Textual Imitation offers a new critique of the space between fiction and truth, poetry and philosophy. In a nimble, yet startlingly wide-ranging argument, esteemed scholar Jonathan Hart argues that recognition and misrecognition are the keys to understanding texts and contexts from the Old World to the New World.

Textual Imitation offers a new critique of the space between fiction and truth, poetry and philosophy. In a nimble, yet startlingly wide-ranging argument, esteemed scholar Jonathan Hart argues that recognition and misrecognition are the keys to understanding texts and contexts from the Old World to the New World.

Textual Imitation offers a new critique of the space between fiction and truth, poetry and philosophy. In a nimble, yet startlingly wide-ranging argument, esteemed scholar Jonathan Hart argues that recognition and misrecognition are the keys to understanding texts and contexts from the Old World to the New World.

Making and Seeing Modern Texts explores the poetics of texts through a close reading and analysis across the genres of poetry, drama, fiction, non-fiction travel literature and theory. This volume demonstrates that prose, as much as poetry, share the making and seeing of language, literary practice, and theory. Genre, then, is presented as a guide that crosses multiple boundaries. This volume selects different ways to examine texts, discussing Michael Ondaatje’s early poetry and examining narrative in Philip Roth’s The Human Stain. The book examines images in poetry, narrative in fiction, prefaces in non-fiction, metatheatre in drama, and attempts to see the modern and postmodern in theory, all of which show us the complexities of modernity or later modernity. One of the innovations is that the author, a literary critic/theorist, poet and historian, takes his training in practice and theory and shows, through examples of each, how language operates across genres.

This Handbook maps the contours of an exciting and burgeoning interdisciplinary field concerned with the role of language and languages in situations of conflict. It explores conceptual approaches, sources of information that are available, and the institutions and actors that mediate language encounters. It examines case studies of the role that languages have played in specific conflicts, from colonial times through to the Middle East and Africa today. The contributors provide vibrant evidence to challenge the monolingual assumptions that have affected traditional views of war and conflict. They show that languages are woven into every aspect of the making of war and peace, and demonstrate how language shapes public policy and military strategy, setting frameworks and expectations. The Handbook's 22 chapters powerfully illustrate how the encounter between languages is integral to almost all conflicts, to every phase of military operations and to the lived experiences of those on the ground, who meet, work and fight with speakers of other languages. This comprehensive work will appeal to scholars from across the disciplines of linguistics, translation studies, history, and international relations; and provide fresh insights for a broad range of practitioners interested in understanding the role and implications of foreign languages in war.

This book offers an in-depth study of the poetics of creative writing as a subject in the dramatically changing context of practice as research, taking into account the importance of the subjectivity of the writer as researcher. It explores creative writing and theory while offering critical antecedents, theoretical directions and creative interchanges. The book narrows the focus on psychoanalysis, particularly with regard to Lacan and creative practice, and demonstrates that creative writing is research in its own right. The poetics at stake neither denotes the study or the techniques of poetry, but rather the means by which writers formulate and discuss attitudes to their work.

Studying texts by Lorenzo Valla, Erasmus, Saint Jerome, George Gascoigne, and Fulke Greville, this volume explores authorial character as an instrument of textual analysis in the scholarship of early Renaissance literature.

Imitating Authors is a major study of the theory and practice of imitatio (the imitation of one author by another) from antiquity to the present day. It extends from early Greek texts right up to recent fictions about clones and artificial humans, and illuminates both the theory and practice of imitation. At its centre lie the imitating authors of the English Renaissance, including Ben Jonson and the most imitated imitator of them all, John Milton. Imitating Authors argues that imitation was not simply a matter of borrowing words, or of alluding to an earlier author. Imitators learnt practices from earlier writers. They imitated the structures and forms of earlier writing in ways that enabled them to create a new style which itself could be imitated. That made imitation an engine of literary change. Imitating Authors also shows how the metaphors used by theorists to explain this complex practice fed into works which were themselves imitations, and how those metaphors have come to influence present-day anxieties about imitation human beings and artificial forms of intelligence. It explores relationships between imitation and authorial style, its fraught connections with plagiarism, and how emerging ideas of genius and intellectual property changed how imitation was practised. In refreshing and jargon-free prose Burrow explains not just what imitation was in the past, but how it influences the present, and what it could be in the future. Imitating Authors includes detailed discussion of Plato, Roman rhetorical theory, Virgil, Lucretius, Petrarch, Cervantes, Ben Jonson, Milton, Pope, Wordsworth, Mary Shelley, and Kazuo Ishiguro.

A compact introduction to the central subject-matter, approaches and research domains - attention is paid primarily to the most important issues and categories of literary studies, to the methodology of poetry, drama, narrative and media analysis, and to the most important elements of English and American literary history. German version: Grundkurs anglistisch-amerikanistische Literaturwissenschaft Print ISBN 9783129390290, epub 9783129391136

Scholars have often read the book of Revelation in a way that attempts to ascertain which Old Testament book it most resembles. Instead, we should read it as a combined and imitative text which actively engages the audience through signalling to multiple texts and multiple textual experiences: in short, it is an act of pastiche. Fletcher analyses the methods used to approach Revelation's relationship with Old Testament texts and shows that, although there is literature on Revelation's imitative and multi-vocal nature, these aspects of the text have not yet been explored in sufficient depth. Fletcher's analysis also incorporates an examination of Greco-Roman imitation and combination before providing a better way to understand the nature of the book of Revelation, as pastiche. Fletcher builds her case on four comparative case studies and uses a test case to ascertain how completely they fit with this assessment. These insights are then used to clarify how reading Revelation as imitative and combined pastiche can challenge previous scholarly assumptions, transforming the way we approach the text.