Marcus Waithe – författare

What is ''style'', and how does it relate to thought in language? It has often been treated as something merely linguistic, independent of thought, ornamental; stylishness for its own sake. Or else it has been said to subserve thought, by mimicking, delineating, or heightening ideas that are already expressed in the words. This ambitious and timely book explores a third, more radical possibility in which style operates as a verbal mode of thinking through.Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, style is conceived here as having the capacity to clarify or generate thinking. The book''s generic focus is on non-fiction prose, and it looks across the long nineteenth century.Leading scholars survey twenty authors to show where writers who have gained reputations as either ''stylists'' or as ''thinkers'' exploit the interplay between ''the what'' and ''the how'' of their prose. The study demonstrates how celebrated stylists might, after all, have thoughts worth attending to, and that distinguished thinkers might be enriched for us if we paid more due to their style. More than reversing the conventional categories, this innovative volume shows how ''style'' and ''thinking'' canbe approached as a shared concern. At a moment when, especially in nineteenth-century studies, interest in style is re-emerging, this book revaluates some of the most influential figures of that age, re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers,style, and stylists.

What is ''style'', and how does it relate to thought in language? It has often been treated as something merely linguistic, independent of thought, ornamental; stylishness for its own sake. Or else it has been said to subserve thought, by mimicking, delineating, or heightening ideas that are already expressed in the words. This ambitious and timely book explores a third, more radical possibility in which style operates as a verbal mode of thinking through.Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, style is conceived here as having the capacity to clarify or generate thinking. The book''s generic focus is on non-fiction prose, and it looks across the long nineteenth century.Leading scholars survey twenty authors to show where writers who have gained reputations as either ''stylists'' or as ''thinkers'' exploit the interplay between ''the what'' and ''the how'' of their prose. The study demonstrates how celebrated stylists might, after all, have thoughts worth attending to, and that distinguished thinkers might be enriched for us if we paid more due to their style. More than reversing the conventional categories, this innovative volume shows how ''style'' and ''thinking'' canbe approached as a shared concern. At a moment when, especially in nineteenth-century studies, interest in style is re-emerging, this book revaluates some of the most influential figures of that age, re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers,style, and stylists.

What is 'style', and how does it relate to thought in language? It has often been treated as something merely linguistic, independent of thought, ornamental; stylishness for its own sake. Or else it has been said to subserve thought, by mimicking, delineating, or heightening ideas that are already expressed in the words. This ambitious and timely book explores a third, more radical possibility in which style operates as a verbal mode of thinking through. Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, style is conceived here as having the capacity to clarify or generate thinking. The book's generic focus is on non-fiction prose, and it looks across the long nineteenth century. Leading scholars survey twenty authors to show where writers who have gained reputations as either 'stylists' or as 'thinkers' exploit the interplay between 'the what' and 'the how' of their prose. The study demonstrates how celebrated stylists might, after all, have thoughts worth attending to, and that distinguished thinkers might be enriched for us if we paid more due to their style. More than reversing the conventional categories, this innovative volume shows how 'style' and 'thinking' can be approached as a shared concern. At a moment when, especially in nineteenth-century studies, interest in style is re-emerging, this book revaluates some of the most influential figures of that age, re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers, style, and stylists.

In his short life, William Morris (1834-96) combined the roles of poet, author, painter, designer, translator, lecturer, political activist, journalist, weaver, bookmaker, and businessman. This volume draws together influential voices from different disciplines who have participated in the recent critical, political, and curatorial revival of his work, with essays exploring the contemporary resonance of his exceptional legacy. As a critic of capitalism, his thinking has thrived in these years of financial crisis; as a theorist of work and craftsmanship, his legacy interacts with a more recent ethics of making that questions the values of 'off-shored' production; and as a protector of landscape and buildings Morris's concern with what is precious strikes a chord in our age of environmental crisis. At the same time, a careful and scholarly approach observes the particularity of Morris's context, in a way that confounds the 'false friends' of hasty historical reception and reveals unexpected connections.

In his short life, William Morris (1834-96) combined the roles of poet, author, painter, designer, translator, lecturer, political activist, journalist, weaver, bookmaker, and businessman. This volume draws together influential voices from different disciplines who have participated in the recent critical, political, and curatorial revival of his work, with essays exploring the contemporary resonance of his exceptional legacy. As a critic of capitalism, his thinking has thrived in these years of financial crisis; as a theorist of work and craftsmanship, his legacy interacts with a more recent ethics of making that questions the values of 'off-shored' production; and as a protector of landscape and buildings Morris's concern with what is precious strikes a chord in our age of environmental crisis. At the same time, a careful and scholarly approach observes the particularity of Morris's context, in a way that confounds the 'false friends' of hasty historical reception and reveals unexpected connections.

This volume examines the anxieties that caused many nineteenth-century writers to insist on literature as a laboured and labouring enterprise. Following Isaac D’Israeli’s gloss on Jean de La Bruyère, it asks, in particular, whether writing should be ‘called working’. Whereas previous studies have focused on national literatures in isolation, this volume demonstrates the two-way traffic between British and French conceptions of literary labour. It questions assumed areas of affinity and difference, beginning with the labour politics of the early nineteenth century and their common root in the French Revolution. It also scrutinises the received view of France as a source of a ‘leisure ethic’, and of British writers as either rejecting or self-consciously mimicking French models. Individual essays consider examples of how different writers approached their work, while also evoking a broader notion of ‘work ethics’, understood as a humane practice, whereby values, benefits, and responsibilities, are weighed up.

Explores the connection between writers' desire to prove that they 'work' and parallel histories of craft and artisanal revivalOffers the first sustained study of the connection between writers' desire to prove that they 'work' and parallel forms of craft and artisanal revivalOffers a long view on writers consciously demonstrating 'work', running from the early nineteenth century into the period of modernismAddresses timely concerns, including anti-capitalism, histories of slavery, and nostalgia for physical productionCombines a broad history of ideas with close textual readings that respect the particularity of writers' decisions and the formal character of literature as artEncompasses an ambitiously wide range of genres and sources, including poetry, novels, letters, visual art, journalism, lectures, exhibition catalogues, radio broadcasts, and diariesRather than focus on the well-known 'dignity of literature' debate, whereby authors such as Dickens sought to establish authorship as a middle-class profession, The Work of Words considers the alternative path of middle-class writers who re-presented literature as a manual craft. Unlike many works in the field, it extends beyond the mid-Victorian novel as a generic and historical focus, to address its aesthetic and political afterlife right up to the periods of Guild Socialism, modernism and European fascism. Given the tilt of world trade towards China, and more recent supply chain shocks, it is not just writers who are haunted by a lost world of material production, but much of the de-industrialised West. By studying the Victorian attempt to make composition (and related mental processes) palpable, this book takes the long view on questions that still trouble us, and responds to recent concerns, whether as manifested through the revival of craft and workshop culture, or debates about the visibility, weight and worth of the humanities.

Rather than focus on the well-known ‘dignity of literature’ debate, whereby authors such as Dickens sought to establish authorship as a middle-class profession, The Work of Words considers the alternative path of middle-class writers who re-presented literature as a manual craft. Unlike many works in the field, it extends beyond the mid-Victorian novel as a generic and historical focus, to address its aesthetic and political afterlife right up to the periods of Guild Socialism, modernism and European fascism. Given the tilt of world trade towards China, and more recent supply chain shocks, it is not just writers who are haunted by a lost world of material production, but much of the de-industrialised West. By studying the Victorian attempt to make composition (and related mental processes) palpable, this book takes the long view on questions that still trouble us, and responds to recent concerns, whether as manifested through the revival of craft and workshop culture, or debates about the visibility, weight and worth of the humanities.