Ingo Berensmeyer – författare

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.

Mendacity in Early Modern Literature and Culture examines the historical, cultural, and epistemological underpinnings of lying and deception in early modern England, including the political, religious, aesthetic, and philosophical discourses that governed the codes of lying and truth-telling from the sixteenth to the early eighteenth centuries. The contributions to this collection draw on a wide range of early modern English literature from Shakespeare to Swift, and from travel writing to poetry, in order to explore the extent to which plays, poems, and narrative texts in this period were sites of negotiation, and, at times, of ideological warfare between the moral imperative of truth-telling and the expediency of telling lies. What were the cultural norms of truthfulness and lying, and on what basis were they constructed? What were the consequences when someone did not share the assumed common project of truth-telling? And which forms of communication were exempt from the pragmatic strictures on mendacious discourse? This book was originally published as a special issue of the European Journal of English Studies.

Mendacity in Early Modern Literature and Culture examines the historical, cultural, and epistemological underpinnings of lying and deception in early modern England, including the political, religious, aesthetic, and philosophical discourses that governed the codes of lying and truth-telling from the sixteenth to the early eighteenth centuries. The contributions to this collection draw on a wide range of early modern English literature from Shakespeare to Swift, and from travel writing to poetry, in order to explore the extent to which plays, poems, and narrative texts in this period were sites of negotiation, and, at times, of ideological warfare between the moral imperative of truth-telling and the expediency of telling lies. What were the cultural norms of truthfulness and lying, and on what basis were they constructed? What were the consequences when someone did not share the assumed common project of truth-telling? And which forms of communication were exempt from the pragmatic strictures on mendacious discourse? This book was originally published as a special issue of the European Journal of English Studies.

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.

This handbook of English Renaissance literature serves as a reference for both students and scholars, introducing recent debates and developments in early modern studies. Using new theoretical perspectives and methodological tools, the volume offers exemplary close readings of canonical and less well-known texts from all significant genres between c. 1480 and 1660. Its systematic chapters address questions about editing Renaissance texts, the role of translation, theatre and drama, life-writing, science, travel and migration, and women as writers, readers and patrons. The book will be of particular interest to those wishing to expand their knowledge of the early modern period beyond Shakespeare.

This book explores literary culture in England between 1630 and 1700, focusing on connections between material, epistemic, and political conditions of literary writing and reading. In a number of case studies and close readings, it presents the seventeenth century as a period of change that saw a fundamental shift towards a new cultural configuration: neoclassicism. This shift affected a wide array of social practices and institutions, from poetry to politics and from epistemology to civility.

This book explores the history of literature as a history of changing media and modes of communication, from manuscript to print, from the codex to the computer, and from paper to digital platforms. It argues that literature has evolved, and continues to evolve, in sync with material forms and formats that engage our senses in multiple ways. Because literary experiences are embedded in, and enabled by, media, the book focuses on literature as a changing combination of material and immaterial features. The principal agents of this history are no longer genres, authors, and texts but configurations of media and technologies. In telling the story of these combinations from prehistory to the present, Ingo Berensmeyer distinguishes between three successive dominants of media usage that have shaped literary history: performance, representation, and connection. Using English literature as a test case for a long view of media history, this book combines an unusual bird’s eye view across periods with illuminating readings of key texts. It will prove an invaluable resource for teaching and for independent study in English or comparative literature and media studies.

This book explores literary culture in England between 1630 and 1700, focusing on connections between material, epistemic, and political conditions of literary writing and reading. In a number of case studies and close readings, it presents the seventeenth century as a period of change that saw a fundamental shift towards a new cultural configuration: neoclassicism. This shift affected a wide array of social practices and institutions, from poetry to politics and from epistemology to civility.

Fictional novelists and other author characters have been a staple of novels and stories from the early nineteenth century onwards. What is it that attracts authors to representing their own kind in fiction? Author Fictions addresses this question from a theoretical and historical perspective. Narrative representations of literary authorship not only reflect the aesthetic convictions and social conditions of their actual authors or their time; they also take an active part in negotiating and shaping these conditions. The book unfolds the history of such ‘author fictions’ in European and North American texts since the early nineteenth century as a literary history of literary authorship, ranging from the Victorian bildungsroman to contemporary autofiction. It combines rhetorical and sociological approaches to answer the question how literature makes authors. Identifying ‘author fictions’ as narratives that address the fragile material conditions of literary creation in the actual and symbolic economies of production, Ingo Berensmeyer explores how these texts elaborate and manipulate concepts and models of authorship. This book will be relevant to English, American and comparative literary studies and to anyone interested in the topic of literary authorship.

This book explores the history of literature as a history of changing media and modes of communication, from manuscript to print, from the codex to the computer, and from paper to digital platforms. It argues that literature has evolved, and continues to evolve, in sync with material forms and formats that engage our senses in multiple ways. Because literary experiences are embedded in, and enabled by, media, the book focuses on literature as a changing combination of material and immaterial features. The principal agents of this history are no longer genres, authors, and texts but configurations of media and technologies. In telling the story of these combinations from prehistory to the present, Ingo Berensmeyer distinguishes between three successive dominants of media usage that have shaped literary history: performance, representation, and connection. Using English literature as a test case for a long view of media history, this book combines an unusual bird’s eye view across periods with illuminating readings of key texts. It will prove an invaluable resource for teaching and for independent study in English or comparative literature and media studies.

Fictional novelists and other author characters have been a staple of novels and stories from the early nineteenth century onwards. What is it that attracts authors to representing their own kind in fiction? Author Fictions addresses this question from a theoretical and historical perspective. Narrative representations of literary authorship not only reflect the aesthetic convictions and social conditions of their actual authors or their time; they also take an active part in negotiating and shaping these conditions. The book unfolds the history of such ‘author fictions’ in European and North American texts since the early nineteenth century as a literary history of literary authorship, ranging from the Victorian bildungsroman to contemporary autofiction. It combines rhetorical and sociological approaches to answer the question how literature makes authors. Identifying ‘author fictions’ as narratives that address the fragile material conditions of literary creation in the actual and symbolic economies of production, Ingo Berensmeyer explores how these texts elaborate and manipulate concepts and models of authorship. This book will be relevant to English, American and comparative literary studies and to anyone interested in the topic of literary authorship.