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By Abrams, Meyer Howard; Harpham, Geoffrey Galt

First released fifty years in the past, A word list OF LITERARY phrases is still a vital textual content for all critical scholars of literature. Now absolutely up-to-date to mirror the newest scholarship on fresh and speedily evolving serious theories, the 10th variation features a whole word list of crucial literary phrases provided as a chain of attractive essays that discover the phrases, position them in context, and recommend similar entries and extra interpreting. This necessary, authoritative, and hugely cheap reference covers phrases worthy in discussing literature and literary heritage, thought, and feedback. ideal as a middle textual content for introductory literary concept or as a complement to any literature direction, this vintage paintings is a useful reference that scholars can proceed to exploit all through their educational careers

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Teenth centuries, and the attendant explosion in the number of literary titles printed, and in the number of writers required to supply this market. Both Foucault and Barthes, in the essays cited above, emphasized that the modern concept of an author as an individual who is the intellectual owner of his or her literary product was the result of the ideology engendered by the emerging capitalist economy in this era. Other scholars have stressed the importance of the shift during the eighteenth century, first in England and then in other European countries, from a reliance by writers on literary patrons to that of support by payments from publishers and booksellers.

Typically, the popular ballad is dramatic, condensed, and impersonal: the narrator begins with the climactic episode, tells the story tersely in action and dialogue (sometimes by means of dialogue alone), and tells it without self-reference or the expression of personal attitudes or feelings. The most common stanza form—called the ballad stanza—is a quatrain in alternate four- and three-stress lines; usually only the second and fourth lines rhyme. ” Many ballads employ set formulas (which helped the singer remember the course of the song) including (1) stock descriptive phrases like “blood-red wine” and “milk-white steed,” (2) a refrain in each stanza (“Edward,” “Lord Randall”), and (3) incremental repetition, in which a line or stanza is repeated, but with an addition that advances the story (“Lord Randall,” “Child Waters”).

All the researchers BURLESQUE 37 mentioned in this entry on book history studies are represented in the anthology, The Book History Reader, edited by David Finkelstein and Alistair McCleery (2002). Influential works, in addition to those already referred to, are: Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man (1962); Robert Darnton, The Business of Enlightenment: A Publishing History of the Encyclopédie, 1775–1800 (1979); Walter J. Ong, Orality and Literacy: The Technologizing of the Word (1982); D.

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