Caught In The Web Of Words

This unique and celebrated biography describes how a largely self-educated boy from a small village in Scotland entered the world of scholarship and became the first editor of the Oxford English Dictionary and a great lexicographer. It also provides an absorbing account of how the dictionary was written, the personalities of the people working on it, and the endless difficulties that nearly led to the whole enterprise being abandoned. "It is a magnificent story of a magnificent man, one of the finest biographies of the twentieth century, as its subject was one of the finest human beings of the nineteenth." --Anthony Burgess "A moving and dramatic story . . . sometimes tragic, often comic, ultimately triumphant." --Times (London) "A biography that possesses many of the virtues of James Murray himself--grace, humor, intelligence, curiosity, and scholarship." --Time "In her vivid biography, Murray's granddaughter brings his remarkable personality to life, and provides an unexpectedly fascinating account of the OED's long and difficult birth." --Times Literary Supplement "A gripping, engaging story; endearing, too. The daily round of a big Victorian family, with its jokes, games, and treasured seaside holidays, is entrancingly evoked." --Sunday Times (London)

An account of the life and scholarly career of the first editor of the Oxford English Dictionary and of the writing of the Dictionary itself

Representing the Nation gathers key writings from leading cultural thinkers to ask what role cultural institutions play in creating and shaping our sense of ourselves as a nation.

This collection of Geoffrey Hill's criticism spans the length of his career as a pre-eminent poet-critic. The topics range widely across English literature since the Renaissance and include extended studies of major writers as well as essays which confront the problems of language and the nature of value.

This book tells the history of the Oxford English Dictionary from its beginnings in the middle of the nineteenth century to the present. The author, uniquely among historians of the OED, is also a practising lexicographer with nearly thirty years' experience of working on the Dictionary. He has drawn on a wide range of sources--including previously unexamined archival material and eyewitness testimony--to create a detailed history of the project. The book explores the cultural background from which the idea of a comprehensive historical dictionary of English emerged, the lengthy struggles to bring this concept to fruition, and the development of the book from the appearance of the first printed fascicle in 1884 to the launching of the Dictionary as an online database in 2000 and beyond. It also examines the evolution of the lexicographers' working methods, and provides much information about the people--many of them remarkable individuals--who have contributed to the project over the last century and a half.

'Englishness' is by no means the unchanging quality of those living in the territory that has come to be England, but a concept that has been made and remade throughout history, expressing itself through existing symbols and ideas. Since its first publication in 1987 this collection has been regarded as a major work on English national identity as it evolved during the period 1880-1920 and has had a significant impact on writing and research. It is a classic text for students of modern British history and courses in politics, sociology and literature. This updated edition of Englishness contains a new introduction by Robert Colls and Philip Dodd, which sets the work in the context of research done since its original publication, and an afterword by Will Self which relates it to current debates on Britain as a multinational state. This important collection contains ideas that are still pertinent today, making it essential reading for students and scholars alike.

The Literary Agenda is a series of short polemical monographs about the importance of literature and of reading in the wider world and about the state of literary education inside schools and universities. The category of 'the literary' has always been contentious. What is clear, however, is how increasingly it is dismissed or is unrecognised as a way of thinking or an arena for thought. It is sceptically challenged from within, for example, by the sometimes rival claims of cultural history, contextualized explanation, or media studies. It is shaken from without by even greater pressures: by economic exigency and the severe social attitudes that can follow from it; by technological change that may leave the traditional forms of serious human communication looking merely antiquated. For just these reasons this is the right time for renewal, to start reinvigorated work into the meaning and value of literary reading. Seth Lerer presents an original take on tradition in the literary imagination. He asks how we can have an unironic, affective relationship to the literary past in an age marked by historical self-consciousness, critical distance, and shifts in cultural literacy. Tradition: A Feeling for the Literary Past ranges through a set of fiction, poetry, and criticism that makes up our inherited traditions and that also confronts the question of a literary canon and its personal and historical meaning. How are we taught to have a felt experience of literary objects? How do we make our personal anthologies of reading to shape social selves? Why should we care about what literature does both to and for us? This book affirms the value of close and nuanced reading for our understanding of both past and present. Its larger goal is to explore the ways in which the literary past makes us, and in the process, how we create canons for reading, teaching, and scholarship. The writers discussed here were all great readers. Dickens and Orwell, Rushdie and Bradbury, Dickinson and Frost, Anne Bradstreet and Gjertrud Schnackenberg, Chaucer, Dante, Virgil—they all built their literary structures on the scaffold of their bookshelves. Lerer demonstrates how reading the past generates the literary present, and imagines our literate future.