trollope and Elizabeth Gaskell, and from popular Tyneside song to the dialect poetry of Alfred Tennyson. Throughout the volume, the contributors debate whether or not 'authenticity' is a meaningful category, the significance of metalanguage and paratext in the presentation of dialect, the differences between 'literary dialect' and 'dialect literature', the responses of 'insider' versus 'outsider' audiences and whether the representation of dialect is a hegemonic or resistant strategy. This is the first book to focus on practices of dialect representation in literature in the nineteenth century. Taken together, the chapters offer an exciting overview of the challenging work currently being undertaken in this field.

No Dialect Please, You're a Poet is situated at the crossroads in research areas of literature and linguistics. This collection of essays brings to the forefront the many ways in which dialect is present in poetry and how it is realized in both written texts and oral performances. In examining works from a wide range of poets and poetries, from acclaimed poets to emerging ones, this book offers a comprehensive introduction to poetics of dialects from a variety of regions, across two centuries of English poetry.

This monograph offers a radical reconceptualization of the relationship between the poetics and practice of Robert Burns and reevaluates the nature of his role in the history of Scots. By drawing on ideas from twenty-first-century sociolinguistic theory, it seeks to transform the debate surrounding Burns’s language. Through a series of readings that explore the way in which Burns used and commented on the styles associated with different places, groups and genres, it demonstrates how languages, places, and the identities associated with both are, in Burns’s writing, subject to continual reinvention. In this respect, the study breaks with existing accounts of the subject, insofar as it presents Scots, English and the other languages used by Burns not as fixed, empirically-observable entities, but as ideas that were revised and remade through the poet’s work. Focusing on Burns’s poems, songs, letters, prefaces, and glossaries, the book pays special attention to the complex ways in which the author engaged with such issues as phonology, grammar, and the naming of languages. The Burns who emerges from this book is not the marginal figure of traditional accounts—an under-educated poet alienated from the philological mainstream—but rather a well-informed thinker who, more than any other contemporary writer, embodies the creative linguistic spirit of the eighteenth century.

Do speakers’ identity constructions influence the emergence of new varieties of a language? This question is at the heart of a debate about how the process of the emergence of postcolonial varieties of English can best be modeled. This volume contributes to the debate by linking it to models and theories proposed by anthropological linguists, sociolinguists and discourse linguists who view identity as a social and cultural phenomenon that is produced through linguistic and other social practices. Language is seen as essential for identity constructions because speakers use linguistic forms that index social ‘personae’ as well as specific social practices and values to convey an image of self to other speakers. Based on the theory of enregisterment that models the cultural and discursive process of the creation of indexical links between linguistic forms and social values, the argument is made that any model of the emergence of new varieties needs to differentiate carefully between a structural level and a discursive level. What emerges on the discursive level as a result of processes of enregisterment is a ‘discursive variety’. The volume illustrates how the emergence of a discursive variety can be systematically studied in a historical context by focusing on the enregisterment of American English as it can be observed in nineteenth-century U.S. newspapers. Using a discourse-linguistic methodological framework and two large databases containing close to 78 million newspaper articles, the study reveals a complex pattern of indexical links between the phonological forms /h/-dropping and -insertion, yod-dropping, a lengthened and backened bath vowel, non-rhoticity, a realization of prevocalic /r/ as a labiodental approximant as well as the lexical items baggage and pants on the one hand and social values centering around nationality, authenticity and non-specificity on the other hand. Qualitative analyses uncover the social personae associated with the linguistic forms (e.g. the American cowboy, the African American mammy and the ‘Anglo-maniac’ American dude), while quantitative analyses trace the development over time and show that the enregisterment processes were widespread and not restricted to a particular region.

Building upon recent German Studies research addressing the industrialization of printing, the expansion of publication venues, new publication formats, and readership, Market Strategies maps a networked literary field in which the production, promotion, and reception of literature from the Enlightenment to World War II emerges as a collaborative enterprise driven by the interests of actors and institutions. These essays demonstrate how a network of authors, editors, and publishers devised mutually beneficial and, at times, conflicting strategies for achieving success on the rapidly evolving nineteenth-century German literary market. In particular, the contributors consider how these actors shaped a nineteenth-century literary market, which included the Jewish press, highbrow and lowbrow genres, and modernist publications. They explore the tensions felt as markets expanded and restrictions were imposed, which yielded resilient new publication strategies, fostered criticism, and led to formal innovations. The volume thus serves as major contribution to interdisciplinary research in nineteenth-century German literary, media, and cultural studies.

Analysing examples from 18th century literary texts through to 21st century social media, this is the first comprehensive collection to explore dialect writing in the North of England. The book also considers broad questions about dialect writing in general: What is it? Who does it? What types of dialect writing exist? How can linguists interpret it?Bringing together a wide range of contributors, the book investigates everything from the cultural positioning and impact of dialect writing to the mechanics of how authors produce dialect spellings (and what this can tell us about the structure of the dialects represented). The book features a number of case studies, focusing on dialect writing from all over the North of England, considering a wide range of types of text, including dialect poetry, translations into dialect, letters, tweets, direct speech in novels, humorous localised volumes, written reports of conversations and cartoons in local newspapers.

The Oxford Handbook of British Romantic Prose is a full-length essay collection devoted entirely to British Romantic nonfiction prose. Organized into eight parts, each containing between five and nine chapters arranged alphabetically, the Handbook weaves together familiar and unfamiliar texts, events, and authors, and invites readers to draw comparisons, reimagine connections and disconnections, and confront frequently stark contradictions, within British Romantic nonfiction prose, but also in its relationship to British Romanticism more generally, and to the literary practices and cultural contexts of other periods and countries. The Handbook builds on previous scholarship in the field, considers emerging trends and evolving methodologies, and suggests future areas of study. Throughout the emphasis is on lucid expression rather than gnomic declaration, and on chapters that offer, not a dutiful survey, but evaluative assessments that keep an eye on the bigger picture yet also dwell meaningfully on specific paradoxes and the most telling examples. Taken as a whole the volume demonstrates the energy, originality, and diversity at the crux of British Romantic nonfiction prose. It vigorously challenges the traditional construction of the British Romantic movement as focused too exclusively on the accomplishments of its poets, and it reveals the many ways in which scholars of the period are steadily broadening out and opening up delineations of British Romanticism in order to encompass and thoroughly evaluate the achievements of its nonfiction prose writers.

Inclusive, cutting-edge essay collection by leading scholars on Victorian women poets and their diverse poetic forms and identities.

Geordie Stylizations is a short-focused research work which builds on the renovated interest on the nexus between accent-identity-prestige-prejudice, offering an analysis of celebrities' use of the Geordie variety in a series of public performances as a reflection instrument for scholars, but also for neophyte readers with an interest in Sociolinguistics, Pragmatics, Celebrity Studies, Cultural Studies, Anthropology, Sociology and Gender Studies. Of interest are the individual instances of Geordieness performed on specific occasions, i.e. the ways in which people construct their unique and constantly evolving language repertoires sometimes appropriating some, other times distancing themselves from, linguistic traits that would characterize them as members of specific communities in other people's perceptions. The material investigated is provided by the artistic world: engaging with the arts and culture, and in particular with music, is not just a solitary event, but also a participatory one which many people feel is worthwhile sharing through ordinary conversation and interaction via social networks every day.