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Why do we often teach English poetic meter by the Greek terms iamb and trochee? How is our understanding of English meter influenced by the history of England's sense of itself in the nineteenth century? Not an old-fashioned approach to poetry, but a dynamic, contested, and inherently nontraditional field, \"English meter\" concerned issues of personal and national identity, class, education, patriotism, militarism, and the development of English literature as a discipline.The Rise and Fall of Metertells the unknown story of English meter from the late eighteenth century until just after World War I. Uncovering a vast and unexplored archive in the history of poetics, Meredith Martin shows that the history of prosody is tied to the ways Victorian England argued about its national identity. Gerard Manley Hopkins, Coventry Patmore, and Robert Bridges used meter to negotiate their relationship to England and the English language; George Saintsbury, Matthew Arnold, and Henry Newbolt worried about the rise of one metrical model among multiple competitors. The pressure to conform to a stable model, however, produced reactionary misunderstandings of English meter and the culture it stood for. This unstable relationship to poetic form influenced the prose and poems of Robert Graves, Siegfried Sassoon, Wilfred Owen, W. B. Yeats, Ezra Pound, and Alice Meynell. A significant intervention in literary history, this book argues that our contemporary understanding of the rise of modernist poetic form was crucially bound to narratives of English national culture.

This book gives an ambitious revisionist account of the nineteenth-century British novel and its role in the complex historical process that ultimately gave rise to modern anthropology's concept of culture and its accredited researcher, the Participant Observer. Buzard reads the great nineteenth-century novels of Charles Dickens, Charlotte Brontë, George Eliot, and others as \"metropolitan autoethnographies\" that began to exercise and test the ethnographic imagination decades in advance of formal modern ethnography--and that did so while focusing on Western European rather than on distant Oriental subjects. Disorienting Fictionshows how English Victorian novels appropriated and anglicized an autoethnographic mode of fiction developed early in the nineteenth century by the Irish authors of theNational Taleand, most influentially, by Walter Scott. Buzard demonstrates that whereas the fiction of these non-English British subjects devoted itself to describing and defending (but also inventing) the cultural autonomy of peripheral regions, the English novels that followed them worked to imagine limited and mappable versions of English or British culture in reaction against the potential evacuation of cultural distinctiveness threatened by Britain's own commercial and imperial expansion. These latter novels attempted to forestall the self-incurred liabilities of a nation whose unprecedented reach and power tempted it to universalize and export its own customs, to treat them as simply equivalent to a globally applicable civilization. For many Victorian novelists, a nation facing the prospect of being able to go and to exercise its influence just about anywhere in the world also faced the danger of turning itself into a cultural nowhere. The complex autoethnographic work of nineteenth-century British novels was thus a labor to disorient or de-globalize British national imaginings, and novelists mobilized and freighted with new significance some basic elements of prose narrative in their efforts to write British culture into being. Sure to provoke debate, this book offers a commanding reassessment of a major moment in the history of British literature.

Culture, 1922traces the intellectual and institutional deployment of the culture concept in England and America in the first half of the twentieth century. With primary attention to how models of culture are created, elaborated upon, transformed, resisted, and ignored, Marc Manganaro works across disciplinary lines to embrace literary, literary critical, and anthropological writing. Tracing two traditions of thinking about culture, as elite products and pursuits and as common and shared systems of values, Manganaro argues that these modernist formulations are not mutually exclusive and have indeed intermingled in complex and interesting ways throughout the development of literary studies and anthropology. Beginning with the important Victorian architects of culture--Matthew Arnold and Edward Tylor--the book follows a number of main figures, schools, and movements up to 1950 such as anthropologist Franz Boas, his disciples Edward Sapir, Ruth Benedict, and Zora Neale Hurston, literary modernists T. S. Eliot and James Joyce, functional anthropologist Bronislaw Malinowski, modernist literary critic I. A. Richards, the New Critics, and Kenneth Burke. The main focus here, however, is upon three works published in 1922, the watershed year of Modernism--Eliot'sThe Waste Land, Malinowski'sArgonauts of the Western Pacific, and Joyce'sUlysses. Manganaro reads these masterworks and the history of their reception as efforts toward defining culture. This is a wide-ranging and ambitious study about an ambiguous and complex concept as it moves within and between disciplines.

In recent decades, historians and social theorists have given much thought to the concept of \"culture,\" its origins in Western thought, and its usefulness for social analysis. In this book, Susan Hegeman focuses on the term's history in the United States in the first half of the twentieth century. She shows how, during this period, the term \"culture\" changed from being a technical term associated primarily with anthropology into a term of popular usage. She shows the connections between this movement of \"culture\" into the mainstream and the emergence of a distinctive \"American culture,\" with its own patterns, values, and beliefs. Hegeman points to the significant similarities between the conceptions of culture produced by anthropologists Franz Boas, Edward Sapir, Ruth Benedict, and Margaret Mead, and a diversity of other intellectuals, including Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Dwight Macdonald. Hegeman reveals how relativist anthropological ideas of human culture--which stressed the distance between modern centers and \"primitive\" peripheries--came into alliance with the evaluating judgments of artists and critics. This anthropological conception provided a spatial awareness that helped develop the notion of a specifically American \"culture.\" She also shows the connections between this new view of \"culture\" and the artistic work of the period by, among others, Sherwood Anderson, Jean Toomer, Thomas Hart Benton, Nathanael West, and James Agee and depicts in a new way the richness and complexity of the modernist milieu in the United States.

In this book, the first to offer a comprehensive examination of the emerging study of law as literature, Guyora Binder and Robert Weisberg show that law is not only a scheme of social order, but also a process of creating meaning, and a crucial dimension of modern culture. They present lawyers as literary innovators, who creatively interpret legal authority, narrate disputed facts and hypothetical fictions, represent persons before the law, move audiences with artful rhetoric, and invent new legal forms and concepts. Binder and Weisberg explain the literary theories and methods increasingly applied to law, and they introduce and synthesize the work of over a hundred authors in the fields of law, literature, philosophy, and cultural studies. Drawing on these disparate bodies of scholarship, Binder and Weisberg analyze law as interpretation, narration, rhetoric, language, and culture, placing each of these approaches within the history of literary and legal thought. They sort the styles of analysis most likely to sharpen critical understanding from those that risk self-indulgent sentimentalism or sterile skepticism, and they endorse a broadly synthetic cultural criticism that views law as an arena for composing and contesting identity, status, and character. Such a cultural criticism would evaluate law not simply as a device for realizing rights and interests but also as the framework for a vibrant cultural life.

What is the meaning of a word? Most readers turn to the dictionary for authoritative meanings and correct usage. But what is the source of authority in dictionaries? Some dictionaries employ panels of experts to fix meaning and prescribe usage, others rely on derivation through etymology. But perhaps no other dictionary has done more to standardize the English language than the formidable twenty-volume Oxford English Dictionary in its 1989 second edition. Yet this most Victorian of modern dictionaries derives its meaning by citing the earliest known usage of words and by demonstrating shades of meaning through an awesome database of over five million examples of usage in context. In this fascinating study, John Willinsky challenges the authority of this imperial dictionary, revealing many of its inherent prejudices and questioning the assumptions of its ongoing revision. \"Clearly, the OED is no simple record of the language `as she is spoke,'\" Willinsky writes. \"It is a selective representation reflecting certain elusive ideas about the nature of the English language and people. Empire of Words reveals, by statistic and table, incident and anecdote, how serendipitous, judgmental, and telling a task editing a dictionary such as the OED can be.\"

In a 1968 speech on British immigration policy, Enoch Powell insisted that although a black man may be a British citizen, he can never be an Englishman. This book explains why such a claim was possible to advance and impossible to defend. Ian Baucom reveals how \"Englishness\" emerged against the institutions and experiences of the British Empire, rendering English culture subject to local determinations and global negotiations. In his view, the Empire was less a place where England exerted control than where it lost command of its own identity. Analyzing imperial crisis zones--including the Indian Mutiny of 1857, the Morant Bay uprising of 1865, the Amritsar massacre of 1919, and the Brixton riots of 1981--Baucom asks if the building of the empire completely refashioned England's narratives of national identity. To answer this question, he draws on a surprising range of sources: Victorian and imperial architectural theory, colonial tourist manuals, lexicographic treatises, domestic and imperial cricket culture, country house fetishism, and the writings of Ruskin, Kipling, Ford Maddox Ford, Forster, Rhys, C.L.R. James, Naipaul, and Rushdie--and representations of urban riot on television, in novels, and in parliamentary sessions. Emphasizing the English preoccupation with place, he discusses some crucial locations of Englishness that replaced the rural sites of Wordsworthian tradition: the Morant Bay courthouse, Bombay's Gothic railway station, the battle grounds of the 1857 uprising in India, colonial cricket fields, and, last but not least, urban riot zones.

When ontological insecurity looms, what comes next? Is chaos the sole alternative to the maintenance of established role-identities and routines? Or is there a more complex set of possible responses to the dread threat of ontological insecurity? The principal approach to ontological security in International Relations (IR) relies unduly on Giddens' account. Consequently, this approach fails to adequately capture both the variety of ways in which coherent and continuous identities can be maintained and the variety of ways in which the available cultural repertoire can support ontological security differently when challenged. Typically, ontological security is re-established, prior to collapse, through re-balancing of the cultural repertoire to give broader scope to an alternative cultural form and the qualitatively different practices it organizes. Due to misrecognition, this reorganization may proceed without disturbing the ontological security of states-in-interaction. Unconscious processes, encoded into cultural forms, are integral to such variable defenses against ontological insecurity. A re-conceptualization that regards Wendt's cultures of anarchy, and their qualitatively different modes of relating, as dynamically co-present within cultural repertoires, but with potentially variable weightings, complements this approach to ontological in/security.

Long dismissed as unscientific, teleological explanation has been undergoing something of a revival as a result of the emergence of self-organization theory, which combines micro-level dynamics with macro-level boundary conditions to explain the tendency of systems to develop toward stable end-states. On that methodological basis this article argues that a global monopoly on the legitimate use of organized violence — a world state — is inevitable. At the micro-level world state formation is driven by the struggle of individuals and groups for recognition of their subjectivity. At the macro-level this struggle is channeled toward a world state by the logic of anarchy, which generates a tendency for military technology and war to become increasingly destructive. The process moves through five stages, each responding to the instabilities of the one before — a system of states, a society of states, world society, collective security, and the world state. Human agency matters all along the way, but is increasingly constrained and enabled by the requirements of universal recognition.

This article aims to expand the social-theoretical and psychoanalytic range of research on ontological in/ security, by exploring parallel concerns addressed by Beck, Kristeva, Butler and Zizek. These include, first, the psychic roots of othering processes and their encoding into cultural repertoires. Second, the difficulties and possibilities of displacing othering processes within national and international politics. Third, the disruptive effects of globalising processes on the symbolic efficiency of cultures and on their encoded defences against ontological insecurity. Fourth, the crucial significance for political and international relations of the qualitative characteristics of those defences against ontological insecurity that gain predominance within cultural repertoires and their variable norms of recognition. Likewise, the significance of those norms of recognition that challenge established norms and successfully reorganise cultural repertoires. Bu makale, Beck, Kristeva, Butler ve Zizek tarafından ele alınan paralel kaygıları araştırarak, ontolojik güven(siz) liğe ilişkin sosyo-teorik ve psikanalitik araştırma kapsamını genişletmeyi amaçlamaktadır. Bunlar, ilk olarak, ötekileştirme süreçlerinin psişik köklerini ve bunların kültürel dağarcıklara kodlanmasını içermektedir. İkincisi, ulusal ve uluslararası siyasette ötekileştirme süreçlerinin yerinden edilmesinin zorlukları ve olanaklarıdır. Üçüncüsü, küreselleşme süreçlerinin kültürlerin sembolik yeterliliği ve ontolojik güvensizliğe karşı kodlanmış savunmaları üzerindeki yıkıcı etkileridir. Dördüncüsü ise, kültürel dağarcıklarda ağırlık kazanan ontolojik güvensizliğe karşı bu savunmaların niteliksel özelliklerinin ve değişken tanınma normlarının siyasi ve uluslararası ilişkiler için hayati önemidir. Benzer şekilde, yerleşik normlara meydan okuyan ve kültürel dağarcıkları başarılı bir şekilde yeniden organize eden tanıma normlarının önemidir.