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At a time increasingly dominated by globalization, migration, and
the clash between supranational and ultranational ideologies, the
relationship between language and borders has become more
complicated and, in many ways, more consequential than ever. This
book shows how concepts of 'language' and 'multilingualism' look
different when viewed from Belize, Lagos, or London, and asks how
ideas about literature and literary form must be remade in a
contemporary cultural marketplace that is both linguistically
diverse and interconnected, even as it remains profoundly unequal.
Bringing together scholars from the fields of literary studies,
applied linguistics, publishing, and translation studies, the
volume investigates how multilingual realities shape not only the
practice of writing but also modes of literary and cultural
production. Chapters explore examples of literary multilingualism
and their relationship to the institutions of publishing,
translation, and canon-formation. They consider how literature can
be read in relation to other multilingual and translational forms
of contemporary cultural circulation and what new interpretative
strategies such developments demand. In tracing the multilingual
currents running across a globalized world, this book will appeal
to the growing international readership at the intersections of
comparative literature, world literature, postcolonial studies,
literary theory and criticism, and translation studies.
Bad English investigates the impact of increasing language
diversity, precipitated by migration, globalisation, and new forms
of communication, in transforming contemporary literature in
Britain. Considering writers whose work engages experimentally,
playfully, and ambivalently with English's power, while exploring
what it means to move between forms of language, it makes the case
for literature as the pre-eminent medium to probe the terms of
linguistic belonging, and for a diverse and growing field of
writing in Britain defined by its inside/outside relationship to
English in its institutionalised forms. Bad English offers
innovative readings of writers including James Kelman, Tom Leonard,
Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila
Aboulela, Brian Chikwava, and Caroline Bergvall. Drawing on
insights from applied linguistics and translation studies as well
as literary scholarship, it will appeal to students and academics
across these disciplines. -- .
At a time increasingly dominated by globalization, migration, and
the clash between supranational and ultranational ideologies, the
relationship between language and borders has become more
complicated and, in many ways, more consequential than ever. This
book shows how concepts of 'language' and 'multilingualism' look
different when viewed from Belize, Lagos, or London, and asks how
ideas about literature and literary form must be remade in a
contemporary cultural marketplace that is both linguistically
diverse and interconnected, even as it remains profoundly unequal.
Bringing together scholars from the fields of literary studies,
applied linguistics, publishing, and translation studies, the
volume investigates how multilingual realities shape not only the
practice of writing but also modes of literary and cultural
production. Chapters explore examples of literary multilingualism
and their relationship to the institutions of publishing,
translation, and canon-formation. They consider how literature can
be read in relation to other multilingual and translational forms
of contemporary cultural circulation and what new interpretative
strategies such developments demand. In tracing the multilingual
currents running across a globalized world, this book will appeal
to the growing international readership at the intersections of
comparative literature, world literature, postcolonial studies,
literary theory and criticism, and translation studies.
Available in paperback for the first time, this first book-length
study explores the history of postwar England during the end of
empire through a reading of novels which appeared at the time,
moving from George Orwell and William Golding to Penelope Lively,
Alan Hollinghurst and Ian McEwan. Particular genres are also
discussed, including the family saga, travel writing, detective
fiction and popular romances. All included reflect on the
predicament of an England which no longer lies at the centre of
imperial power, arriving at a fascinating diversity of conclusions
about the meaning and consequences of the end of empire and the
privileged location of the novel for discussing what decolonization
meant for the domestic English population of the metropole. The
book is written in an easy style, unburdened by large sections of
abstract reflection. It endeavours to bring alive in a new way the
traditions of the English novel. -- .
Bad English investigates the impact of increasing language
diversity, precipitated by migration, globalisation, and new forms
of communication, in transforming contemporary literature in
Britain. Considering writers whose work engages experimentally,
playfully, and ambivalently with English's power, while exploring
what it means to move between forms of language, it makes the case
for literature as the pre-eminent medium to probe the terms of
linguistic belonging, and for a diverse and growing field of
writing in Britain defined by its inside/outside relationship to
English in its institutionalised forms. Bad English offers
innovative readings of writers including James Kelman, Tom Leonard,
Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila
Aboulela, Brian Chikwava, and Caroline Bergvall. Drawing on
insights from applied linguistics and translation studies as well
as literary scholarship, it will appeal to students and academics
across these disciplines. -- .
This monograph examines the juxtaposition of narrative units in
biblical narrative and the effect this has on interpretation. Early
rabbinical and inner-biblical interpretations suggest that
juxtaposition was an intentional device used by biblical editors
and authors to shape the meaning of their material. Therefore, this
monograph develops a framework for recognising the ways in which
adjacent units interpret and re-interpret one another and presents
this framework as an important hermeneutical tool. Stories and
episodes that are linked chronologically affect one another through
a relationship of causes and consequences. The categories of
contradiction, corroboration and question and answer are also used
to describe the types of interaction between narrative units and
demonstrate how such dialogues create new meaning. Indicators in
the text that guide the audience towards the intended
interpretation are identified in order that a 'poetics' of
juxtaposition is developed. The theoretical basis established in
the first half of the monograph is then applied to the Elisha
cycle. Each episode is interpreted independently and then read in
juxtaposition with the surrounding episodes, producing a fresh
literary reading of the cycle. Furthermore, in order to demonstrate
how juxtaposition functioned as a diachronic process, attention is
given to the literary history of the cycle. We conjecture earlier
interpretations of the Elisha episodes and compare them to the
final form of the cycle. Finally, the Elisha cycle is itself a
story juxtaposed with other stories and so the same principles of
interpretation are used to suggest the meaning of the cycle within
the book of Kings.
Much of the drama, theological paradox, and interpretive interest
in the Book of Samuel derives from instances of God's violence in
the story. The beginnings of Israel's monarchy are interwoven with
God's violent rejection of the houses of Eli and of Saul, deaths
connected to the Ark of the Covenant, and the outworking of divine
retribution after David's violent appropriation of Bathsheba as his
wife. Whilst divine violence may act as a deterrent for violent
transgression, it can also be used as a model or justification for
human violence, whether in the early monarchic rule of Ancient
Israel, or in crises of our contemporary age. In Divine Violence in
the Book of Samuel, Rachelle Gilmour explores these narratives of
divine violence from ethical, literary, and political perspectives,
in dialogue with the thought of Immanuel Kant, Martha Nussbaum and
Walter Benjamin. She addresses such questions as: Is the God of
Samuel a capricious God with a troubling dark side? Is punishment
for sin the only justifiable violence in these narratives? Why does
God continue to punish those already declared forgiven? What is the
role of God's emotions in acts of divine violence? In what
political contexts might narratives of divine violence against
God's own kings, and God's own people have arisen? The result is a
fresh commentary on the dynamics of transgression, punishment, and
their upheavals in the book of Samuel. Gilmour offers a sensitive
portrayal of God's literary characterization, with a focus on
divine emotion and its effects. By identifying possible political
contexts in which the narratives arose, God's violence is further
illumined through its relation to human violence, northern and
southern monarchic ideology, and Judah's experience of the
Babylonian exile.
This first book-length study explores the history of postwar
England during the end of empire through a reading of novels which
appeared at the time, moving from George Orwell and William Golding
to Penelope Lively, Alan Hollinghurst and Ian McEwan. Particular
genres are also discussed, including the family saga, travel
writing, detective fiction and popular romances. All included
reflect on the predicament of an England which no longer lies at
the centre of imperial power, arriving at a fascinating diversity
of conclusions about the meaning and consequences of the end of
empire and the priveleged location of the novel for discussing what
decolonization meant for the domestic English population of the
metropole. The book is written in an easy style, unburdened by
large sections of abstract reflection. It endeavours to bring alive
in a new way the traditions of the English novel. -- .
This monograph examines the juxtaposition of narrative units in
biblical narrative and the effect this has on interpretation. Early
rabbinical and inner-biblical interpretations suggest that
juxtaposition was an intentional device used by biblical editors
and authors to shape the meaning of their material. Therefore, this
monograph develops a framework for recognising the ways in which
adjacent units interpret and re-interpret one another and presents
this framework as an important hermeneutical tool. Stories and
episodes that are linked chronologically affect one another through
a relationship of causes and consequences. The categories of
contradiction, corroboration and question and answer are also used
to describe the types of interaction between narrative units and
demonstrate how such dialogues create new meaning. Indicators in
the text that guide the audience towards the intended
interpretation are identified in order that a 'poetics' of
juxtaposition is developed. The theoretical basis established in
the first half of the monograph is then applied to the Elisha
cycle. Each episode is interpreted independently and then read in
juxtaposition with the surrounding episodes, producing a fresh
literary reading of the cycle. Furthermore, in order to demonstrate
how juxtaposition functioned as a diachronic process, attention is
given to the literary history of the cycle. We conjecture earlier
interpretations of the Elisha episodes and compare them to the
final form of the cycle. Finally, the Elisha cycle is itself a
story juxtaposed with other stories and so the same principles of
interpretation are used to suggest the meaning of the cycle within
the book of Kings.
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