The Economy of Literary Form: English Literature and the Industrialization of Publishing, 1800-1850

1999 ◽  
Vol 38 (4) ◽  
pp. 673
Author(s):  
Mark Schoenfield ◽  
Lee Erickson ◽  
John O. Jordan ◽  
Robert L. Patten ◽  
David Kaufmann
Keyword(s):  
English Literature ◽  
Literary Form

Form

2007 ◽  
Author(s):  
Christopher Cannon
Keyword(s):  
Middle Ages ◽  
Middle English ◽  
Geoffrey Chaucer ◽  
English Literature ◽  
Literary Form ◽  
Word Formation ◽  
Literary Analysis ◽  
Troilus And Criseyde ◽  
Middle English Literature ◽  
Key Aspects

Plato and Aristotle offered contrasting definitions of “form.” According to Plato, a “form” was external to the material world, a notion or idea or thought that can properly exist only in a mind. For Aristotle, “form” was always a part of some material thing. In Troilus and Criseyde, Geoffrey Chaucer offers a description that does not use the word “form,” and yet it implies a process that could be summarized with the word “formation.” This article discusses the advantages of a literary analysis that embraces a uniquely comprehensive definition of form, particularly in the realm of Middle English literature. It argues that each element of a comprehensive theory of literary form encompasses both thinking and writing in the Middle Ages. It also considers key aspects of the form of two representative Middle English texts, Pearl and Robert Mannyng’s Handlyng Synne.

Disaffected Parties

2019 ◽  
Author(s):  
John Owen Havard
Keyword(s):  
Jane Austen ◽  
English Literature ◽  
Lord Byron ◽  
Political Engagement ◽  
Literary Form ◽  
Political Arena ◽  
Tristram Shandy ◽  
Party Positions ◽  
Global Age ◽  
Opposition Movement

Disaffected Parties reveals how alienation from politics effected crucial changes to the shape and status of literary form. Recovering the earliest expressions of grumbling, irritability, and cynicism towards politics, this study asks how unsettled partisan legacies converged with more recent discontents to forge a seminal period in the making of English literature—and thereby poses wide-ranging questions about the lines between politics and aesthetics. Reading works including Laurence Sterne’s Tristram Shandy, James Boswell’s Life of Johnson, the novels of Maria Edgeworth and Jane Austen, and the satirical poetry of Lord Byron in tandem with print culture and partisan activity, this book shows how these writings remained animated by disaffected impulses and recalcitrant energies at odds with available party positions and emerging governmental norms—even as they sought to imagine perspectives that looked beyond the divided political world altogether. ‘No one can be more sick of—or indifferent to politics than I am’, Lord Byron wrote in 1820. Between the later eighteenth century and the Romantic age, disaffected political attitudes acquired increasingly familiar shapes. Yet this was also a period of ferment in which unrest associated with the global age of revolutions (including a dynamic transatlantic opposition movement) collided with often inchoate assemblages of parties and constituencies. As writers adopted increasingly emphatic removes from the political arena and cultivated familiar stances of cynicism, detachment, and retreat, their estrangement also promised to loop back into political engagement—and to make their works ‘parties’ all their own.

scholarly journals No Balm (in) Gilead: Aspects of Cultural Communication in Stephen King’s “The Dark Tower” Book Series

2020 ◽  
Vol 14 (4) ◽  
Author(s):  
Bojan Žikić
Keyword(s):  
Fairy Tale ◽  
English Literature ◽  
Literary Tradition ◽  
Literary Form ◽  
Cultural Communication ◽  
Social Stability ◽  
Book Series ◽  
Stability And Instability ◽  
The Social ◽  
The Individual

Three aspects of cultural communication of Stephen King's “The Dark Tower” book series are discussed in this paper: a literary tradition, a literary genre, and a cultural message. Narrative motives are established as a mean of connection of this book series with some of the classic works of English and European literature, and the whole series is fashioned according to the literary form of the (folk or fairy) tale. The purpose of this is to refer to the idea that a given book series should be viewed as part of English literature and of the English literary tradition. The tale form is used as a mean of categorizing the literary form within a given literary tradition. The third aspect in which the series communicates is the social context in which it was created, and it establishes parallels between states of social stability and instability, order and chaos, wholeness and breakup in the two basic worlds in which the series' action takes place: in our world and in that of the principle protagonist. It aims to emphasize the responsibility of the individual for the functioning of society, since society represents a consensual community of individuals.

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