Oxford University Press's
Academic Insights for the Thinking World
Mohsin Hamid is the author of the novels Moth Smoke, The Reluctant Fundamentalist, and How to Get Filthy Rich in Rising Asia. His award-winning fiction has been featured on bestseller lists, adapted for the cinema, shortlisted for the Man Booker Prize, and translated into over 30 languages.
By G. O. Hutchinson
How could you have one novel, poem, children’s book, that wasn’t influenced by others? But people haven’t much considered what distinguishes literary interaction that jumps across languages and countries.
By Fiona Robertson and Anthony Mellors
Closely associated with a group of writers dedicated to refashioning American fictional style, and with his roots in journalism and popular entertainment, Crane produced in his Civil-War tale The Red Badge of Courage an uncompromisingly spare modern account of the first-hand experience of battle.
Noli temere, Seamus Heaney texted to his wife in his last hours of life, ‘Have no fear’.
By David Constantine
In Cornish towns and villages you may find a street or a district called Plain-an-Gwarry. The name (in the old tongue plân-an-guare), means ‘a playing place’, and it commemorates the former existence of a round, or small amphitheatre, in which entertainments of one sort and another – including the miracle plays – were staged and public meetings held.
By Eleanor Ty
In the early 1790s, Mary Hays was a rising writer who had published an Oriental tale, an essay on the usefulness of public worship, and, with her sister, produced a collection of essays on miscellaneous topics: romances, friendships, and improvements to female education. She admired and had befriended radicals Mary Wollstonecraft and William Godwin, and was introduced to the circle of London intellectuals in the 1790s.
By Hester Lees-Jefferies
Last month I sat in my favourite theatre, the Swan in Stratford-upon-Avon, watching Michael Fentiman’s excellent Royal Shakespeare Company production of Titus Andronicus. Titus is one of my favourite plays, loose and messy, blackly comic and oddly beautiful.
By Anatoly Liberman
As promised, I am returning to the English verb brag and the Old Scandinavian god Bragi (see the previous post). If compared with boast, brag would seem to be more suggestive of bluster and hot air. Yet both may have been specimens of Middle English slang or expressive formations.
By G. Ronald Murphy, S.J.
A lot of things become clear when you realize that many of the puzzling and mysterious Christian artifacts and poetry of the North, those from England and Germany as well as those from the Scandinavian countries, are speaking in the language of Germanic myth—specifically in the language of the ancient evergreen tree, the savior of the last human beings, Yggdrasil.
By Michael Newton
“The trouble with you,” an old friend recently declared to me, “is that you have always been a conformist.” He meant that I had never undertaken that necessary radical break with my parents and their ideals and interests. Without such a generational rupture, it seemed to him, nobody could claim to be a fully independent, realised person. While he had been dropping acid and dropping (temporarily) out of college, I’d been reclining under a tree with John Keats. And surely there was nothing rebellious in that.
By Lucy Newlyn
Here is one of the poems Dorothy wrote from her sick room. Dated by her as 1836 (and copied out for the Wordsworths’ friend and neighbour Isabella Fenwick in 1839), it gives us some insight into her state of mind as she looked back on a crisis in 1832-3 when her life was in danger.
By David Bradshaw and James Smith
The extent of Ezra Pound’s involvement with Italian fascism during the Second World War has been one of the most troubling and contentious issues in modernist literary studies.
When we consider two obvious facts – that virtually everyone becomes a fluent speaker of at least one language, and that language is central to social life – we can see that most of us are quite sociolinguistically talented. Whether we’re consciously aware of it or not, we know quite a lot about many of the intricacies of “the social life of language.” This doesn’t mean, however, that our knowledge is complete or wholly accurate. Here are ten illustrations of the point.
Each summer, Oxford University Press USA and Bryant Park in New York City partner for their summer reading series Word for Word Book Club. On Tuesday 16 July 2013, writer Wayne Koestenbaum leads a discussion on The Metamorphosis and Other Stories by Franz Kafka.
By Carolyne Larrington
In his masterpiece, Wagner synthesised stories from across the Old Norse – Icelandic collection of poems known as the Poetic Edda. He had long been mulling over an opera based on the German epic, Das Nibelungenlied, but he realised that he needed more material and more inspiration. Wagner knew where he might find it: “I must study these Old Norse eddic poems of yours; they are far more profound than our medieval poems”, he remarked to the Danish composer Niels Gade in 1846.
By Douglas Kerr
The ghost of Sherlock Holmes started life (if that’s the word) early. Conan Doyle sent the detective plunging over the Reichenbach Falls in the grip of Professor Moriarty in “The Final Problem,” published in the Strand magazine in December 1893. The following year, music-hall audiences were joining in the chorus of a popular song, written by Richard Morton and composed and sung by H. C. Barry.