This chapter explores the potential of Construction Grammar for analyzing literary texts. First, it investigates typical features of literary language from a constructional point of view. Fairy tales, for example, are characterized by their opening lines like “Once upon a time …,” analyzed as a concrete, complex construction. Similarly, many authors, styles, and genres are characterized by particular constructions, or the use of particular words and phrases. The second section deals with creative, innovative, and seemingly ‘rule-breaking’ language in a constructional framework, suggesting that Construction Grammar as a usage-based and cognitively plausible model offers the perfect toolkit to analyze seemingly unruly linguistic behavior. The third part deals with literary genres as linguistic units beyond the sentence, arguing that literary texts are also learned form–meaning pairings and can be treated as constructions. Genres as constructions may change dynamically over time and be subject to prototypeeffects. Drawing on numerous examples, this chapter thus demonstrates that literary language and texts can be productively analyzed using concepts and methods of Construction Grammar.

Genealogically rooted in the Gothic, melodrama, and prose romance of the late eighteenth and early nineteenth centuries, sensationalism proliferated and even intensified throughout the 1870s as authors sought new forms of emotional and visceral connection with their increasingly desensitized readers. This essay recovers this somewhat more knowing second decade as the ‘post-sensational seventies,’ wherein the ‘post’ is understood in the same way that it might be if conjoined within other more familiar compounds, such as ‘post-colonial’ or ‘post-feminist,’ not as beyond a phenomenon that is past but rather as grappling self-consciously with the legacies, internal contradictions, possibilities, and pervasiveness of a set of practices that are still very much present. Ultimately, recognizing the 1870s as post-sensational means acknowledging that novelistic representations shifted decisively to accommodate the coincidental, the criminal, the nonrational, and the scandalous, as well as structurally resistant forms of gender and class, as constituent fractions of the real.

This book describes and explains the discipline of stylistics, the linguistic study of style in language. The authors’ account of stylistics roughly follows its development over time, beginning with its origins in the Russian formalist work of the early twentieth century and ending with the current state of the art as informed by recent research in cognitive and corpus stylistics. The authors’ aim in presenting this account is to establish anew the importance, coherence and achievements of stylistics and to argue for its status as a subdiscipline of linguistics. This opening chapter outlines in general terms what the label stylistics refers to, before going on to explain the necessary steps involved in the linguistic study of style and the main theoretical principles of the field.

This chapter introduces the ten complaint episodes in the books of Exodus and Numbers as the primary focus of the book and sets the context and method for reading them. The history of modern biblical scholarship is a history of the pursuit of sources. This book focuses instead on genre as a set of historically grounded aesthetic norms. It proposes that we can best understand the literary history of the wilderness narrative by tracking how these norms change over time as Israel’s political and social circumstances change and its scribes navigate those changes by revising existing texts in order to create new possibilities for meaning. Pursuing the kind of genre history Hermann Gunkel advocated without tying it to existing approaches can yield new readings of these episodes and new insights into the literary history of the Pentateuch (Torah), whether documentary or supplementary. Historical criticism is presented as an exegetical, not an antiquarian, endeavor, one that requires the kind of literarily sensitive close reading typical of so-called synchronic studies of the final form. The genres used will help us situate this literature historically, as will the creative ways in which scribes used them.

A substantial proportion of medieval texts consists of other texts. Form therefore needs to be understood on at least two levels, by distinguishing between what can be termed ‘composite’ forms and ‘constituent’ forms. Some composite forms are fairly fixed (the Bible is a composite form); others are quite fluid. Genre, in this textual dynamic, is an elusive and contested notion. As illustrative case studies, this chapter considers two types of narrative: chronicle and hagiography. Hagiography is defined by subject (writing about saints), not by form as such. But hagiographic narratives tend to be produced and reproduced in large-scale composite forms organised according to closed annual calendrical cycles, while chronicles are compilations (often compilations of compilations) organised according to open-ended annalistic sequence. Between them these large composite forms contain most of the individual narratives that tend to be extrapolated in modern editions and discussed in modern critical writings, as literary works.

This section of the book takes a holistic approach by exploring elements of the compositional lingua franca that catalyzed a new musical poetics. Chapter 7 identifies approximately eight parameters (e.g., text-setting, cadences, and harmony) that in tandem can be used to create dramatic arcs.

This chapter provides a short history of folklore collection and an overview of the genres privileged by Russian folklorists. In the early 1800s, folklorists began writing down, editing, and publishing creative oral performance, primarily that of peasants, because it was thought that these performances reflected ancient traditions that had been passed down for centuries. In the course of transforming oral culture into print collections, genres were identified and codified. The epic (bylina) and the fairytale (skazka) were among the genres most prioritised. Their particular formal features served to anchor a diverse genre system that included historical songs, religious verses, legends, and mythological stories. The chapter identifies characteristic events and stock characters, as well as features of style, structure, and performance typical of these genres of narrative folklore. It concludes by commenting on the reciprocal relationship between folklore and literature.

The introductory chapter to this study of Propertius 4 as a collection composed in the wake of Virgil’s death begins by highlighting some of the more obvious ways in which the elegist advertises his allusive engagement with the Eclogues, Georgics and, in particular, the Aeneid, and how the troping of this engagement as hospitality suggests a relationship that might be cooperative or antagonistic. From there it looks back to the only two Propertian elegies in which the name Vergilius features – 1.8 (ostensibly referring to the Pleiades constellation but, it is argued, punningly invoking the poet) and 2.34 (in a review of Virgil’s career to date), each constructing a relationship between elegiac and epic poetics that, as later chapters show, will be revisited in Book 4. After these preliminary case-studies the Introduction presents a history of approaches to poetic memory by way of a survey of the scholarly responses mobilized by Propertius 4 as a Virgilianizing collection. These approaches are then tested in the laboratory of elegy 4.9, a Virgilio-Propertian diptych on Hercules which, it is argued, is programmatic for allusion and intertextuality as enacted in this collection.

These concluding remarks offer a sideways look at some issues raised by this book, taking their cue from the surviving iconography of the monument at the centre of Propertius 4 – the Temple of Palatine Apollo – to address the ideological implications of the different handling by Propertius and Virgil of Augustan mythmaking. Ultimately the many traces of Virgilian sensibility in Propertius, and of Propertian sensibility in Virgil, are easier to identify than to interpret. Yet Propertius’ obsessive Virgilian intertextuality (here distilled into a multi-part typology), while showing that the elegist is haunted by his epic confrère, is also an exercise of control that transcends generic anxiety to recognize and enact Virgil’s status as a classic of the Roman literary canon. Propertius’ Virgilian intertextuality, extending as it does to structural and stichometric parallels, may also have implications for the textual criticism of both authors, at least insofar as a Virgilian reading of Book 4 obtains. These last reflections find their way to a comparison with Shostakowich’s Fourteenth Symphony, where uncanny thematic, political and structual parallels with Propertius 4 give pause for thought.

This chapter is centred on the controversial epic ‘sub’ genre of the epyllion. Verhelst first underlines the scholarly debates surrounding epyllion as a category and then turns to look more closely at poems which themselves could be termed ‘epyllionic’, starting with the Homeric Hymn to Hermes, and moving through the Hellenistic age (Theocritus’ Idyll 24, Moschus’ Eros the Runaway, and the Batrachomyomachia) to late antiquity (the Orphic Argonautica and Colluthus’ Abduction of Helen). Verhelst focuses not just on the aesthetic dimensions of these poems, but also on the characters contained within them: ‘small’ characters in small epic (children, Hermes, eros, frogs and mice) and foreboding cameos by ‘large’ figures like Achilles. Verhelst shows how these texts manipulate their mythological, primarily Homeric, models to put grand epic heroics into a new perspective, be it comical or dark, and suggests how characterisation, size and speed are key ways to understand how these poems negotiate their own position in relation to Homer and the epic tradition, as ‘shrunken’, but not diminutive epic.

This chapter introduces the key themes and characters in Byzantine literary reconfigurations of epic. After some introductory remarks about the reception of ancient Greek epic in Byzantium, the chapter is divided into two main parts: the first is dedicated to the only Byzantine epos Digenis Akritis (twelfth century CE), the other to late Byzantine romances which contain Homeric themes, especially the Byzantine Iliad, and Byzantine Achilleid, both from the fourteenth century. Kulhánková’s discussion also pays close attention to the question of genre, probing the overlapping of romance and epos in these works, and revealing their mutual influences.

This chapter explores the complex relationship between epic and the tricky genre of lyric. Spelman begins with brief historical orientation and then focuses on broader and more theoretical questions of genre, which have been given new impetus by Culler’s Theory of the Lyric. Taking ‘lyric’ in a broad sense to include iambos and elegy as well as melic poetry, Spelman considers some of the most famous and important lyric passages (especially drawing from Pindar and Sappho) that engage with Homeric epic, the Homeric Hymns and the Epic Cycle. Spelman ultimately examines how and whether lyric works out a definition for itself in contradistinction to epic—and whether such a definition can offer us a more nuanced understanding of what epic itself is.

In Chapter 7, the author introduces both content analysis and basic statistical analysis to help evaluate the effectiveness of assessments. The focus of the chapter is on guidelines for creating and evaluating reading and listening inputs and selected response item types, particularly multiple-choice items that accompany these inputs. The author guides readers through detailed evaluations of reading passages and accompanying multiple-choice items that need major revisions. The author discusses generative artificial intelligence as an aid for drafting inputs and creating items and includes an appendix which guides readers through the use of ChatGPT for this purpose. The author also introduces test-level statistics, including minimum, maximum, range, mean, variance, standard deviation, skewness, and kurtosis. The author shows how to calculate these statistics for an actual grammar tense test and includes an appendix with detailed guidelines for conducting these analyses using Excel software.

The chapter looks at a substantial number of texts outside the boundaries usually placed in Byzantine Studies through conventional taxonomic categories such as genre or antithetic pairs like learned versus vernacular language. Four larger themes are used to explore this varied textual production and offer a proposal for understanding its basic socio-cultural and aesthetic functions for its immediate recipients and later readers. The four themes discussed are education and literature, patronage and literary production, rhetoric and genre in prose and poetry, narrative art from the enormous to the small. Despite the strong presence of ‘Hellenic’ subjects, Komnenian literature owes more to its own dynamism (deriving from a reformed teacherly practice in the schools) than to the imitation of ancient models. At the same time, the role of the patrons in promoting literary production shapes much of both learned and vernacular literary experimentation, while religious literature generously defined is strongly involved in an ongoing experimentation with form and content. Finally, the chapter asks whether any form of change can be traced within the literary production of the Komnenian era.