This book scrutinizes a range of relatively overlooked post-WWII British women writers who sought to demonstrate that narrative prose fiction offered rich possibilities for aesthetic innovation. What unites all the primary authors in this volume is a commitment to challenging the tenets of British mimetic realism as a literary and historical phenomenon. This collection reassesses how British female novelists operated in relation to transnational vanguard networking clusters, debates and tendencies, both political and artistic. The chapters collected in this volume enquire, for example, whether there is something fundamentally different (or politically dissident) about female experimental procedures and perspectives. This book also investigates the processes of canon formation, asking why, in one way or another, these authors have been sidelined or misconstrued by recent scholarship. Ultimately, it seeks to refine a new research archive on mid-century British fiction by female novelists at least as diverse as recent and longer established work in the domain of modernist studies.

Mary Butts was an important figure in inter-war modernist circles and one who reviewed and associated with some of the major literary figures of the era, from T.S. Eliot to Gertrude Stein. Despite her importance and the varied nature of her writing, she has been a neglected figure in modernist scholarship. Providing a new analysis of the interwar literary period, Mary Butts and British Neo-Romanticism revisits her work - vividly experimental writings spanning memoir, poetry, polemic and fiction - through the lens of mid-20th-century British neo-Romanticism. The book argues that behind Butts's eco-feminist writings lies an intricate political and philosophical commentary.

This volume focuses on the literary connotations of the "Channel Packet" and sets forth lively dialogues between French and British culture at a key period of artistic innovation and exchange between "high" and popular art forms.

Concentrating on female modernists specifically, this volume examines spiritual issues and their connections to gender during the modernist period. Scholarly inquiry surrounding women writers and their relation to what Wassily Kandinsky famously hoped would be an 'Epoch of the Great Spiritual' has generated myriad contexts for closer analysis including: feminist theology, literary and religious history, psychoanalysis, queer and trauma theory. This book considers canonical authors such as Virginia Woolf while also attending to critically overlooked or poorly understood figures such as H.D., Mary Butts, Rose Macaulay, Evelyn Underhill, Christopher St. John and Dion Fortune. With wide-ranging topics such as the formally innovative poetry of Stevie Smith and Hope Mirrlees to Evelyn Underhill's mystical treatises and correspondence, this collection of essays aims to grant voices to the mostly forgotten female voices of the modernist period, showing how spirituality played a vital role in their lives and writing.

Andrew Radford has acquired an unrivalled reputation over the past forty years for writing syntax textbooks in which difficult concepts are clearly explained without excessive use of technical jargon. Analysing English Sentence Structure continues in this tradition, offering a well-structured intermediate course in English syntax and contemporary syntactic theory. Chapters are split into core modules, each focusing on a specific topic, and the reader is supported throughout with learning aids such as summaries, lists of key hypotheses and principles, extensive references, exercises with handy hints, and a glossary of terminology. Both teachers and instructors will benefit from the book's free online resources, which comprise an open-access Students' Answerbook, and a password-protected Teachers' Answerbook, each containing comprehensive answers to exercises, with detailed tree diagrams. The book and accompanying resources are designed to serve both as a coursebook for use in class, and as a self-study resource for use at home.

A systematic exploration of Thomas Hardy's imaginative assimilation of particular Victorian sciences, this study draws on and swells the widening current of scholarly attention now being paid to the cultural meanings compacted and released by the nascent 'sciences of man' in the nineteenth century. Andrew Radford here situates Hardy's fiction and poetry in a context of the new sciences of humankind that evolved during the Victorian age to accommodate an immense range of literal and figurative 'excavations' then taking place. Combining literary close readings with broad historical analyses, he explores Hardy's artistic response to geological, archaeological and anthropological findings. In particular, he analyzes Hardy's lifelong fascination with the doctrine of 'survivals,' a term coined by E.B. Tylor in Primitive Culture (1871) to denote customs, beliefs and practices persisting in isolation from their original cultural context. Radford reveals how Hardy's subtle reworking of Tylor's doctrine offers a valuable insight into the inter-penetration of science and literature during this period. An important aspect of Radford's research focuses on lesser known periodical literature that grew out of a British amateur antiquarian tradition of the nineteenth century. His readings of Hardy's literary notebooks disclose the degree to which Hardy's own considerable scientific knowledge was shaped by the middlebrow periodical press. Thus Thomas Hardy and the Survivals of Time raises questions not only about the reception of scientific ideas but also the creation of nonspecialist forms of scientific discourse. This book represents a genuinely new perspective for Hardy studies.

In tracing those deliberate and accidental Romantic echoes that reverberate through the Victorian age into the beginning of the twentieth century, this collection acknowledges that the Victorians decided for themselves how to define what is 'Romantic'. The essays explore the extent to which Victorianism can be distinguished from its Romantic precursors, or whether it is possible to conceive of Romanticism without the influence of these Victorian definitions. Romantic Echoes in the Victorian Era reassesses Romantic literature's immediate cultural and literary legacy in the late nineteenth century, showing how the Victorian writings of Matthew Arnold, Wilkie Collins, the BrontA"s, the Brownings, Elizabeth Gaskell, Charles Dickens, Gerard Manley Hopkins, Thomas Hardy, and the Rossettis were instrumental in shaping Romanticism as a cultural phenomenon. Many of these Victorian writers found in the biographical, literary, and historical models of Chatterton, Coleridge, Byron, Shelley, Keats, and Wordsworth touchstones for reappraising their own creative potential and artistic identity. Whether the Victorians affirmed or revolted against the Romanticism of their early years, their attitudes towards Romantic values enriched and intensified the personal, creative, and social dilemmas described in their art. Taken together, the essays in this collection reflect on current critical dialogues about literary periodisation and contribute to our understanding of how these contemporary debates stem from Romanticism's inception in the Victorian age.

This title considers four regional writers and their complex relationship with concepts of space and place at a time of seismic social change. By discussing the work of Thomas Hardy, Richard Jefferies, John Cowper Powys and Mary Butts, "Mapping the Wessex Novel" imaginatively maps and excavates various districts of the 'west country' so as radically to redefine the 'parochial'; while being keenly aware of their own status as natives locked into complex histories of self-exile and return, estrangement and ardent identification. Contributing to the growing research on space and place in Victorian and Modernist writing, Radford uses the analysis of these writers as a lens through which to inspect the relationship between rural periphery and metropolitan centre; contested ideologies of 'Englishness' and the form of the national past.

Drawing on vast amounts of new data from live, unscripted radio and TV broadcasts, and the internet, this is a brilliant and original analysis of colloquial English, revealing unusual and largely unreported types of clause structure. Andrew Radford debunks the myth that colloquial English has a substandard, simplified grammar, and shows that it has a coherent and complex structure of its own. The book develops a theoretically sophisticated account of structure and variation in colloquial English, advancing an area that has been previously investigated from other perspectives, such as corpus linguistics or conversational analysis, but never before in such detail from a formal syntactic viewpoint.

Andrew Radford has acquired an unrivalled reputation over the past forty years for writing syntax textbooks in which difficult concepts are clearly explained without excessive use of technical jargon. Analysing English Sentence Structure continues in this tradition, offering a well-structured intermediate course in English syntax and contemporary syntactic theory. Chapters are split into core modules, each focusing on a specific topic, and the reader is supported throughout with learning aids such as summaries, lists of key hypotheses and principles, extensive references, exercises with handy hints, and a glossary of terminology. Both teachers and instructors will benefit from the book's free online resources, which comprise an open-access Students' Answerbook, and a password-protected Teachers' Answerbook, each containing comprehensive answers to exercises, with detailed tree diagrams. The book and accompanying resources are designed to serve both as a coursebook for use in class, and as a self-study resource for use at home.

Between 1875 and 1947, a period bookended, respectively, by the founding of the Theosophical Society and the death of notorious occultist celebrity Aleister Crowley, Britain experienced an unparalleled efflorescence of engagement with unusual occult schema and supernatural phenomena such as astral travel, ritual magic, and reincarnationism. Reflecting the signal array of responses by authors, artists, actors, impresarios and popular entertainers to questions of esoteric spirituality and belief, this interdisciplinary collection demonstrates the enormous interest in the occult during a time typically associated with the rise of secularization and scientific innovation. The contributors describe how the occult realm functions as a turbulent conceptual and affective space, shifting between poles of faith and doubt, the sacrosanct and the profane, the endemic and the exotic, the forensic and the fetishistic. Here, occultism emerges as a practice and epistemology that decisively shapes the literary enterprises of writers such as Dion Fortune and Arthur Machen, artists such as Pamela Colman Smith, and revivalists such as Rolf Gardiner

This book scrutinizes a range of relatively overlooked post-WWII British women writers who sought to demonstrate that narrative prose fiction offered rich possibilities for aesthetic innovation. What unites all the primary authors in this volume is a commitment to challenging the tenets of British mimetic realism as a literary and historical phenomenon. This collection reassesses how British female novelists operated in relation to transnational vanguard networking clusters, debates and tendencies, both political and artistic. The chapters collected in this volume enquire, for example, whether there is something fundamentally different (or politically dissident) about female experimental procedures and perspectives. This book also investigates the processes of canon formation, asking why, in one way or another, these authors have been sidelined or misconstrued by recent scholarship. Ultimately, it seeks to refine a new research archive on mid-century British fiction by female novelists at least as diverse as recent and longer established work in the domain of modernist studies.

In tracing those deliberate and accidental Romantic echoes that reverberate through the Victorian age into the beginning of the twentieth century, this collection acknowledges that the Victorians decided for themselves how to define what is 'Romantic'. The essays explore the extent to which Victorianism can be distinguished from its Romantic precursors, or whether it is possible to conceive of Romanticism without the influence of these Victorian definitions. Romantic Echoes in the Victorian Era reassesses Romantic literature's immediate cultural and literary legacy in the late nineteenth century, showing how the Victorian writings of Matthew Arnold, Wilkie Collins, the BrontA"s, the Brownings, Elizabeth Gaskell, Charles Dickens, Gerard Manley Hopkins, Thomas Hardy, and the Rossettis were instrumental in shaping Romanticism as a cultural phenomenon. Many of these Victorian writers found in the biographical, literary, and historical models of Chatterton, Coleridge, Byron, Shelley, Keats, and Wordsworth touchstones for reappraising their own creative potential and artistic identity. Whether the Victorians affirmed or revolted against the Romanticism of their early years, their attitudes towards Romantic values enriched and intensified the personal, creative, and social dilemmas described in their art. Taken together, the essays in this collection reflect on current critical dialogues about literary periodisation and contribute to our understanding of how these contemporary debates stem from Romanticism's inception in the Victorian age.

A systematic exploration of Thomas Hardy's imaginative assimilation of particular Victorian sciences, this study draws on and swells the widening current of scholarly attention now being paid to the cultural meanings compacted and released by the nascent 'sciences of man' in the nineteenth century. Andrew Radford here situates Hardy's fiction and poetry in a context of the new sciences of humankind that evolved during the Victorian age to accommodate an immense range of literal and figurative 'excavations' then taking place. Combining literary close readings with broad historical analyses, he explores Hardy's artistic response to geological, archaeological and anthropological findings. In particular, he analyzes Hardy's lifelong fascination with the doctrine of 'survivals,' a term coined by E.B. Tylor in Primitive Culture (1871) to denote customs, beliefs and practices persisting in isolation from their original cultural context. Radford reveals how Hardy's subtle reworking of Tylor's doctrine offers a valuable insight into the inter-penetration of science and literature during this period. An important aspect of Radford's research focuses on lesser known periodical literature that grew out of a British amateur antiquarian tradition of the nineteenth century. His readings of Hardy's literary notebooks disclose the degree to which Hardy's own considerable scientific knowledge was shaped by the middlebrow periodical press. Thus Thomas Hardy and the Survivals of Time raises questions not only about the reception of scientific ideas but also the creation of nonspecialist forms of scientific discourse. This book represents a genuinely new perspective for Hardy studies.

Between 1875 and 1947, a period bookended, respectively, by the founding of the Theosophical Society and the death of notorious occultist celebrity Aleister Crowley, Britain experienced an unparalleled efflorescence of engagement with unusual occult schema and supernatural phenomena such as astral travel, ritual magic, and reincarnationism. Reflecting the signal array of responses by authors, artists, actors, impresarios and popular entertainers to questions of esoteric spirituality and belief, this interdisciplinary collection demonstrates the enormous interest in the occult during a time typically associated with the rise of secularization and scientific innovation. The contributors describe how the occult realm functions as a turbulent conceptual and affective space, shifting between poles of faith and doubt, the sacrosanct and the profane, the endemic and the exotic, the forensic and the fetishistic. Here, occultism emerges as a practice and epistemology that decisively shapes the literary enterprises of writers such as Dion Fortune and Arthur Machen, artists such as Pamela Colman Smith, and revivalists such as Rolf Gardiner

Concentrating on female modernists specifically, this volume examines spiritual issues and their connections to gender during the modernist period. Scholarly inquiry surrounding women writers and their relation to what Wassily Kandinsky famously hoped would be an 'Epoch of the Great Spiritual' has generated myriad contexts for closer analysis including: feminist theology, literary and religious history, psychoanalysis, queer and trauma theory. This book considers canonical authors such as Virginia Woolf while also attending to critically overlooked or poorly understood figures such as H.D., Mary Butts, Rose Macaulay, Evelyn Underhill, Christopher St. John and Dion Fortune. With wide-ranging topics such as the formally innovative poetry of Stevie Smith and Hope Mirrlees to Evelyn Underhill's mystical treatises and correspondence, this collection of essays aims to grant voices to the mostly forgotten female voices of the modernist period, showing how spirituality played a vital role in their lives and writing.

Using novel examples from live, unscripted radio/TV broadcasts and the internet, this path-breaking book will force us to reconsider the nature of everyday English and its complex interplay of syntactic, pragmatic, sociolinguistic and psycholinguistic factors. Uncovering unusual types of non-standard relative clauses, Andrew Radford develops theoretically sophisticated analyses in an area that has traditionally hardly been touched on: that of nonstandard (yet not clearly dialectal) variation in English. Making sense of a huge amount of data, the book demonstrates that some types of non-standard relative clauses have a complex syntactic structure of their own in which the relation between the relative clause and its antecedent is either syntactically encoded or pragmatic in nature, while others come about as a result of hypercorrection, and yet others arise from processing errors.

Drawing on vast amounts of new data from live, unscripted radio and TV broadcasts, and the internet, this is a brilliant and original analysis of colloquial English, revealing unusual and largely unreported types of clause structure. Andrew Radford debunks the myth that colloquial English has a substandard, simplified grammar, and shows that it has a coherent and complex structure of its own. The book develops a theoretically sophisticated account of structure and variation in colloquial English, advancing an area that has been previously investigated from other perspectives, such as corpus linguistics or conversational analysis, but never before in such detail from a formal syntactic viewpoint.

Andrew Radford has acquired an unrivalled reputation over the past thirty years for writing syntax textbooks in which difficult concepts are clearly explained without the excessive use of technical jargon. Analysing English Sentences continues in this tradition, offering a well-structured introduction to English syntax and contemporary syntactic theory which is supported throughout with learning aids such as summaries, lists of key hypotheses and principles, extensive references, handy hints and exercises. Instructors will also benefit from the book's free online resources, which include PowerPoint slides of chapter key points and analyses of exercise material, as well as an answer key for all the in-book exercises. This second edition has been thoroughly revised and updated throughout, including additional exercises and an entirely new chapter on exclamative and relative clauses. Assuming no prior knowledge of grammar, this is an approachable introduction to the subject for undergraduate and graduate students.

Andrew Radford has acquired an unrivalled reputation over the past thirty years for writing syntax textbooks in which difficult concepts are clearly explained without the excessive use of technical jargon. Analysing English Sentences continues in this tradition, offering a well-structured introduction to English syntax and contemporary syntactic theory which is supported throughout with learning aids such as summaries, lists of key hypotheses and principles, extensive references, handy hints and exercises. Instructors will also benefit from the book's free online resources, which include PowerPoint slides of chapter key points and analyses of exercise material, as well as an answer key for all the in-book exercises. This second edition has been thoroughly revised and updated throughout, including additional exercises and an entirely new chapter on exclamative and relative clauses. Assuming no prior knowledge of grammar, this is an approachable introduction to the subject for undergraduate and graduate students.

This new edition of Andrew Radford's outstanding resource for students is a step-by-step, practical introduction to English syntax and syntactic principles, written by a globally-renowned expert in the field. Assuming little or no prior background in syntax, Radford outlines key concepts and how they can be used to describe various aspects of English sentence structure. Each chapter contains core modules focusing on a specific topic, a summary recapitulating the main points of the chapter, and a bibliographical section providing references to original source material. This edition has been extensively updated, with new analyses, exercise materials, references and a brand-new chapter on adjuncts. Students will benefit from the online workbook, which contains a vast amount of exercise material for each module, including self-study materials and a student answerbook for these. Teachers will value the extensive PowerPoints outlining module contents and the comprehensive teacher answerbook, which covers all workbook and PowerPoint exercises.

Written by a team based at one of the world's leading centres for linguistic teaching and research, the second edition of this highly successful textbook offers a unified approach to language, viewed from a range of perspectives essential for students' understanding of the subject. Using clear explanations throughout, the book is divided into three main sections: sounds, words, and sentences. In each, the foundational concepts are introduced, along with their application to the fields of child language acquisition, psycholinguistics, language disorders, and sociolinguistics, giving the book a unique yet simple structure that helps students to engage with the subject more easily than other textbooks on the market. This edition includes a completely new section on sentence use, including an introduction and discussion of core areas of pragmatics and conversational analysis; new coverage of sociolinguistic topics, introducing communities of practice; a wealth of new exercise material and updated further reading.

Andrew Radford's latest textbook, Minimalist Syntax, provides a concise, clear, and accessible introduction to current work in syntactic theory, drawing on the key concepts of Chomsky's Minimalist Program. Assuming little or no prior knowledge of syntactic theory, Radford takes students through a diverse range of topics in English syntax - such as categories and features, merger, null constituents, movement, case, and split projections - and shows how the 'computational component' works within the minimalist framework. Beginning at an elementary level, the book introduces grammatical concepts and sets out the theoretical foundations of Principles and Parameters and Universal Grammar, before progressing in stages towards more complex phenomena. Each chapter contains a workbook section, in which students are encouraged to make their own analyses of English phrases and sentences through exercises, model answers, and 'helpful hints'. There is also an extensive glossary of terms.

This textbook, first published in 2004, provides a concise, clear, and accessible introduction to current syntactic theory, drawing on the key concepts of Chomsky's Minimalist Program. Assuming little or no prior grammatical knowledge, Andrew Radford takes students through a wide range of topics in English syntax, beginning at an elementary level and progressing in stages towards more advanced material. There is an extensive glossary of technical terms, and each chapter contains a workbook section with 'helpful hints', exercises and model answers, suitable for both class discussion and self-study. This is an abridged version of Radford's major new textbook Minimalist Syntax (also published by Cambridge University Press), and will be welcomed as a short introduction to current syntactic theory.

Andrew Radford's latest textbook, Minimalist Syntax, provides a concise, clear, and accessible introduction to current work in syntactic theory, drawing on the key concepts of Chomsky's Minimalist Program. Assuming little or no prior knowledge of syntactic theory, Radford takes students through a diverse range of topics in English syntax - such as categories and features, merger, null constituents, movement, case, and split projections - and shows how the 'computational component' works within the minimalist framework. Beginning at an elementary level, the book introduces grammatical concepts and sets out the theoretical foundations of Principles and Parameters and Universal Grammar, before progressing in stages towards more complex phenomena. Each chapter contains a workbook section, in which students are encouraged to make their own analyses of English phrases and sentences through exercises, model answers, and 'helpful hints'. There is also an extensive glossary of terms.