In Soldiers from Experience, Eric Michael Burke examines the tactical behavior and operational performance of Major General William T. Sherman's Fifteenth US Army Corps during its first year fighting in the Western Theater of the American Civil War. Burke analyzes how specific experiences and patterns of meaning-making within the ranks led to the emergence of what he characterizes as a distinctive corps-level tactical culture. The concept-introduced here for the first time-consists of a collection of shared, historically derived ideas, beliefs, norms, and assumptions that play a decisive role in shaping a military command's particular collective approach on and off the battlefield. Burke shows that while military historians of the Civil War frequently assert that generals somehow imparted their character upon the troops they led, Sherman's corps reveals the opposite to be true. Contrary to long-held historiographical assumptions, he suggests the physical terrain itself played a much more influential role than rifled weapons in necessitating tactical changes. At the same time, Burke argues, soldiers' battlefield traumas and regular interactions with southern civilians, the enslaved, and freed people during raids inspired them to embrace emancipation and the widespread destruction of Rebel property and resources. An awareness and understanding of this culture increasingly informed Sherman's command during all three of his most notable late-war campaigns. Burke's study serves as the first book-length examination of an army corps operating in the Western Theater during the conflict. It sheds new light on Civil War history more broadly by uncovering a direct link between the exigencies of nineteenth-century land warfare and the transformation of US wartime strategy from "conciliation," which aimed to limit armed combat and casualties, to "hard war." Most significantly, Soldiers from Experience introduces a new theoretical construct of small unit-level tactical principles wholly absent from the rapidly growing interdisciplinary scholarship on the intricacies and influence of culture on military operations.

Author Bernadette M. Burke has always looked up to her brother, Michael.

At the tender age of twenty, Michael Burke almost lost his life fighting to defend the quality of life and freedom valued by all Americans. His experiences on the field of combat in Vietnam were like that of many, yet his spirit prevailed when others crumbled. He saw his comrades die in front of him and survived a bomb attack that claimed too many of his company.

Through it all, he never wavered from his commitment to do the right thing. He strives to be the best father, the best husband, the best man he can be, all while struggling to conquer the many demons that would overwhelm him. The horrors of war, with its many physical and psychological scars, still plague him. He remains dedicated to serving the veterans who need him the most, and this biography honors his contributions.

There are those who are called hero because of their desire to unselfishly put what's best for others ahead of their own needs. Michael Burke is one of these rare people. On June 14, 2011, he was inducted into the Senate Veterans Hall of Fame in Albany, New York. This honor was paid to him as a result of the work he has done throughout the years to help United States veterans and his local community.

This is his story, as told by one of his biggest fans-his sister.

Author Bernadette M. Burke has always looked up to her brother, Michael.

At the tender age of twenty, Michael Burke almost lost his life fighting to defend the quality of life and freedom valued by all Americans. His experiences on the field of combat in Vietnam were like that of many, yet his spirit prevailed when others crumbled. He saw his comrades die in front of him and survived a bomb attack that claimed too many of his company.

Through it all, he never wavered from his commitment to do the right thing. He strives to be the best father, the best husband, the best man he can be, all while struggling to conquer the many demons that would overwhelm him. The horrors of war, with its many physical and psychological scars, still plague him. He remains dedicated to serving the veterans who need him the most, and this biography honors his contributions.

There are those who are called hero because of their desire to unselfishly put what's best for others ahead of their own needs. Michael Burke is one of these rare people. On June 14, 2011, he was inducted into the Senate Veterans Hall of Fame in Albany, New York. This honor was paid to him as a result of the work he has done throughout the years to help United States veterans and his local community.

This is his story, as told by one of his biggest fans-his sister.

This book offers a global exploration of current theory and practice in the teaching of stylistics and the implementation of stylistic techniques in teaching other subjects. Pedagogical stylistics is a field that looks at employing stylistic analysis in teaching, with the aim of enabling students to better understand literature, language and also improving their language acquisition. It is also concerned with the best practice in teaching stylistics. The book discusses a broad range of interrelated topics including hypertext, English as a Foreign Language, English as a Second Language, poetry, creative writing, and metaphor. Leading experts offer focused, empirical studies on specific developments, providing in-depth examinations of both theoretical and practical teaching methods. This interdisciplinary approach covers linguistics and literature from the perspective of current pedagogical methodology, moving from general tertiary education to more specific EFL and ESL teaching. The role of stylistics in language acquisition is currently underexplored. This contemporary collection provides academics and practitioners with the most up to date trends in pedagogical stylistics and delivers analyses of a diverse range of teaching methods.

This second edition of The Routledge Handbook of Stylistics provides a comprehensive introduction and reference point to key areas in the field of stylistics. The four sections of the volume encompass a wide range of approaches from classical rhetoric to cognitive neuroscience. Issues that are covered include: historical perspectives, centring on rhetoric, formalism and functionalism. the elements of stylistic analysis, including foregrounding, relevance theory, conversation analysis, narrative, metaphor, speech and thought presentation and point of view. current areas of influential research such as cognitive poetics, corpus stylistics, critical stylistics, multimodality, creative writing and reader response. four newly commissioned chapters in the emerging fields of cognitive grammar, forensic linguistics, the stylistics of children's literature and a corpus stylistic study of mental health issues. All of these new chapters are written by leading researchers in their respective fields. Each of the thirty-three chapters in this volume is written by a specialist. Each chapter provides an introduction to the subject, an overview of its history, an instructive example of how to conduct a stylistic analysis, a section with recommendations for practice and, a discussion of possible future developments in the area for readers to follow up on. The Routledge Handbook of Stylistics Second Edition is essential reading for researchers, postgraduates and undergraduate students working in this area.

This concise volume addresses the question of whether or not language, and its structure in literary discourses, determines individuals' mental "vision," employing an innovative cross-disciplinary approach using readers' drawings of their mental imagery during reading. The book engages in critical dialogue with the perceived wisdom in stylistics rooted in Roger Fowler's seminal work on deixis and point of view to test whether or not this theory can fully account for what readers see in their mind's eye and how they see it. The work draws on findings from a study of English and Dutch across a range of literary texts, in which participants read literary text fragments and were then asked to immediately draw representations of what they had seen envisioned. Building on the work of Fowler and more recent theoretical and empirical language-based studies in the area, Klomberg, Schilhab, and Burke argue that models from embodied cognitive science can help account for anomalies in evidence from readers' drawings, indicating new ways forward for interdisciplinary understandings of individual meaning construction in literary textual interfaces. This book will be of interest to students and scholars in stylistics, cognitive psychology, rhetoric, and philosophy, particularly those working in the field of embodied cognition.

There is to date no comprehensive account of the rhythms of free verse. The main purpose of A Prosody of Free Verse: explorations in rhythm is to fill that gap and begin to provide a systematic approach to describing and analyzing free verse rhythms. Most studies have declared the attempt to write such a prosody as impossible: they prefer to see free verse as an aberrant version of regular metrical verse. They also believe that behind free verse is the 'ghost of metre'. Running against that current, A Prosody of Free Verse bases its new system on additive rhythms that do not fit conventional time signatures. Inspiration is taken from jazz, contemporary music and dance, not only in their systems of notation but in performance. The book argues that twentieth and twenty-first century rhythms in poetry as based on the line rather than the metrical foot as the unit of rhythm , and that larger rhythmic structures fall into verse paragraphs rather than stanzas.

In this book, Warner examines a number of German-language literary autobiographies that are connected to diverse social movements of the last forty years. These books have all received critical attention from the popular press, topped bestseller lists, and have been pivotal in discussions of authenticity, subjectivity, and referentiality. Because of the thematic diversity of these works, scholars within literary and cultural studies have tended to treat them separately under topical categories, such as women's literature, the post-war generation, migration and multiculturalism, etc. Underlying Warner's analysis is the belief that the social construction of autobiographical acts is as much a matter of textuality as it is of topicality i.e., how language means, rather than what it means, and that a pragmatic-stylistic approach is well-suited to describing how literary autobiographies come to function as testimonies to certain collective experiences. By presenting a model for an integrative stylistics approach, The Prgamatics of Literary Testimony participates in current discussions within fields of literary linguistic scholarship, as well as autobiographical theory. In its analysis of key examples of German social testimonies from the late twentieth century, this book incorporates insights from discourse analysis, pragmatics, cogntive poetics, and sociolinguistics in order to demonstrate that this diverse body of works constitutes a particular form of textual practice defined by what the author calls authenticity effects-feelings of realism, immediacy, exemplarity, genuineness, and social relevance. Such a study of authenticity as a poetic effect, can help us to better understand the testimonial glamour owned by various types of autobiographical narration.

This book brings together researchers with cognitive-scientific and literary backgrounds to present innovative research in all three variations on the possible interactions between literary studies and cognitive science. The tripartite structure of the volume reflects a more ambitious conception of what cognitive approaches to literature are and could be than is usually encountered, and thus aims both to map out and to advance the field. The first section corresponds to what most people think of as "cognitive poetics" or "cognitive literary studies": the study of literature by literary scholars drawing on cognitive-scientific methods, findings, and/or debates to yield insights into literature. The second section demonstrates that literary scholars needn't only make use of cognitive science to study literature, but can also, in a reciprocally interdisciplinary manner, use a cognitively informed perspective on literature to offer benefits back to the cognitive sciences. Finally, the third section, "literature in cognitive science", showcases some of the ways in which literature can be a stimulating object of study and a fertile testing ground for theories and models, not only to literary scholars but also to cognitive scientists, who here engage with some key questions in cognitive literary studies with the benefit of their in-depth scientific knowledge and training.

In this book, Gregoriou explores the portrayal of the serial killer identity and its related ideology across a range of contemporary crime narratives, including detective fiction, the true crime genre and media journalism. How exactly is the serial killer consciousness portrayed, how is the killing linguistically justified, and how distinguishing is the language revolving around criminal ideology and identity across these narrative genres? By employing linguistic and content-related methods of analysis, her study aims to work toward the development of a stylistic framework on the representation of serial killer ideology across factual (i.e. media texts), factional (i.e. true crime books) and fictional (i.e. novels) murder narratives. 'Schema' is a term commonly used to refer to organised bundles of knowledge in our brains, which are activated once we come across situations we have previously experienced, a 'group schema' being one such inventory shared by many. By analysing serial murder narratives across various genres, Gregoriou uncovers a widely shared 'group schema' for these murderers, and questions the extent to which real criminal minds are in fact linguistically fictionalised. Gregoriou's study of the mental functioning and representation of criminal personas can help illuminate our schematic understanding of actual criminal minds.

In this innovative collection, an international group of scholars come together to discuss literary metaphors and cognitive metaphor theory. The volume's goals are three-fold. The first aim of the book is to present some recent approaches to metaphor which have no immediate connection with cognitive metaphor theory and have developed independently of it. While the cognitive approach has become the leading paradigm in the English speaking world, elsewhere (in Europe) rhetorical, semantic, and logical models have remained in use and continue to be elaborated. These models have so far had little international exposure. Their inclusion in this study is meant to provide a balance to the cognitive paradigm and to open up a possible discussion of the advantages and disadvantages of cognitive metaphor theory for the analysis of literary texts. The second aim of the collection is to illustrate a range of successful applications of the new cognitive models to literary texts. And, the third aim of the study is to provide an assessment of cognitive metaphor theory from a literary point of view.

In this book, Warner examines a number of German-language literary autobiographies that are connected to diverse social movements of the last forty years. These books have all received critical attention from the popular press, topped bestseller lists, and have been pivotal in discussions of authenticity, subjectivity, and referentiality. Because of the thematic diversity of these works, scholars within literary and cultural studies have tended to treat them separately under topical categories, such as women's literature, the post-war generation, migration and multiculturalism, etc. Underlying Warner's analysis is the belief that the social construction of autobiographical acts is as much a matter of textuality as it is of topicality i.e., how language means, rather than what it means, and that a pragmatic-stylistic approach is well-suited to describing how literary autobiographies come to function as testimonies to certain collective experiences. By presenting a model for an integrative stylistics approach, The Prgamatics of Literary Testimony participates in current discussions within fields of literary linguistic scholarship, as well as autobiographical theory. In its analysis of key examples of German social testimonies from the late twentieth century, this book incorporates insights from discourse analysis, pragmatics, cogntive poetics, and sociolinguistics in order to demonstrate that this diverse body of works constitutes a particular form of textual practice defined by what the author calls authenticity effects-feelings of realism, immediacy, exemplarity, genuineness, and social relevance. Such a study of authenticity as a poetic effect, can help us to better understand the testimonial glamour owned by various types of autobiographical narration.

This work seeks to chart what happens in the embodied minds of engaged readers when they read literature. Despite the recent stylistic, linguistic, and cognitive advances that have been made in text-processing methodology and practice, very little is known about this cultural-cognitive process and especially about the role that emotion plays. Burke's theoretical and empirical study focuses on three central issues: the role emotions play in a core cognitive event like literary text processing; the kinds of bottom-up and top-down inputs most prominently involved in the literary reading process; and what might be happening in the minds and bodies of engaged readers when they experience intense or heightened emotions: a phenomenon sometimes labelled "reader epiphany." This study postulates that there is a free-flow of bottom-up and top-down affective, cognitive inputs during the engaged act of literary reading, and that reading does not necessarily begin or end when our eyes apprehend the words on the page. Burke argues that the literary reading human mind might best be considered both figuratively and literally, not as computational or mechanical, but as oceanic.

In this book, Gregoriou explores the portrayal of the serial killer identity and its related ideology across a range of contemporary crime narratives, including detective fiction, the true crime genre and media journalism. How exactly is the serial killer consciousness portrayed, how is the killing linguistically justified, and how distinguishing is the language revolving around criminal ideology and identity across these narrative genres? By employing linguistic and content-related methods of analysis, her study aims to work toward the development of a stylistic framework on the representation of serial killer ideology across factual (i.e. media texts), factional (i.e. true crime books) and fictional (i.e. novels) murder narratives. 'Schema' is a term commonly used to refer to organised bundles of knowledge in our brains, which are activated once we come across situations we have previously experienced, a 'group schema' being one such inventory shared by many. By analysing serial murder narratives across various genres, Gregoriou uncovers a widely shared 'group schema' for these murderers, and questions the extent to which real criminal minds are in fact linguistically fictionalised. Gregoriou's study of the mental functioning and representation of criminal personas can help illuminate our schematic understanding of actual criminal minds.

This work seeks to chart what happens in the embodied minds of engaged readers when they read literature. Despite the recent stylistic, linguistic, and cognitive advances that have been made in text-processing methodology and practice, very little is known about this cultural-cognitive process and especially about the role that emotion plays. Burke's theoretical and empirical study focuses on three central issues: the role emotions play in a core cognitive event like literary text processing; the kinds of bottom-up and top-down inputs most prominently involved in the literary reading process; and what might be happening in the minds and bodies of engaged readers when they experience intense or heightened emotions: a phenomenon sometimes labelled "reader epiphany." This study postulates that there is a free-flow of bottom-up and top-down affective, cognitive inputs during the engaged act of literary reading, and that reading does not necessarily begin or end when our eyes apprehend the words on the page. Burke argues that the literary reading human mind might best be considered both figuratively and literally, not as computational or mechanical, but as oceanic.

Stylistics is a multidisciplinary and stimulating field of scientific enquiry with an increasingly significant impact on society, especially in cognitive, civic and pedagogical domains. This new four volume collection will showcase the main developments and the major achievements in stylistics. Included will be the most important works that have been at the forefront of stylistic scholarship in the past forty years, and the debates and controversies that have taken place. They will also include key texts on methodology and on models of interpretation that have been developed and will show how stylistics has been both effected by linguistic, philosophical and psychological theories and how it, in turn, has influenced them.

This book provides an in-depth exploration of psychological phenomena affecting language learning within a social learning space. Drawing on the literature from identity in second language learning, communities of practice and learner beliefs, in conjunction with other individual difference factors, it uncovers perceptions and assumptions that language learners have of the space and how they affect their relationship with it and the people within it. Readers will gain a greater understanding of how psychological phenomena shape a space and how a learning space can contribute to a wider learning ecology. This book will appeal to researchers interested in language learning beyond the classroom and psychological aspects of language acquisition, as well as to practitioners and professionals who are supporting learners outside the classroom.

This book provides an in-depth exploration of psychological phenomena affecting language learning within a social learning space. Drawing on the literature from identity in second language learning, communities of practice and learner beliefs, in conjunction with other individual difference factors, it uncovers perceptions and assumptions that language learners have of the space and how they affect their relationship with it and the people within it. Readers will gain a greater understanding of how psychological phenomena shape a space and how a learning space can contribute to a wider learning ecology. This book will appeal to researchers interested in language learning beyond the classroom and psychological aspects of language acquisition, as well as to practitioners and professionals who are supporting learners outside the classroom.

There is to date no comprehensive account of the rhythms of free verse. The main purpose of A Prosody of Free Verse: explorations in rhythm is to fill that gap and begin to provide a systematic approach to describing and analyzing free verse rhythms. Most studies have declared the attempt to write such a prosody as impossible: they prefer to see free verse as an aberrant version of regular metrical verse. They also believe that behind free verse is the 'ghost of metre'. Running against that current, A Prosody of Free Verse bases its new system on additive rhythms that do not fit conventional time signatures. Inspiration is taken from jazz, contemporary music and dance, not only in their systems of notation but in performance. The book argues that twentieth and twenty-first century rhythms in poetry as based on the line rather than the metrical foot as the unit of rhythm , and that larger rhythmic structures fall into verse paragraphs rather than stanzas.