Series editors introduction to the Interface series

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There have been many books published this century which have been devoted to the interface of language and literary studies. This is the first series of books devoted to this area commissioned by a major international publisher; it is the first time a group of writers have addressed themselves to issues at the interface of language and literature; and it is the first time an international professional association has worked closely with a publisher to establish such a venture. It is the purpose of this general introduction to the series to outline some of the main guiding principles underlying the books in the series.

The first principle adopted is one of not foreclosing on the many possibilities for the integration of language and literature studies. There are many ways in which the study of language and literature can be combined and many different theoretical, practical and curricular objects to be realized. Obviously, a close relationship with the aims and methods of descriptive linguistics will play a prominent part, so readers will encounter some detailed analysis of language in places. In keeping with a goal of much work in this field, writers will try to make their analysis sufficiently replicable for other analysts to see how they have arrived at the interpretative decisions they have reached and to allow others to reproduce their methods on the same or on other texts. But linguistic science does not have a monopoly in methodology and description any more than linguists can have sole possession of insights into language and its workings. Some contributors to the series adopt quite rigorous linguistic procedures; others proceed less rigorously but no less revealingly. All are, however, united by a belief that detailed scrutiny of the role of language in literary texts can be mutually enriching to language and literary studies.

Series of books are usually written to an overall formula or design. In the case of the Interface series this was considered to be not entirely appropriate. This is for the reasons given above, but also because, as the first series of its kind, it would be wrong to suggest that there are formulaic modes by which integration can be achieved. The fact that all the books address themselves to the integration of language and literature in any case imparts a natural and organic unity to the series. Thus, some of the books in this series will provide descriptive overviews, others will offer detailed case studies of a particular topic, others will involve single author studies, and some will be more pedagogically oriented.

This range of design and procedure means that a wide variety of audiences is envisaged for the series as a whole, though, of course, individual books are necessarily quite specifically targeted. The general level of exposition presumes quite advanced students of language and literature. Approximately, this level covers students of English language and literature (though not exclusively English) at senior high-school/upper sixth-form level to university students in their first or second year of study. Many of the books in the series are designed to be used by students. Some may serve as course books—these will normally contain exercises and suggestions for further work as well as glossaries and graded bibliographies which point the student towards further reading. Some books are also designed to be used by teachers for their own reading and updating, and to supplement courses; in some cases, specific questions of pedagogic theory, teaching procedure and methodology at the interface of language and literature are addressed.

From a pedagogic point of view it is the case in many parts of the world that students focus on literary texts, especially in the mother tongue, before undertaking any formal study of the language. With this fact in mind, contributors to the series have attempted to gloss all new technical terms and to assume on the part of their readers little or no previous knowledge of linguistics or formal language studies. They see no merit in not being detailed and explicit about what they describe in the linguistic properties of texts; but they recognize that formal language study can seem forbidding if it is not properly introduced.

A further characteristic of the series is that the authors engage in a direct relationship with their readers. The overall style of writing is informal and there is above all an attempt to lighten the usual style of academic discourse. In some cases this extends to the way in which notes and guidance for further work are presented. In all cases, the style adopted by authors is judged to be that most appropriate to the mediation of their chosen subject matter.

We now come to two major points of principle which underlie the conceptual scheme for the series. One is that the term literature' cannot be defined in isolation from an expression of ideology. In fact, no academic study, and certainly no description of the language of texts, can be neutral and objective, for the sociocultural positioning of the analyst will mean that the description is unavoidably political. Contributors to the series recognize and, in so far as this accords with the aims of each book, attempt to explore the role of ideology at the interface of language and literature. Second, most writers also prefer the term literatures' to a singular notion of literature. Some replace literature' altogether with the neutral term 'text'. It is for this reason that readers will not find exclusive discussions of the literary language of canonical literary texts; instead the linguistic heterogeneity of literature and the permeation of many discourses with what is conventionally thought of as poetic or literary language will be a focus. This means that in places as much space can be devoted to examples of word play in jokes, newspaper editorials, advertisements, historical writing, or a popular thriller as to a sonnet by Shakespeare or a passage from Jane Austen. It is also important to stress how the term 'literature' itself is historically variable and how different social and cultural assumptions can condition what is regarded as literature. In this respect the role of linguistic and literary theory is vital. It is an aim of the series to be constantly alert to new developments in the description and theory of texts.

Finally, as series editor, I have to underline the partnership and cooperation of the whole enterprise of the Interface series and acknowledge the advice and assistance received at many stages from the PALA Committee and from Routledge. In turn, we are all fortunate to have the benefit of three associate editors with considerable collective depth of experience in this field in different parts of the world: Professor Roger Fowler, Professor Mary Louise Pratt, Professor Michael Halliday. In spite of their own individual orientations, I am sure that all concerned with the serious would want to endorse the statement by Roman Jakobson made over twenty-five years ago but which is no less relevant today:

A linguist deaf to the poetic function of language and a literary scholar indifferent to linguistic problems and unconversant with linguistic methods, are equally flagrant anachronisms.

Richard Bradford's Linguistic History of English Poetry provides a useful and much-needed guide to the language of poetry from both an historical and a linguistic perspective. Working with particular attention to the innovative theory of double articulation, the book contains detailed stylistic analysis of syntax, vocabulary and rhythm and metrics. It is supported by a valuable range of exercises and questions for further study which should made the book of value and utility in a wide range of courses in language and literary studies. It provides a necessary complement to Waterhouse and Stephens' Literature, Language and Change in the Interface series, which covers a number of different literary genres. Throughout the book Richard Bradford demonstrates the value of systematic stylistic analysis not simply in and for itself but with constant reference to social, cultural and historical contexts of innovation and development in poetic language. In this respect the book is an important contribution to a genuinely 'contextualised' stylistics.

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