Lynda Mugglestone – författare

When the young nobleman Harold Transome returns to England from the colonies with a self-made fortune, he scandalizes the town of Treby Magna with his decision to stand for Parliament as a Radical. But after the idealistic Felix Holt also returns to the town, the difference between Harold's opportunistic values and Holt's profound beliefs becomes apparent. Forthright, brusque and driven by a firm desire to educate the working-class, Felix is at first viewed with suspicion by many, including the elegant but vain Esther Lyon, the daughter of the local clergyman. As she discovers, however, his blunt words conceal both passion and deep integrity. Soon the romantic and over-refined Esther finds herself overwhelmed by a heart-wrenching decision: whether to choose the wealthy Transome as a husband, or the impoverished but honest Felix Holt.

Lexicography and the OED: Pioneers in the Untrodden Forest sets out to explore the pioneering endeavours in both lexicography and lexicology which led to the making of the first English dictionary published by Oxford. Deliberately conceived as a new departure in English lexicography, the first OED, as James Murray stressed, was to be founded on an unequivocal return to first principles, both in the nature of its construction and in the evidence amassed for its compilation. It also produced, as this book shows, a host of problems: on the nature of Englishness, correctness, and general standards of language use, as well as in aspects of pronunciation, semantics, and syntax. Often making use of previously unpublished archive material, this collection of twelve essays provides both a range of perspectives from which the dictionary can be approached, and also explores the particular problems posed by the attempt to realize the pioneering acts of lexicography integral to the making of the dictionary.

Popular readings of Johnson as a dictionary-maker often see him as a writer who both laments and attempts to control the state of the language. Lynda Mugglestone looks at the range of Johnson's writings on, and the complexity of his thinking about, language and lexicography. She shows how these reveal him probing problems not just of meaning and use but what he considered the related issues of control, obedience, and justice, as well as the difficulties of power when exerted over the 'sea of words'. She examines his attitudes to language change, loan words, spelling, history, and authority, describing, too, the evolution of his ideas about the nature, purpose, and methods of lexicography, and shows how these reflect his own wider thinking about politics, culture, and society. The book offers a careful reassessment of Johnson's lexicographical practice, examining in detail his commitment to evidence, and the uses to which this might be put.Dictionary-making, for Johnson, came to be seen as a long and difficult voyage round the world of the English language. While such images play their own role in lexicographical tradition, Johnson would, as this volume explores, also make them very much his own in a range of distinctive, and illuminating, ways. Johnson's metaphors invite us to consider-and reconsider-the processes by which a dictionary might be made and the kind of destination it might seek, as well as the state of language that might be reached by such endeavours. For Johnson, where the dictionary-maker might go, and what should be accomplished along the way, can often seem to raise pertinent and perhaps troubling questions.Lynda Mugglestone's generous, wide-ranging account casts new light on Johnson's life in language and provides an engaging reassessment of his impact on English culture, the making of dictionaries, and their role in a nation's identity.

Writing a War of Words is the first exploration of the war-time quest by Andrew Clark - a writer, historian, and volunteer on the first edition of the Oxford English Dictionary - to document changes in the English language from the start of the First World War up to 1919. Clark's unique series of lexical scrapbooks, replete with clippings, annotations, and real-time definitions, reveals a desire to put living language history to the fore, and to create a record of often fleeting popular use. The rise of trench warfare, the Zeppelinophobia of total war, and descriptions of shellshock (and raid shock on the Home Front) all drew his attentive gaze. The archive includes examples from a range of sources, such as advertising, newspapers, and letters from the Front, as well as documenting social issues such as the shifting forms of representation as women 'did their bit' on the Home Front. Lynda's Mugglestone's fascinating investigation of this valuable archive reassesses the conventional accounts of language history during this period, recuperates Clark himself as another 'forgotten lexicographer', challenges the received wisdom on the inexpressibilities of war, and examines the role of language as an interdisciplinary lens on history.

Talking Proper is a history of the rise and fall of the English accent as a badge of cultural, social, and class identity. Lynda Mugglestone traces the origins of the phenomenon in late eighteenth-century London, follows its history through the nineteenth and twentieth centuries, and charts its downfall during the era of New Labour. This is a witty, readable account of a fascinating subject, liberally spiced with quotations from English speech and writing over the past 250 years.

Talking Proper is a history of the rise and fall of the English accent as a badge of cultural, social, and class identity. Lynda Mugglestone traces the origins of the phenomenon in late eighteenth-century London, follows its history through the nineteenth and twentieth centuries, and charts its downfall during the era of New Labour. This is a witty, readable account of a fascinating subject, liberally spiced with quotations from English speech and writing over the past 250 years.

The authors of this book draw on previously unpublished archive material to explore the pioneering endeavours of the scholars who conceived the Oxford English Dictionary and, with the assistance of an army of correspondents, brought it into being after half a century of Herculean labour. Its first publication in 1928 as the twelve-volume A New English Dictionary on Historical Principles was an important cultural event. In lexicographical and linguistic terms it was a revolution. Deliberately conceived as a new departure in English lexicography, the dictionary constituted an emphatic return to first principles, in terms of the evidence by which the record of the language was constructed and in the nature of the work itself. The prescriptive policy of earlier dictionaries was replaced by empirical description, while new scientific principles of philology were deployed to advance the understanding of the meaning and function of language.Lexicography and the OED provides new perspectives on the principles of the work and on the people, readers as well as editors, who created it. It includes chapters on its early history; the sources that were read for it; the nature of Englishness and the concept of the 'alien'; questions of inclusiveness and correctness; the standards of usage which the dictionary came to record; the treatment of early English and of science; the representation of pronunciation; the fundamental issues of word-formation; and the at times intractable problems of meaning. The book also sets the dictionary in the context of international lexicography, and examines how it was received by scholars and by the public.This is the most wide-ranging account yet published of the creation of one of the great canonical works of the twentieth century.

Do, or should, dictionaries control language? How do they treat language change, both now and in the past? Which words do dictionaries leave out - and on what grounds? Dictionaries are far more than works which list the words and meanings of a language. In this Very Short Introduction Lynda Mugglestone shows that all dictionaries are partial and all are selective. They are human products, reflecting the dominant social and cultural assumptions of the time in which they were written.Dictionaries exist then not only as works which seek to document language, but also as cultural documents that are connected to the world in which they were produced. Exploring common beliefs about dictionaries, providing glimpses of behind the scenes dictionary makers at work, and confronting the problems of how a word is to be defined, Mugglestone shows that dictionaries are always, and inevitably, more than the crafting of a simple list of words. Concluding with a look at the range of modern dictionaries and transformations, from online dictionaries such as urbandictionary.com or wictionary to txt-spk and slang, she reveals the controversial nature of the debates about communication and language, showing that only in written and spoken English does the language of dictionaries exist in full.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Samuel Johnson: The Arc of the Pendulum offers unique insight into the works of Samuel Johnson by re-considering William Hazlitt's oft-cited comparison between Johnson's prose and a pendulum. In 1819, William Hazlitt condemned Samuel Johnson's prose style as 'a species of rhyming' in which 'the close of the period follows as mechanically as the oscillation of a pendulum, the sense is balanced with the sound'. Predictable, formulaic, and unresponsive, Hazlitt's Johnson was 'incapable of latitude and compromise, a mere automaton who rebounded from one position to its opposite extreme'. This collection of essays focuses on Johnson's works, rather than perceptions of his personality, and argues that Johnson's perceived erratic opinions reflect an understanding of the complexity, instability, and contradictions of the world in which he lived. The volume challenges Hazlitt's influential reading of the Johnsonian pendulum, focusing on the uses and enjoyments of inconsistency, and the varieties of instability, irresolution, and active change which are revealed by and within Johnson.Chapters from a strong team of contributors present new perspectives on Johnson's work, life, and reception. The chapters address questions of style, authority, language, lexicography, and biography across a range of Johnson's writings from the early poetry to the late prose. Johnson emerges from these chapters not as a writer trapped within a set of oppositions, but as one who engages imaginatively and vigorously with flux, dynamism, and inconclusiveness. From the late eighteenth century onwards, to be 'Johnsonian' has typically been made synonymous with firm resolution and trenchant opinion, with polysyllabic excess and a style removed from the exigencies and accidents of ordinary existence. And yet, as this volume suggests, Johnson's life and writings embody the critical and creative play of ideas, a form of interaction with the world which is shaped by instability, contradiction, and combat.

Lynda Mugglestone's hugely popular The Oxford History of English is now updated and entirely reset in a new edition featuring David Crystal's new take on the future of English in the wider world. In accounts made vivid with examples from a vast range of documentary evidence that includes letters, diaries, and private records, fifteen scholars trace the history of English from its ancient Indo-European origins to the present. They cover the language's versions, written and spoken, revel in its rich variety over fifteen centuries, and chart its varied progress nationally, regionally, and throughout the world. With scholarship at once impeccable and approachable, the authors describe and explain the constantly changing sounds, words, meanings, and grammar of English. This is a book for everyone interested in the language, present and past.

Popular readings of Johnson as a dictionary-maker often see him as a writer who both laments and attempts to control the state of the language. Lynda Mugglestone looks at the range of Johnson's writings on, and the complexity of his thinking about, language and lexicography. She shows how these reveal him probing problems not just of meaning and use but what he considered the related issues of control, obedience, and justice, as well as the difficulties of power when exerted over the 'sea of words'. She examines his attitudes to language change, loan words, spelling, history, and authority, describing, too, the evolution of his ideas about the nature, purpose, and methods of lexicography, and shows how these reflect his own and others' thinking about politics, culture, and society. The book offers a careful reassessment of Johnson's prescriptive practice, examining in detail his commitment to evidence, and the uses to which this might be put.Dictionary-making, for Johnson, came to be seen as a long and difficult voyage round the world of the English language. While such images play their own role in lexicographical tradition, Johnson would, as this volume explores, also make them very much his own in a range of distinctive, and illuminating, ways. Johnson's metaphors invite us to consider-and reconsider-the processes by which a dictionary might be made and the kind of destination it might seek, as well as the state of language that might be reached by such endeavours. For Johnson, where the dictionary-maker might go, and what should be accomplished along the way, can often seem to raise pertinent and perhaps troubling questions.Lynda Mugglestone's generous, wide-ranging account casts new light on Johnson's life in language and provides a convincing reassessment of his impact on English culture, the making of dictionaries, and their role in a nation's identity. She ends by considering the power of Johnson's legacy and the degree to which his work continues to guide our attitudes to language and what we variously expect dictionaries to be and do.

The untold story of the complex word battles fought by the creators of the first Oxford English Dictionary.The Oxford English Dictionary (OED) holds a cherished position in English literary culture. The story behind the creation of what is indisputably the greatest dictionary in the language has become a popular fascination. This book looks at the history of the great first edition of 1928, and at the men (and occasionally women) who distilled words and usages from centuries of English writing and “through an act of intellectual alchemy captured the spirit of a civilization.”The task of the dictionary was to bear full and impartial witness to the language it recorded. But behind the immaculate typography of the finished text, the proofs tell a very different story. This vast archive, unexamined until now, reveals the arguments and controversies over meanings, definitions, and pronunciation, and which words and senses were acceptable—and which were not.Lost for Words examinesthe hidden history by which the great dictionary came into being, tracing—through letters and archives—the personal battles involved in charting a constantly changing language. Then as now, lexicographers reveal themselves vulnerable to the prejudices of their own linguistic preferences and to the influence of contemporary social history.