This pioneering anthology of Middle English prologues and other excerpts from texts written between 1280 and 1520 is one of the largest collections of vernacular literary theory from the Middle Ages yet published and the first to focus attention on English literary theory before the sixteenth century. It edits, introduces, and glosses some sixty excerpts, all of which reflect on the problems and opportunities associated with writing in the &"mother tongue&" during a period of revolutionary change for the English language. The excerpts fall into three groups, illustrating the strategies used by medieval writers to establish their cultural authority, the ways they constructed audiences and readerships, and the models they offered for the process of reading. Taken together, the excerpts show how vernacular texts reflected and contributed to the formation of class, gender, professional, and national identity. They open windows onto late medieval debates on women's and popular literacy, on the use of the vernacular for religious instruction or Bible translation, on the complex metaphorical associations contained within the idea of the vernacular, and on the cultural and political role of the &"courtly&" writing associated with Chaucer and his successors. Besides the excerpts, the book contains five essays that propose new definitions of medieval literary theory, discuss the politics of Middle English writing, the relation of medieval book production to notions of authorship, and the status of the prologue as a genre, and compare the role of the medieval vernacular to that of postcolonial literatures. The book includes a substantial glossary that constitutes the first mapping of the language and terms of Middle English literary theory. The Idea of the Vernacular will be an invaluable asset not only to Middle English survey courses but to courses in English literary and cultural history and courses on the history of literary theory.

Since the publication of his groundbreaking books Writing Without Teachers and Writing with Power, Peter Elbow has revolutionized how people think about writing. Now, in Vernacular Eloquence, he makes a vital new contribution to both practice and theory. The core idea is simple: we can enlist virtues from the language activity most people find easiest-speaking-for the language activity most people find hardest-writing. Speech, with its spontaneity, naturalness of expression, and fluidity of thought, has many overlooked linguistic and rhetorical merits. Through several easy to employ techniques, writers can marshal this "wisdom of the tongue" to produce stronger, clearer, more natural writing.This simple idea, it turns out, has deep repercussions. Our culture of literacy, Elbow argues, functions as though it were a plot against the spoken voice, the human body, vernacular language, and those without privilege-making it harder than necessary to write with comfort or power. Giving speech a central role in writing overturns many empty preconceptions. It causes readers to think critically about the relationship between speech, writing, and our notion of literacy. Developing the political implications behind Elbow's previous books, Vernacular Eloquence makes a compelling case that strengthening writing and democratizing it go hand in hand.

Everybody’s got a theory . . . or do they? Thomas McLaughlin argues that critical theory—raising serious, sustained questions about cultural practice and ideology—is practiced not only by an academic elite but also by savvy viewers of sitcoms and TV news, by Elvis fans and Trekkies, by labor organizers and school teachers, by the average person in the street. Like academic theorists, who are trained in a tradition of philosophical and political skepticism that challenges all orthodoxies, the vernacular theorists McLaughlin identifies display a lively and healthy alertness to contradiction and propaganda. They are not passive victims of ideology but active questioners of the belief systems that have power over their lives. Their theoretical work arises from the circumstances they confront on the job, in the family, in popular culture. And their questioning of established institutions, McLaughlin contends, is essential and healthy, for it energizes other theorists who clarify the purpose and strategies of institutions and justify the existence of cultural practices. Street Smarts and Critical Theory leads us through eye-opening explorations of social activism in the Southern Christian anti-pornography movement, fan critiques in the ‘zine scene, New Age narratives of healing and transformation, the methodical manipulations of the advertising profession, and vernacular theory in the whole-language movement. Emphasizing that theory is itself a pervasive cultural practice, McLaughlin calls on academic institutions to recognize and develop the theoretical strategies that students bring into the classroom. “This book demystifies the idea of theory, taking it out of the hands of a priestly caste and showing it as the democratic endowment of the people.”—Daniel T. O’Hara, Temple University, author of Radical Parody: American Culture and Critical Agency after Foucault and Lionel Trilling: The Work of Liberation. “McLaughlin takes seriously the critical and theoretical activity of everyday people and does so in a way that will empower these very populations to take seriously their own activities as theorists. . . . A manifesto that is sure to be heard by the younger generation of thinkers in American cultural studies.”—Henry Jenkins, MIT, author of Textual Poachers: Television Fans and Participatory Culture

Imagining Vernacular Histories is centered on the idea of engaging with indigenous African cosmologies that signal at pluriversality. In conversation with Toyin Falola’s reading of the African pluriverse and his exploration of the idea of “ritual archives,” the contributors to this volume rethink the historical archive in search of vernacular histories. Simultaneously, they recognize the contributions from various other disciplines in pluralizing the term vernacular. The book brings together a wide range of topics, such as reflections on African historiography; the relationship between memory, history and literature; gender relations; and the construction of historical archives. While appropriating Falola’s conception of vernacular histories, the contributors collectively argue that pluriversality and ritual archives can potentially rescue African historical and creative scholarship from the sustained practices of epistemicide. Simultaneously, Imagining Vernacular Histories focuses on the emerging interdisciplinary conversations on constructing the pluriverse as well as on the geopolitics of knowledge production. Through a critical appreciation of Falola’s engagement with the ideas of postcoloniality, decolonizing epistemologies, and pluriversality, this book locates his scholarship in relation to postcolonial theory emerging from the Global South.

Chaucer, Gower, and the Vernacular Rising examines the transmission of Greco-Roman and European literature into English during the late fourteenth and early fifteenth centuries, while literacy was burgeoning among men and women from the nonruling classes. This dissemination offered a radically democratizing potential for accessing, interpreting, and deploying learned texts. Focusing primarily on an overlooked sector of Chaucer’s and Gower’s early readership, namely, the upper strata of nonruling urban classes, Lynn Arner argues that Chaucer’s and Gower’s writings engaged in elaborate processes of constructing cultural expertise. These writings helped define gradations of cultural authority, determining who could contribute to the production of legitimate knowledge and granting certain socioeconomic groups political leverage in the wake of the English Rising of 1381. Chaucer, Gower, and the Vernacular Rising simultaneously examines Chaucer’s and Gower’s negotiations—often articulated at the site of gender—over poetics and over the roles that vernacular poetry should play in the late medieval English social formation. This study investigates how Chaucer’s and Gower’s texts positioned poetry to become a powerful participant in processes of social control.

A folklorist and ethnographer who has written about the Southern Appalachians, African American communities in the United States, and the West Indies, Roger D. Abrahams goes up against the triviality barrier. Here he takes on the systematics of his own culture. He traces forms of mundane experience and the substrate of mutual understandings carried around as part of our own cultural longings and belongings. Everyday Life explores the entire range of social gatherings, from chance encounters and casual conversations to well-rehearsed performances in theaters and stadiums. Abrahams ties the everyday to those more intense experiences of playful celebration and serious power displays and shows how these seemingly disparate entities are cut from the same cloth of human communication. Abrahams explores the core components of everyday-ness, including aspects of sociability and goodwill, from jokes and stories to elaborate networks of organization, both formal and informal, in the workplace. He analyzes how the past enters our present through common experiences and attitudes, through our shared practices and their underlying values. Everyday Life begins with the vernacular terms for "old talk" and offers an overview of the range of practices thought of as customary or traditional. Chapters are concerned directly with the terms for intense experiences, mostly forms of play and celebration but extending to riots and other forms of social and political resistance. Finally Abrahams addresses key terms that have recently come front and center in sociological discussions of culture in a global perspective, such as identity, ethnicity, creolization, and diaspora, thus taking on academic jargon words as they are introduced into vernacular discussions.

The first study of the reception of Aristotle in Medieval and Renaissance Italy that considers the ethical dimension of translation.

Vernacular Rights Cultures offers a bold challenge to the dominant epistemologies and political practices of global human rights. It argues that decolonising global human rights calls for a serious epistemic accounting of the historically and politically specific encounters with human rights, and of the forms of world-making that underpin the stakes and struggles for rights and human rights around the globe. Through combining ethnographic investigations with political theory and philosophy, it goes beyond critiquing the Eurocentrism of global human rights, in order to document and examine the different political imaginaries, critical conceptual vocabularies, and gendered political struggles for rights and justice that animate subaltern mobilisations in 'most of the world'. Vernacular Rights Cultures demonstrates that these subaltern struggles call into being different and radical ideas of justice, politics and citizenship, and open up different possibilities and futures for human rights.

Explores the ways linguistic nationalism has enabled and deepened the reach of All-India nationalism. This title is also available as Open Access.

Indian literature is not a corpus of texts or literary concepts from India, argues Preetha Mani, but a provocation that seeks to resolve the relationship between language and literature, written in as well as against English. Examining canonical Hindi and Tamil short stories from the crucial decades surrounding decolonization, Mani contends that Indian literature must be understood as indeterminate, propositional, and reflective of changing dynamics between local, regional, national, and global readerships. In The Idea of Indian Literature, she explores the paradox that a single canon can be written in multiple languages, each with their own evolving relationships to one another and to English. Hindi, representing national aspirations, and Tamil, epitomizing the secessionist propensities of the region, are conventionally viewed as poles of the multilingual continuum within Indian literature. Mani shows, however, that during the twentieth century, these literatures were coconstitutive of one another and of the idea of Indian literature itself. The writers discussed here—from short-story forefathers Premchand and Pudumaippittan to women trailblazers Mannu Bhandari and R. Chudamani—imagined a pan-Indian literature based on literary, rather than linguistic, norms, even as their aims were profoundly shaped by discussions of belonging unique to regional identity. Tracing representations of gender and the uses of genre in the shifting thematic and aesthetic practices of short vernacular prose writing, the book offers a view of the Indian literary landscape as itself a field for comparative literature.